Robert Heinecken Follow Shiva, the Lord Whose Half Is Woman 1990 Relief collage of magazine advertisements. 83 3/4 x 48 x 3 1/2 in. (212.7 x 121.9 x 8.9 cm) Signed, titled and dated in ink on the reverse of the flush-mount.
Provenance Acquired directly from the artist, 2006 Exhibited Robert Heinecken Photographist: A Thirty-Five-Year Retrospective , Museum of Contemporary Art, Chicago, 1 October- 28 November 1999, traveling to Los Angeles County Museum of Art, 13 February- 24 April 2000 Literature Museum of Contemporary Art, Chicago, Robert Heinecken Photographist , cover (cropped), pl. 94, fig. 4 Catalogue Essay In 1989 the conceptual artist Robert Heinecken began a suite of collages based upon the Hindu deity Shiva. Heinecken’s grandfather had traveled to India as a missionary and married a Hindu woman. Inspired by his Hindu grandmother, Robert Heinecken maintained a lifelong interest in the religion, especially for the gender-shifting Shiva. Heinecken said, “Hinduism is the only religion where the boss can become anything: man, woman, tree . . . The love of sex, the poetry of sex, is so much tied into Hindu religion . . . I think you can find sexuality in everything, if you look closely enough, and I think it’s there in all my work” (told to A. D. Coleman, quoted in Robert Heinecken Object Matter ). Heinecken’s fascination with sexuality – and its appropriation by the media – is on full display in this work, which addresses Shiva’s dual gender in title and execution. Heinecken clipped and collaged magazine images over a three-dimensional form, creating a dazzlingly complex commentary that is simultaneously a celebration of Shiva’s polymorphism and an incisive critique of the vapidity of media culture. Read More
Robert Heinecken Follow Shiva, the Lord Whose Half Is Woman 1990 Relief collage of magazine advertisements. 83 3/4 x 48 x 3 1/2 in. (212.7 x 121.9 x 8.9 cm) Signed, titled and dated in ink on the reverse of the flush-mount.
Provenance Acquired directly from the artist, 2006 Exhibited Robert Heinecken Photographist: A Thirty-Five-Year Retrospective , Museum of Contemporary Art, Chicago, 1 October- 28 November 1999, traveling to Los Angeles County Museum of Art, 13 February- 24 April 2000 Literature Museum of Contemporary Art, Chicago, Robert Heinecken Photographist , cover (cropped), pl. 94, fig. 4 Catalogue Essay In 1989 the conceptual artist Robert Heinecken began a suite of collages based upon the Hindu deity Shiva. Heinecken’s grandfather had traveled to India as a missionary and married a Hindu woman. Inspired by his Hindu grandmother, Robert Heinecken maintained a lifelong interest in the religion, especially for the gender-shifting Shiva. Heinecken said, “Hinduism is the only religion where the boss can become anything: man, woman, tree . . . The love of sex, the poetry of sex, is so much tied into Hindu religion . . . I think you can find sexuality in everything, if you look closely enough, and I think it’s there in all my work” (told to A. D. Coleman, quoted in Robert Heinecken Object Matter ). Heinecken’s fascination with sexuality – and its appropriation by the media – is on full display in this work, which addresses Shiva’s dual gender in title and execution. Heinecken clipped and collaged magazine images over a three-dimensional form, creating a dazzlingly complex commentary that is simultaneously a celebration of Shiva’s polymorphism and an incisive critique of the vapidity of media culture. Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
