This dreamlike image of the well-known news anchor is a digitally scanned and printed reinterpretation of a cameraless photograph that the artist made by placing photographic paper directly against the television screen and turning the set on for a few seconds. Heinecken has long explored the ways in which the world is transformed by photography and the popular media. Here he presents a multilayered work that simultaneously relates to the earliest photographic experiments made without a camera, to the omnipresent medium of television, and, by its visible pixelation, to our increasingly computerized world.
The Metropolitan Museum of Art. "Faces from the Collection," January 1, 1987–May 1, 1987.
National Gallery of Art, Washington D.C. "On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography," May 7, 1989–July 30, 1989.
Art Institute of Chicago. "On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography," September 16, 1989–November 26, 1989.
Los Angeles County Museum of Art. "On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography," December 21, 1989–February 25, 1990.
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 8," March 14, 1995–June 11, 1995.
The Metropolitan Museum of Art. "Photography: Processes, Preservation, and Conservation," January 30, 2001–May 6, 2001.
Greenough, Sarah. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography. 1st ed. Washington, D.C.: National Gallery of Art, Washington D.C., 1989. pl. 342.
Gutierrez, Jennifer Jae. "Pinups, Photograms, Poloroids, and Printing Plates: Iterations in Robert Heinechen's Work Process." Robert Heinecken: Object Matter (2014).
Permanent inks sprayed by Fujix 3000 according to a digitized scanning of a photogram made by the artist from the intermittent signal on a television screen.