Hauser & Wirth opened its first US gallery with a presentation of Allan Kaprow’s (1927–2006) seminal Environment Yard: a mountain of black rubber auto tires and tarpaper-wrapped forms through which visitors jumped and crawled, first made by the artist in 1961 and reinterpreted in other locations. This volume documents a reinvention of Yard by William Pope.L at the site of the work’s original creation.
Published by Walther König, Köln. Edited by Hubert Klocker. Text by Brigitte Marschall, Sara Tiefenbacher, Ulrike Wirth, Eva Maria Wall, Hanna Kessler, Beatrix Schlager, Bastian Petz.
In 1962, Allan Kaprow (1927–2006) took the decisive step from assemblage to happenings with his "Stockroom" environment, devised for the Moderna Museet Stockholm’s famous exhibition Art in Motion. This book is the first to document all nine reprisals of the "Stockroom," five of which were done posthumously.
Published by Walther König, Köln. Edited by Giorgio Maffei.
This study catalogues and illustrates all of the artist’s books that Allan Kaprow published to accompany his happenings, from his first artist’s book in 1962 to his final anthology projects of the 1990s: a total of 35 books published over 40 years. Although Kaprow was the acknowledged pioneer of the happening from the 1950s on, he is less often recognized as a pioneer in the genre of artist’s books. Nonetheless, from the start Kaprow produced what he described as “activity booklets”--publications intended to function as tools to help people understand and experience such performances. He likened these booklets to “musical scores”: vehicles of opportunity rather than documents of past events. But the graphic layout of his books, the originality of their structure, the literary character of their texts and their aesthetic quality as objects elevates them from ostensibly practical scores to primary examples of first-generation book art.
Published by Walther König, Köln. Artwork by Allan Kaprow.
On June 13, 2005, Allan Kaprow and his colleagues built three ice-brick structures, one in front of the Kunsthalle Basel, another on the roof of the parking garage across the way, and the last in the arcades of the Kunstmuseum Basel. Then they left them alone to be discovered, and to evaporate. Fluids documents their rise and melt.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Paperback, 6 x 7.5 in. / 70 pgs / 63 color.
PUBLISHING STATUS PUB DATE 3/1/2006 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2006 p. 147
PRODUCT DETAILS ISBN 9783883759968SDNR30 LIST PRICE: $25.00 CDN $30.00
Simple in construction, yet profound in context, How to Make a Happening is Allan Kaprow delivering 11 rules on how, and how not, to make a Happening, an movement begun by Kaprow in the late fifties that is known for its unpredictability, open scores, and constantly-evolving form.
On the first track, Kaprow speaks plainly into a microphone, delivering a private cut-to-the-chase style instruction on Happenings that is both informative and contradictory. Kaprow, known as a great teacher of the avant-garde (from Rutgers to Cal Arts to finally University of California, San Diego), delivers both a practical and theoretical how-to with an oftentimes dead-pan humor.
On the second track, which is constructed like the first, Kaprow reads the program and notes of three recent Happenings (Soap, Calling, and Raining), which serve as loose instruction, as they involve improvisation and forces beyond human control, such as acts of nature and other uncontrolled environmental forces. These elucidations further provide a clear, if somewhat circumstantial, distinction of what does and does not constitute a Happening.
Perhaps, one of the more astonishing values to this recording is that it reflects and informs on a movement that fifty years on has come be seen as a seminal shift in postwar contemporary art and performance, yet is discussed by its founder without this hindsight—it lacks sentimentality and most of all it lacks a sense of its relevance within this history. In fact, Kaprow shrugs off its place in the arts—its rejections of their strategies become a starting point if not a hallmark of the Happening, as he claims in rule number one:
Forget all the standard art forms—don’t paint pictures, don’t make poetry, don’t build architecture, don’t arrange dances, don’t write plays, don’t compose music, don’t make movies, and above all don’t think you’ll get a happening by putting all these together.
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PUBLISHING STATUS Active
DISTRIBUTION CONTACT PUBLISHER
PRODUCT DETAILS ISBN con00351RETAIL LIST PRICE: $18.00 CDN $18.00