- Experiments in the Everyday: Allan Kaprow and Robert Watts - Events, Objects, DocumentsOur PickBy Benjamin H. D. Buchloh, Judith F. Rodenbeck
- Childsplay: The Art of Allan KaprowBy Jeff Kelley
- Allan Kaprow: Art as LifeBy Alex Potts
- 18 Happenings in 6 PartsOur PickBy Andre Lepeke, Eva Meyer-Hermann, Stephanie Rosenthal
- Radical Prototypes: Allan Kaprow and the Invention of HappeningsBy Judith F. Rodenbeck
Important Art by Allan Kaprow
Baby is an action collage, made from randomly assembled objects juxtaposed with cut-up pieces of Kaprow's own paintings. The only coherent and ordered element in the composition is in the formal arrangement of the elements into vertical strips. Kaprow produced the work in a frenzied, ritualistic process, influenced by the gestural quality of Pollock's action painting. Kaprow echoes the "combines" of Robert Rauschenberg in his synthesis of Pollock's technique with Cage's influence. Kaprow had moved toward an "unbound," three dimensional form, and was increasingly using found objects and everyday materials in an attempt to reconcile art with everyday experience, which would end up being his ultimate goal.
This 1957 work represents a shift from the art object to the surrounding environment. Kaprow began to investigate the effect on space through the incorporation of three-dimensional and found objects into his work. Each time Rearrangeable Panels was exhibited, the curator or artist would be forced to make choices about how to configure the panels, foreshadowing Kaprow's use of audience participation. Kaprow challenges the notion of artistic authorship through this collaborative element of construction and in its unique response to each site in which it is placed.
In this happening, the public was invited to complete a number of tasks using instructions outlined in a score. Kaprow used music theory with new developments in electronic music, theatre, and dance, all combined within a pioneering structure that demanded participatory involvement. 18 Happenings in 6 Parts was performed at the Reuben Gallery in New York and is one of his earliest and most important Happenings, often cited as a turning point for performance art. Kaprow authorized a reinvention of this piece just a few weeks before his death and it was performed in Munich's Haus der Kunst in November of 2006.