Some of the material in is restricted to members of the community. By logging in, you may be able to gain additional access to certain collections or items. If you have questions about access or logging in, please use the form on the Contact Page.
From the late 1960s through the mid 1970s, Los Angeles based photographer Robert Heinecken created a myriad of magazine works that included the artist's self-produced "mongrel" magazines, various photomontages and photocollages, and other hybrid prints derived from mass-media imagery. This thesis contends that these magazine works constitute a particular strand of photographic neo-avant-gardism, a category of advanced artistic practice thus far underdeveloped in the scholarly literature. By synthesizing the discourse of historical and neo-avant-gardism with media-critical texts, I develop of framework to explain the radical moves inaugurated by Heinecken's work. Chapters two and three, which comprise the body of my argument, demonstrate how Heinecken folds the strategies of the historical avant-garde into the medium of photography. In so doing, he creates a form of photographic practice that interrogates the history of photography as it relates to America's burgeoning, Cold War consumer society. Through his magazine works, Heinecken seeks to interrupt the incessant flow of media temporality, to focus his viewers' attention on the structure of photographic meaning, and most provocatively, to upend the notion of photographic indexicality through an innovative substitution of apertures. To conclude, I outline a trajectory of radical photographic evolution that progressed through the twentieth century--a trajectory that moves from making photographs, to creating objects about things, and finally, to presenting pictures.
A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts.
Includes bibliographical references.
Adam Jolles, Professor Directing Thesis; Karen Bearor, Committee Member; Stephanie Leitch, Committee Member.
Florida State University
Use and Reproduction
This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). The copyright in theses and dissertations completed at Florida State University is held by the students who author them.