Word: kaprow
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...aesthetic all objects and materials can be art--not just oil on canvas or clay on armature. Within the art world itself wide-spread use of "found objects," like irons and mattresses, verifies this. And the post-Warhol men who make happenings, assemblages, and environments, like Segal and Kaprow, would embroider "everything can be art" on their coats of arms...
...refuge from an outside world which is more Dada and Surrealism than Currier and Ives. This quietude is conscious; the Fogg has resisted the kind of publicity New York's Metropolitan Museum gained from its disclosure of the forged Greek horse, and it is unlikely to sponsor Alan Kaprow's next happening. Certainly the scholarship and aesthetic judgment Coolidge values so highly can thrive in this quietude. But whether the impact of this intellectual activity may be obscured, whether the intelligent decisions may lose the impact they have traditionally had in an age when one has to scream...
Rapid-Fire Skeletons. Kaprow soon moved on to "happenings," a term that he coined (the distinction, he points out, is that "an environment is set up in a defined space, a happening is a theatrical performance, or continuing activity"). Artists who followed in his wake have moved a long way from his early haphazard, boisterous ways. Luminal artists first experimented with the pulsating strobe effects and psychedelic projections that have since moved into discotheques, ballets and boutiques; the newest and most radical works are apt to be calm, cool and minimal. A case in point is Dan Flavin...
...today's practitioners acknowledge the pioneering efforts made by New Jersey-born Allan Kaprow, 40, who a decade ago began creating recognizable environments. One of the earliest was his 1962 Words; it consisted simply of random words lettered on pieces of paper that spectators were invited to staple at random onto the walls of a room. The idea, Kaprow explains now, was to create an intentionally sloppy, three-dimensional roomful of random art, in the abstract expressionist mode of the 1950s, when the wall-filling action canvases of Jackson Pollock were already being referred to as "environmental painting." Kaprow...
...employ both pictorial images and written words and ranged from the exquisite to the spectacularly shoddy. Among the most successful were the intricate lens constructions of Mary Bauermeister, the comic-book panels by Chicago's James Nutt, and the reconstruction of a 1964 Happening staged by Allan Kaprow, in which gallerygoers were invited to "make poetry, make news" by stapling random words together on the wall...