ALLAN KAPROW HOW TO MAKE A HAPPENING PDF

More quotes Summary of Allan Kaprow Allan Kaprow was a pivotal figure in the shifting art world of the s; his "happenings," a form of spontaneous, non-linear action, revolutionized the practice of Performance Art. While Kaprow began as a painter, by the mid s his interest turned to the theoretical, based primarily on the shifting concepts of space as subjectively experienced by the viewer. Kaprow emerged from the group of artists known as the Rutgers Group, based out of Rutgers University where Kaprow taught art history and studio art. Kaprow was among the many artists and critics who focused on an intellectual and theorized view of art, rejecting the monumental nature of Abstract Expressionist works and instead focusing on the act of their production. In particular, his influential essay, "The Legacy of Jackson Pollock ," , called for an end to craftsmanship and permanence in art and instead demanded that artists shift their attention to "non-concrete," or ephemeral, modes of production.

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Biography A highly influential figure in contemporary art during the s, the American artist and theorist Allan Kaprow is probably best known as the leading pioneer of " Happenings ", a type of performance art whose aim is to remove the barrier between performer and spectator, leaving only participants.

Kaprow also pioneered "Environments" - a forerunner of installation art - typically consisting of rooms filled with assemblages of everyday objects. In addition to being an artist and art theorist, Kaprow was also an influential art teacher at Rutgers University, the State University of New York, the California Institute of the Arts and the University of California.

Kaprow contributed a range of important ideas to the development of postmodernist art in America, creating a number of challenging works along the way, in the tradition of Marcel Duchamp , Tristan Tzara , and Robert Rauschenberg Training and Early Writing Born in Atlantic City, New Jersey, he experienced chronic illness as a child which forced him to move to Arizona, but also gave him the time to develop an interest in arts and crafts.

Here he developed a dynamic style of " action painting ", reflecting the techniques of Jackson Pollock and others of the New York School. After this he took a postgraduate MA degree at Columbia University , in Art History and Philosophy, under Meyer Schapiro, combining his studies with a part-time career as an art-teacher and part-time painter.

Later, he also attended a class in composition at the New York High School of Music and Art taught by the avant-garde composer John Cage In , he began his prolific career as an art theorist with an an influential essay published in Art News entitled "The Legacy of Jackson Pollock", in which he called for an end to craftsmanship and permanence in art, demanding instead that artists refocus their attention on more transitory forms of art using perishable materials.

See also the photos by Hans Namuth of Pollock at work in his studio. All this reflected his own fascination with the "making" of art - art that was no longer defined as an object to be displayed on a wall, but which could be created out of anything at all everyday objects like chairs, food, neon lights, smoke, water, old socks, as well as things like movement, sound, texture and scent and be "participated in" by artist and spectator alike.

In addition he was active as a producer of live and experimental art. He co-founded the Hansa Gallery as well as the Reuben Gallery , both of which became important venues for the new hybrid genres of the early s, and hosted shows and events for many of the top contemporary artists of the day.

See also: Postmodernist Artists. Environments and Happenings Kaprow first started creating "Environments" - installation pieces typically consisting of rooms filled with assemblages of everyday objects - designed to immerse spectators in multi-sensory experiences: rather like being inside a work of art. Visitors were offered choices choosing between a fake and a real apple, rearranging words on walls to make sense or just nonsense , which helped to create the work of art and made them "participants" in it rather than mere spectators.

But it was their reaction that defined the piece itself. In fact they should become part of it themselves. As visitors entered, they were offered glasses of wine, while apples dangled from the ceiling and a girl cooked banana fritters on a hotplate. In a small chamber, accessible only via a ladder, another helper cooked and served boiled potatoes. In a separate area there were helpings of bread and jam. Visitors could eat and drink for an hour.

Instead they were designed to occupy the gap between art and life, a gap also identified by Robert Rauschenberg and Andy Warhol They also featured the construction close to the Berlin Wall of a wall made from bread cemented with jelly, and the creation in San Diego of a set of houses built out of ice.

Art Teacher In addition to his career as an artist, Kaprow was also a highly regarded teacher. He started out in teaching art and art history at Rutgers University in New Brunswick. From to he lectured at Pratt Institute, before joining the arts faculty at the State University of New York, Stony Brook , the last few years as Professor. He also lectured briefly at the Institute of Contemporary Art in Boston.

From to he taught in California - first at the California Institute of the Arts CalArts , where he served as associate dean, then from onwards at the visual arts department of the University of California, San Diego.

Among his many publications are "Assemblage, Environments, and Happenings" , a standard text on performance art; and "Essays on the Blurring of Art and Life" , a selection of his essays on the theory and practice of art.

Legacy Art critics loved Kaprow. He was iconoclastic, innovative, intellectual and could provide a highly coherent explanation of his vision of low-brow art, made out of ordinary materials, in which the spectator was entangled and obliged to participate.

A far cry, perhaps, from the formalistic materialism of Clement Greenberg and his favoured coterie of high-brow painters. In any event, there is no doubt that Kaprow made an immense contribution to performance art, enriched the principles of conceptual art, and paved the way for genres like installation. His work also exerted a strong influence on certain movements of contemporary art, including Pop art and Minimalism , as well as Body art and the ideas promoted by Young British Artists like Damien Hirst b.

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Allan Kaprow: How to Make a Happening

These "Happenings" represent what we now call New Media Art. It is participatory and interactive , with the goal of tearing down the wall a. One such work, titled Eighteen Happenings in Six Parts, involved an audience moving together to experience elements such as a band playing toy instruments, a woman squeezing an orange, and painters painting. He gained significant attention in September for his Words performance at the Smolin Gallery.

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Allan Kaprow

Biography A highly influential figure in contemporary art during the s, the American artist and theorist Allan Kaprow is probably best known as the leading pioneer of " Happenings ", a type of performance art whose aim is to remove the barrier between performer and spectator, leaving only participants. Kaprow also pioneered "Environments" - a forerunner of installation art - typically consisting of rooms filled with assemblages of everyday objects. In addition to being an artist and art theorist, Kaprow was also an influential art teacher at Rutgers University, the State University of New York, the California Institute of the Arts and the University of California. Kaprow contributed a range of important ideas to the development of postmodernist art in America, creating a number of challenging works along the way, in the tradition of Marcel Duchamp , Tristan Tzara , and Robert Rauschenberg Training and Early Writing Born in Atlantic City, New Jersey, he experienced chronic illness as a child which forced him to move to Arizona, but also gave him the time to develop an interest in arts and crafts. Here he developed a dynamic style of " action painting ", reflecting the techniques of Jackson Pollock and others of the New York School.

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Allan Kaprow: How to Make a Happening

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