ASSEMBLAGE ENVIRONMENTS AND HAPPENINGS PDF

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Thanks for telling us about the problem. Return to Book Page. Get A Copy. Hardcover , pages. More Details Original Title. Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Feb 12, Molly rated it really liked it Shelves: , art , history , cbc-library. Art is weird, man. Dec 30, Todondon is currently reading it. Having taken art courses and being mesmerized by the avant-garde history, I couldn't believe when I found this book at a used store, cast off as an unimportant book.

This historical context of this book, let alone the content, makes it one of my upmost treasures! I enjoy reading through the artists I've known about, at their grassroots level. It's full of fantastic photographs of fantastic events - not just by the people listed in the bk description but many other vital folks as well. There's a picture, eg, of "Rose-Marie Larsson was on the lead end of a foot history-of-the-world-in-rags train. Her marriage to the small auromobile followed. Duane Porter rated it really liked it Feb 03, Corey R rated it really liked it Oct 22, Julie rated it really liked it Oct 21, Samantha rated it it was amazing Jul 02, Genevieve Michaels rated it it was amazing Sep 19, Aug 02, Amalie marked it as to-read.

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Assemblage Environments Happenings by Kaprow Allan

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Allan Kaprow

A critical turning point has been reached in a major area of avant-garde effort, which I believe is entirely to the good but which is forcing upon us the possibly disagreeable task of revising some cherished assumptions regarding the nature of the plastic arts. Certain advanced works being done at this moment are rapidly losing their traditional identities and something else, quite far-reaching in its implications, is taking their place. On the one hand, looking broadly at the whole of recent modern art, the differences which were once so clear between graphic art and painting have practically been eliminated; similarly, the distinctions between painting and collage, between collage and construction, between construction and sculpture, and between some large constructions and a quasi architecture. This continuity is significant, the critical issue in fact; for drawing and painting, and in a large measure sculpture and the so-called minor arts, have until now been completely dependent upon the conditions set down by the structure of the house: one need only imagine a canvas without a flat wall and the cubic enframement of the room, a chair on an irregular floor. Artists for at least a century have worked as though the only thing of importance were the work in front of them, a world unto itself. And these conditions are without any doubt changing now. But this has brought sharply into focus the fact that the room has always been a frame or format too, and that this shape is inconsistent with the forms and expression emerging from the work in question.

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