Kaprow, Allan

▪ 2007

      American artist (b. Aug. 23, 1927, Atlantic City, N.J.—d. April 5, 2006, Encinitas, Calif.), infused the art scene with what he termed “happenings,” artistic events that occurred not only outside galleries and museums but also in parking lots, gymnasiums, and stores. Kaprow's happenings were forerunners of installation and performance art. Though he was initially a disciple of Jackson Pollock's action painting, Kaprow later believed that the action was more important than the painting itself. Some of his most famous happenings involved the construction of a wall of bread cemented with jelly near the Berlin Wall and a parcel of houses built from ice in Southern California. Though Kaprow's events were highly scripted, happenings came to be seen as spontaneous incidents, and he later despised the fact that his name had become associated with them.

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▪ American artist

born Aug. 23, 1927, Atlantic City, N.J., U.S.

died April 5, 2006, Encinitas, Calif.

      American performance artist, theoretician, and instructor who invented the name “ Happening” for his performances and who helped define the genre's characteristics.

      Kaprow studied in New York City at the High School of Music & Art (now LaGuardia Arts; 1943–45) and New York University (B.A., 1949) and also trained in painting at the Hans Hofmann School of Fine Art (1947–48). In 1952 he was awarded an M.A. from Columbia University, where he studied medieval and modern art under the influential art historian and critic Meyer Schapiro. Kaprow also attended a class in composition taught by the avant-garde composer John Cage (Cage, John) at the New School for Social Research (1957–59). There Kaprow met like-minded fellow students George Brecht, Dick Higgins, Al Hansen, and others. During this period, Kaprow abandoned traditional arts and gravitated to the more theoretical and philosophical questions surrounding the making of art. He was active as a producer and promoter of live and experimental art, cofounding the Hansa Gallery in 1952 and the Reuben Gallery in 1959 and codirecting the Judson Gallery; each of these galleries was a primary venue for the many new hybrid art genres of the early 1960s. These included Happenings (which, according to Higgins, Kaprow explained by saying, “I didn't know what to call it, and my piece was just supposed to happen naturally”) and Environments (in which the artist manipulated controlled spaces so that the spectator experienced a variety of sensory stimulants).

      For Kaprow, the Happening was an inevitable extension of his own vigorous and theatrical abstract painting—inspired by the reigning Abstract Expressionists (notably Jackson Pollock (Pollock, Jackson))—first into the space of the audience as environment and then into live performance. He quickly abandoned the tradition of a passive audience in favour of active participation by all spectators. Some of his most memorable Happenings involved the construction near the Berlin Wall of a wall of bread cemented with jelly and then destroyed and the creation of a parcel of houses built from ice in southern California. Kaprow documented many of his performances in photographic publications. Though Kaprow's events were highly scripted, Happenings later were seen as spontaneous incidents, and he came to regret that his name was associated with these later events.

      Alongside a pioneering art career, which garnered National Endowment for the Arts awards in 1974 and 1979 and a John Simon Guggenheim Fellowship in 1979, Kaprow also carved out an impressive academic career. At Rutgers University, where he started teaching in 1953, he worked in the then-fledgling department of fine art, teaching art and art history. After lecturing at Pratt Institute, he taught at the State University of New York at Stony Brook from 1961 to 1966; after a stint as a lecturer at the Institute of Contemporary Art in Boston, he returned to Stony Brook as professor until 1969. His interest in innovative pedagogy continued at the California Institute of the Arts (CalArts), where he served as associate dean. In 1974 he joined the faculty of the visual arts department at the University of California, San Diego, where he remained until he retired. Among his many publications are Assemblage, Environments, and Happenings (1966) and Essays on the Blurring of Art and Life (1993).

Additional Reading

Books that discuss Kaprow in context include Michael Kirby (ed.), Happenings: An Illustrated Anthology (1965); Carl E. Loeffler and Darlene Tong (eds.), Performance Anthology: Source Book of California Performance Art, updated ed. (1989); and two exhibition catalogues: Joan Marter (ed.), Off Limits: Rutgers University and the Avant-Garde, 1957–1963 (1999); and Geoffrey Hendricks (ed.), Critical Mass: Happenings, Fluxus, Performance, Intermedia, and Rutgers University 1958–1972 (2003). Jeff Kelley, Childsplay: The Art of Allan Kaprow (2004); and Eva Meyer-Hermann, Andrew Perchuk, and Stephanie Rosenthal (eds.), Allan Kaprow—Art as Life (2008), deal expressly with Kaprow's life and art.

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