One of the most sophisticated artists ever to combine strategies of appropriation and montage, Heinecken (1931-2006) was a contemporary of John Baldessari and Wallace Berman; and his significance stems from the fact that, like these other two more famous artists, he anticipates and supplements the exploration of the mass media and identity most closely associated with the artists of the “pictures generation.” This lecture will present Heinecken’s achievement in the context of art in the 1980s and the rise of postmodernism in photography. It focuses on various formal and conceptual strategies employed by Heinecken between the late 1960s and the early 1990s, demonstrating how Heinecken both prefigures photographic postmodernism and explores possibilities left untouched by artists such as Richard Prince, Cindy Sherman, and Barbara Kruger.
Originally trained as a continental philosopher, Matthew Biro came to art history through an interest in aesthetics and visual thinking. He is the author of two books, Anselm Kiefer and the Philosophy of Martin Heidegger (New York and London: Cambridge University Press, 1998) and The Dada Cyborg: Visions of the New Human in Weimar Berlin (Minneapolis,MN: University of Minnesota Press, 2009). He is urrently working on a book about photography.
This lecture is part of the six-part series "Art and Technology" organized by Joyce Tsai and Kerry Oliver-Smith. For a full description of the series, see the poster here.
Center for the Humanities
and the Public Sphere
College of Liberal Arts and Sciences
200 Walker Hall
P.O. Box 118030
University of Florida
Gainesville, FL 32611