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One of five unique copies, Robert Heinecken's Revised magazine: GAP/NY
headaches, represents the first state of the artist's multifaceted, five-year
project centered on the GAP's 1990s khaki pants advertising campaign. Heinecken
dissects, with the deft precision of his X-acto knife, the narrative proffered in the
advertisements, which feature vintage photographs of celebrities wearing khaki pants and
bear the slogan "[famous name] wore khakis." By cutting through 28 of the advertisements
and binding them together to reveal numerous layers of famous people wearing khakis,
Heinecken twists the ad campaign's implied intimacy between celebrity and consumer. In
doing so the viewer no longer simply shares a connective moment with, for example, Allen
Ginsberg sitting cross-legged with his hands folded in his lap, since the part of
Ginsberg's shirt showing inside his suit jacket has been cut away to create the
appearance that Jack Kerouac, whose image is on the following page, is sitting in
Ginsberg's lap; nor with Pablo Picasso seated in his studio, where the cutout makes him
appear to be bemusedly holding a small, standing Amelia Earhart in his hands. Rather,
within these layered relationships the viewer is left to reconsider one's real and
suggested connections to both the individual celebrities depicted, and to a vast,
uniformly khaki-clad population.
In this first iteration of the project the photocopied GAP advertisements have other
unrelated fashion advertisements and magazine images pasted to their versos. The GAP
Khakis logo remains untouched on the bottom corner of the pages, but the slogan "[famous
name] wore khakis" is infrequently, and often only partially, present. In some instances
Heinecken has experimented with collage, as seen in the image of Humphrey Bogart
standing on the deck of a boat where he has given Bogart three bobbing heads, two pairs
of legs and three outstretched arms, so that he seems to be moving towards Carole
Lombard, who is standing with her hands in her pockets on the next page.
The magazine is bound in a reproduced cover of New York
magazine for 21 February 1994 with the mailing label addressed to Heinecken present in
the lower left corner, and featuring a cover story about infant AIDS treatment, along
with a running banner along the top edge reading: What the Trumps want / Condé Nast's
newest dame. The back cover is a collage of two advertisements for Kool cigarettes.
Heinecken has added a man standing behind the woman in the ad who sits on the word
"KOOL," both with cigarette in hand. He has also added, perhaps as an ironical reference
to his project, the word "all" to the slogan so that it reads: All / this is KOOL / no
doubt about it.
Pencil annotation on verso: GAP magazine / #4 (of 5) / Heinecken 1994-1999. Chris
Pichler received this copy of GAP/NY Headaches from
Robert Heinecken when the two men were collaborating on the ...wore khakis project.
Arrangement
In orginal order.
Acquisition information
Acquired in 2017.
Preferred Citation
Revised magazine: Gap/NY headaches, between 1994 and 1999, The Getty Research
Institute, accession no. 2017.M.30.
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materials described in this inventory through the catalog record for this collection. Click
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In the handmade prototype for his artists book, ...wore khakis, Robert
Heinecken dissects, with the deft precision of his X-acto knife, the narrative proffered
in the GAP's 1990s advertising campaign featuring vintage photographs of celebrities
wearing khaki pants and bearing the slogan "[famous name] wore khakis." By cutting
through 28 of the advertisements and binding them together to reveal numerous layers of
famous people wearing khakis, Heinecken twists the ad campaign's implied intimacy
between celebrity and consumer: the viewer no longer simply shares a connective moment
with, for example, a seated and cross-legged Allen Ginsberg, since Ginsberg's torso has
been spliced away to create the appearance that Jack Kerouac, whose image is on the
following page, is sitting in his lap. But flip back a page, and Kerouac now seems
almost to be crouching beside the piano at which a laughing Bobby Short sits. Within
these layered relationships, the viewer is left to reconsider one's real and suggested
connections to both the individual celebrities depicted, and to a vast, uniformly
khaki-clad population. In the final illustration, Heineken himself stands uncut next to
an airplane in his khaki Marine fighter pilot jumpsuit, at once including himself in
this population, while simultaneously reminding the viewer of the military origins of
khakis.
Although all or part of a celebrity's name remains in the images, in a final humorous
twist Heinecken mixes up the names of the celebrities appearing in the original ads to
create "new" celebrities, whose names he writes on the blank pages opposite their
likenesses. Thus, the portrait of Pablo Picasso seated in his studio, where the cutout
makes him appear to be holding a small standing Amelia Earhart in his hands, is paired
with the text: Andy McQueen wore khakis. Follwing this fashion, in the final image
Heineken has tentitively renamed himself Raoul Heinecken and penciled in below his name:
(or Helmut?).
Following the final cutout (Miles Davis) three pages of printed text serve as place
markers for David Pagel's essay "The Gaps in the Ads: Robert Heinecken's Sabotaged GAP
Ads" and Heinecken's bibliography.
