1968 Photography as Printmaking;Museum of Modern Art,
New York, New York
1970 Photography into Sculpture; Museum of Modern Art,
New York, New York
1974 Artists’ Books; Moore College of Art, Philadelphia,
Pennsylvania, and University of California Art
Museum, Berkeley, California
Photography in America; Whitney Museum of Amer-
ican Art, New York, New York
1978 Mirrors and Windows: American Photography Since
1960 ; Museum of Modern Art, New York, New York,
and traveling
1981 Photo Recycling: Photo oder Die Fotografie im Zeital-
ter ihrer technischen Reproduzierbarkeit; Fotoforum,
Universita ̈t Kassel, Kassel, West Germany
1983 Big Pictures by Contemporary Photographers; Museum
of Modern Art, New York, New York
1987 L.A. Hot and Cool: Temperaments and Traditions; M.I.
T. List Visual Arts Center, Cambridge, Massachusetts
1989 On the Art of Fixing a Shadow: One Hundred and Fifty
Years of Photography; National Gallery of Art, Smith-
sonian Institution, Washington, D.C., and traveling
1993 Proof: Los Angeles Art and the Photograph, 1960–
1980 ; Laguna Art Museum, Laguna Beach, California,
and traveling
Further Reading
Durant, Mark Alice, and Amy Rule.Robert Heinecken: A
Material History. Tucson, AZ: Center for Creative
Photography, 2003.
Enyeart, James L., ed.Heinecken. Carmel, CA, and New
York: Friends of Photography/Light Gallery, 1980.
Lyons, Nathan, ed.The Persistence of Vision. Rochester,
NY: George Eastman House, 1967.
Coke, Van Deren, Henri Barendsi, Darwin Marable, et al.
Light and Substance. Albuquerque: The University of
New Mexico, 1973.
‘‘Robert Heinecken.’’ InGreat Photographers. Alexandria,
VA: Time-Life Books, 1983.
Robert Heinecken: Food, Sex and TV. Kassel, West Ger-
many: Edition Fotoforum, Universita ̈t Kassel, 1983.
Walsh, George. ‘‘Heinecken, Robert.’’ InContemporary
Photographers. New York: St Martin’s Press, 1982.
Warren, Lynne, A.D. Coleman, et al.Robert Heinecken:
Photographist. Chicago: Museum of Contemporary
Art, 1999.NANCY HELLEBRAND
American
Nancy Hellebrand is a photographer whose work
has moved from the black-and-white social docu-
mentary photography of people that she began in
the early 1960s to more abstract black-and-white
studies of faces and bodies made in the early 1980s
to her most abstract nature studies in color, begun
in the late 1980s and continuing to the time of this
writing. Although her photography, printing, and
even subject matter have changed dramatically
from the time of her earliest to her latest work,
Hellebrand’s work as a whole seeks to reveal the
truth or essence of her subjects as she sees them and
as she wishes them to be seen.
Hellebrand began her college education as an art
major. Her discovery of photography as the artistic
medium she would follow occurred during her first
year of college at USC in 1963 with a course being
taught there by Bernie Kantor. As she pursued
social documentary photography, her choice of
black-and-white 35-mm seemed a somewhat nat-
ural choice. Another photography course Helleb-
rand took in New York with Alexey Brodovitch in
1964 was crucial to Hellebrand’s development of a
personal vision. Brodovitch influenced her by stres-
sing that when photographing, one’s personal view
should take precedence over known orientation to
subject. Following one’s impulses was of more
artistic merit than portraying the strictly familiar.
While pursuing her bachelor’s degree, from 1964–
1965 Hellebrand apprenticed to David Attie, a com-
mercial photographer. From 1966–1967 she was a
studio manager for John Cochran, a fashion photo-
grapher. In 1967, Hellebrand opened a photography
studio in New York, shooting commercial, editorial,
and informal portraits in black-and-white 35-mm. She
also taught photography at Parson’s School of Design,
New York in 1970. In 1971, Hellebrand received her
B.A. in English Literature from Columbia University.
In that year, she closed her studio and moved to
London to study photography privately under Bill
Brandt until 1974. Bill Brandt influenced Hellebrand
chiefly by the example of his life and art, showing
Hellebrand that a lifestyle devoted to the pursuit of
art was highly desirable and extremely worthwhile.HEINECKEN, ROBERT