This innovative study of two of the most important artists of the twentieth century links the art practices of Allan Kaprow and Robert Smithson in their attempts to test the limits of art--both what it is and where it is. Ursprung provides a sophisticated yet accessible analysis, placing the two artists firmly in the art world of the 1960s as well as in the art historical discourse of the following decades. Although their practices were quite different, they both extended the studio and gallery into desert landscapes, abandoned warehouses, industrial sites, train stations, and other spaces. Ursprung bolsters his argument with substantial archival research and sociological and economic models of expansion and limits.
'Childsplay' offers a description of Kaprow's 'Happenings' and other art activities, clarifying their materiality, duration and setting, as well as the ways that people participated in them, and shows that Kaprow's art forms were physically present, socially engaged, and intellectually resonant in the moment of enactment.
Allan Kaprow's "happenings" and "environments" were the precursors to contemporary performance art, and his essays are some of the most thoughtful, provocative, and influential of his generation. His sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings. A new preface and two new additional essays published in the 1990s bring this valuable collection up to date.
An examination of an experiential and experimental art form that, despite its evanescence, has shaped participatory art into the present. “Happenings” have pop connotations that conjure up 1960s youth culture and hippies in public, joyful rebellion. Scholars, meanwhile, locate happenings in a genealogy of avant-garde performance that descends from futurism, surrealism, and Dada through the action painting of the 1950s. In Radical Prototypes, Judith Rodenbeck argues for a more complex etiology. Allan Kaprow coined the term in 1958 to name a new collage form of performance, calling happenings “radical prototypes” of performance art. Rodenbeck offers a rigorous art historical reading of Kaprow's project and related artworks. She finds that these experiential and experimental works offered not a happy communalism but a strong and canny critique of contemporary sociality. Happenings, she argues, were far more ambivalent, negative, and even creepy than they have been portrayed, either in contemporaneous accounts or in more recent efforts to connect them to contemporary art's participatory strategies. In Radical Prototypes, Rodenbeck recovers the critical force of happenings, addressing them both as theoretical objects and as artworks, investigating broader epistemological and formal concerns as well as their material and performative aspects. She links happenings to scores by John Cage (especially 4'33”), avant-garde theater, and photography, and offers new readings of projects ranging from Kaprow's 18 Happenings in 6 Parts (1959) to Gerhard Richter's Leben mit Pop (1963). Rodenbeck casts happenings as a form of participatory art that simultaneously delivers a radical critique of that very participation—a view that revises our understanding of contemporary constructions of the participatory as well as of 1960s projects from Fluxus to conceptual art.
This new interpretation of the structure and meaning of the Happenings produced by Allan Kaprow (1927-2006) and Claes Oldenburg (b. 1929) in the late 1950s and 1960s sheds light on the context, theoretical framework, and working practice unique to this groundbreaking artistic form. Drawing on extensive archival research and including never-before-published drawings by Oldenburg, Robert E. Haywood describes the dialogue - at times contentious - between these two artists about the direction of the Happenings and modern art in general. Through a comprehensive analysis of these often overlooked works, it becomes clear that the Happenings--born in the midst of Cold War tensions and an increased uneasiness with the direction society was taking--challenged the traditional definitions of art in innovative new ways and were a critical component in the development of the art of the 20th century.
This publication catalogues and illustrates, with a wide selection of images, Allan Kaprow's entire body of published work: from his first artist book in 1962, to his last anthological projects in the '90s. This lesser-known side of his œuvre unfolds through 35 books, published over a 40-year span.Kaprow's work moved along two parallel tracks: happenings - a field in which he was an unchallenged pioneer, starting in the '50s - and activity booklets, a tool meant to help people understand and experience these performances. But the graphic layout of his books, the originality of their structure, the literary stature of their texts, and their aesthetic quality as objects shifted his exploration of print into a higher realm, where the book became a fully-fledged work of art.'Booklets are somewhat like music scores: they aren't the actual event but as notations which one or more persons can carry out. So they shouldn't be considered documents of what actually happened.' (Allan Kaprow)
Documents artist Allan Keprow's life and work through an extensive chronology that visually portrays his evolution from painter to environmental artist to inventor of the Happening and the Activity.
Beyond the Happening uncovers the heterogeneous, uniquely interdisciplinary performance-based works that emerged in the aftermath of the early Happenings. By the mid-1960s Happenings were widely declared outmoded or even ‘dead’, but this book reveals how many practitioners continued to work with the form during the late 1960s and 1970s, developing it into a vehicle for studying interpersonal communication that simultaneously deployed and questioned contemporary sociology and psychology. Focussing on the artists Allan Kaprow, Marta Minujín, Carolee Schneemann and Lea Lublin, it charts how they revised and retooled the premises of the Happening within a wider network of dynamic international activity. The resulting performances directly intervened in the wider discourse of communication studies, as it manifested in the politics of countercultural dropout, soft power and cultural diplomacy, alternative pedagogies, sociological art and feminist consciousness-raising.