The prototype has white covers with a black spiral binding. Pasted lettering on front
cover reads: khakis. Pasted lettering on back cover reads: ...wore. A small yellow
sticky note taped to the front cover reads: Prototype / wire - O / should be / white?
The cutouts are pasted on black, gray or white art papers. The title is taken from the
title page.
Arrangement
In original order.
Acquisition information
Gift of Mary and Dan Solomon.
Preferred Citation
Prototype for Robert Heinecken's ...wore khakis, 1998, The Getty
Research Institute, Los Angeles, Accession no. 2017.M.31.
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materials described in this inventory through the catalog record for this collection. Click
here for the access policy.
In the publisher's proof for his artists book, ...wore khakis, Robert
Heinecken dissects, with the deft precision of his X-acto knife, the narrative proffered
in the GAP's 1990s advertising campaign featuring vintage photographs of celebrities
wearing khaki pants and bearing the slogan "[famous name] wore khakis." By cutting
through 28 of the advertisements and binding them together to reveal numerous layers of
famous people wearing khakis, Heinecken twists the ad campaign's implied intimacy
between celebrity and consumer: the viewer no longer simply shares a connective moment
with, for example, a seated and cross-legged Allen Ginsberg, since Ginsberg's torso has
been spliced away to create the appearance that Jack Kerouac, whose image is on the
following page, is sitting in his lap. But flip back a page, and Kerouac now seems
almost to be crouching beside the piano at which a laughing Bobby Short sits. Within
these layered relationships, the viewer is left to reconsider one's real and suggested
connections to both the individual celebrities depicted, and to a vast, uniformly
khaki-clad population. In the final, uncut illustration, Heineken himself stands next to
an airplane in his khaki Marine fighter pilot jumpsuit, at once including himself in
this population, while simultaneously reminding the viewer of the military origins of
khakis.
Although all or part of a celebrity's name remains in the images, in an additional
humorous twist Heinecken mixes up the names of the celebrities appearing in the original
ads to create "new" celebrities, whose names he writes on the blank pages opposite their
likenesses. Thus, the portrait of Pablo Picasso seated in his studio, where the cutout
makes him appear to be holding a small standing Amelia Earhart in his hands, is paired
with the text: Andy McQueen wore khakis. Indeed, in the last image Heineken has renamed
himself Raoul Heinecken.
Following the final cutout (Miles Davis) are three pages of printed text including
David Pagel's essay "The Gaps in the Ads: Robert Heinecken's Sabotaged GAP Ads" and
Heinecken's bibliography.
White archival mat board covers with the title printed in black, and a black spiral
binding. Ink inscription on title page: #2 of 3 Publisher's [Print (with
strike-through)] Proof 1999.
Arrangement
In original order.
Acquisition information
Acquired in 2017.
Preferred Citation
Publisher's proof for Robert Heinecken's ...wore khakis, 1999, The Getty
Research Institute, Los Angeles, Accession no. 2017.M.32.
box
2017.M.32.bx1
Publisher's proof for Robert Heinecken's ...wore
khakis
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The Nazraeli Press records related to Robert Heinecken's project using the GAP's 1990s
khaki pants advertising campaign comprises a binder containing detailed correspondence
between publisher Chris Pichler and Robert Heinecken; original materials relating to the
various components of the project; documentation of the project; and related ephemera.
Correspondence spans from the inception of the project in 1995 through the final limited
edition printing in 2000. Also included is legal correspondence related to the GAP's
objection to Heinecken's use of their advertising campaign.
Original and production materials include 18 photocopied pages of cutouts and the front
cover for Heinecken's revised magazine GAP/NY Headaches(1994-1999); a
cutout template for Steve McQueen's torso; Heinecken's handwritten list of altered
names, layouts and other notes for, ...wore khakis (2000); and two copies
each of David Pagel's essay "The Gaps in the Ads: Robert Heinecken's Sabotaged GAP Ads"
and Heinecken's bibliography, both of which were included in ...wore
khakis; and the photograph of Heinecken in his khaki Marine fight pilot jumpsuit
that is the final image in the book.
Documentation includes 40 page-by-page slides of GAP/NY Headaches and 34
color Polaroid page-by-page photographs of Heinecken's prototype for ...wore
khakis.
Arrangement
In original order. Materials were rehoused in an archival binder and loose materials
such as the Polaroid photographs were added at the end of the binder.
Immediate Source of Acquisition
Gift of Chris Pilcher and Maya Ishiwata.
Preferred Citation
Nazraeli press records related to Robert Heinecken's ...wore khakis,
1994-2000, The Getty Research Institute, Los Angeles, Accession no. 2017.M.33.
box
2017.M.33.bx1
Nazraeli Press records related to Robert Heinecken's ...wore khakis
