NORMAN PARKINSON – ELEGANCE IN VOGUE

Posted on 2016-02-15

In a career that spanned over five decades, Norman Parkinson photographed for Vogue for most of this time. He worked consistently for ‘British Vogue’ from 1941 to 1960, and after a stint at Queen, returned again in 1965 working with ‘British Vogue’ through 1975. His long association with ‘Vogue’ brought him worldwide recognition and he is now considered one of the twentieth century’s foremost fashion photographers.

Parkinson was instrumental in taking fashion photography beyond the stiff formality of his predecessors and injecting an easy and casual elegance into his images. His impulsive and unstructured style changed forever the static, posed approach to fashion photography.

Norman Parkinson dazzled the world with his sparkling inventiveness as a fashion photographer and his work provides a comprehensive and unique record of the development of fashion design, photography and modelling from the 1940’s to 1990.

Opposite – White Weddings (Twiggy), British Vogue, February 1967

Exhibition runs through till March 24th, 2016

Eleven
11 Eccleston Street
London
SW1W 9LX

elevenfineart.com

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ROBERT HEINECKEN

Posted on 2016-02-15

Robert Heinecken (1931 – 2006) is widely considered a significant forerunner of appropriation art. A self-described ‘para-photographer’, Heinecken was interested in how mass-media was processed and consumed (or, alternately, how mass media processed and consumed its viewers with its “manufactured experience”). He was indebted to the Surrealist idea of chance and automatism as well as Barthes’ critique of photographic indexicality. Both influences run through the exhibition’s “Figure in Six Sections” (1965) a rare “exquisite corpse” stacked sculpture in which a silver gelatin print of the back of a standing nude has been adhered to each of the four sides of an 8 ½” tall wooden cube cut into six layers, similar in structure to a rubix cube. The layers, which rotate on an axis, can theoretically make a multiple of composited bodies depending on how the manipulator turns each layer. At a moment when most artists mandated medium-specificity, Heinecken renders the photograph as sculptural object, using concepts of play and improvisation as a means for demonstrating the photograph’s plurality.

The only remaining complete set of twenty-five silver gelatin prints of Heinecken’s groundbreaking work “Are You Rea” (1964 – 1968) will also be on view. Combining Surrealist juxtaposition with pop methods of appropriation, each of the twenty-five prints is a tonally reversed photogram – what the Surrealist’s called the a “camera-less photograph” – taken from popular magazines, such as The New York Times, Woman’s Day, Newsweek and Time, among others. It took the artist over four years to sift through approximately 2,000 images in order to reach the final twenty-five, and the title is taken from the truncated question in one of the women’s magazines asking “Are You Real?” Heinecken’s photogram process turns this question back on itself, demanding the viewer to recognize subliminal, if not obtrusively implicit, paradigms of consumption and objectification present within mass-circulated images.

Opposite – Transparent Figure, 1968

Exhibition runs through till February 27th, 2016

Petzel Gallery
35 E 67th Street
NY 10065
New York

www.petzel.com

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