Los Angeles

Robert Heinecken

Marc Selwyn Fine Art

“Many pictures,” Robert Heinecken once noted, “turn out to be limp translations of the known world instead of vital objects which create an intrinsic world of their own. There is a vast difference between taking a picture and making a photograph.” This statement neatly divides the history of photography in two and leaves little doubt as to which side of that line Heinecken, who died in 2006 at the age of seventy-four, saw himself on. And, whether intentionally or not, the phrase “limp translations” suggestively points at one of his major fixations. Indeed, a succinct recent survey at Marc Selwyn Fine Art of the artist’s boundary-pushing photo-based work, which spanned over thirty years, foregrounded his formal restlessness in contrast to his consistent, even obsessive, engagement with media imagery and sexual themes, with a particular emphasis on the voluptuous female body—or is it the

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