One obligation facing any curator engaging with Heinecken’s work for the Museum of Modern Art is to explain to the audience the pervasive influence on the medium of this museum’s Department of Photography as gatekeeper during the period 1965-85, because much of Heinecken’s activity can best be understood as an oppositional response thereto. […]
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I consider it a measure of a certain kind of stubborn integrity that Les Krims, Duane Michals, Kenneth Josephson, and Robert Heinecken continued to self-identify as photographers instead of jumping ship and reinventing themselves as picture-makers in one or another of the art world’s approved categories. They knew the dynamics and politics of the art scene, and understood the price they’d pay for their decision. Which made this an act of principle. […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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