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Allan Kaprow has been described as an avant-garde revolutionary, a radical sociologist, a Zen(ish) monk, a progressive educator, and an anti-art theorist. But, above all, as this book reminds us, he has been an influential artist. Known for his "Happenings," Kaprow created vanguard performances in the early 1960s in which he collaged various art forms (painting, music, dance), disguised as ordinary things (newspaper, noise, body movement), into quasi-theatrical events. In the decades since, his works have remained open to the changing character of contemporary experience, always seeking the thresholds at which art and life converge. Because this art places such emphasis on direct experience, some people today think Kaprow's works were primarily transitory and immaterial. Childsplay corrects that misconception by providing a vivid description of Kaprow's Happenings and other art activities, clarifying their materiality, duration, and setting, as well as the ways in which people participated in them. Jeff Kelley brings the artist, his era, and his work to life by showing that Kaprow's artworks were physically present, socially engaged, and intellectually resonant in the moment of their enactment.

Allan Kaprow has been described as an avant-garde revolutionary, a radical sociologist, a Zen(ish) monk, a progressive educator, and an anti-art theorist. But, above all, as this book reminds us, he has been an influential artist. Known for his "Happenings," Kaprow created vanguard performances in the early 1960s in which he collaged various art forms (painting, music, dance), disguised as ordinary things (newspaper, noise, body movement), into quasi-theatrical events. In the decades since, his works have remained open to the changing character of contemporary experience, always seeking the thresholds at which art and life converge. Because this art places such emphasis on direct experience, some people today think Kaprow's works were primarily transitory and immaterial. Childsplay corrects that misconception by providing a vivid description of Kaprow's Happenings and other art activities, clarifying their materiality, duration, and setting, as well as the ways in which people participated in them. Jeff Kelley brings the artist, his era, and his work to life by showing that Kaprow's artworks were physically present, socially engaged, and intellectually resonant in the moment of their enactment.

An examination of an experiential and experimental art form that, despite its evanescence, has shaped participatory art into the present.“Happenings” have pop connotations that conjure up 1960s youth culture and hippies in public, joyful rebellion. Scholars, meanwhile, locate happenings in a genealogy of avant-garde performance that descends from futurism, surrealism, and Dada through the action painting of the 1950s. In Radical Prototypes, Judith Rodenbeck argues for a more complex etiology. Allan Kaprow coined the term in 1958 to name a new collage form of performance, calling happenings “radical prototypes” of performance art. Rodenbeck offers a rigorous art historical reading of Kaprow's project and related artworks. She finds that these experiential and experimental works offered not a happy communalism but a strong and canny critique of contemporary sociality. Happenings, she argues, were far more ambivalent, negative, and even creepy than they have been portrayed, either in contemporaneous accounts or in more recent efforts to connect them to contemporary art's participatory strategies.In Radical Prototypes, Rodenbeck recovers the critical force of happenings, addressing them both as theoretical objects and as artworks, investigating broader epistemological and formal concerns as well as their material and performative aspects. She links happenings to scores by John Cage (especially 4'33”), avant-garde theater, and photography, and offers new readings of projects ranging from Kaprow's 18 Happenings in 6 Parts (1959) to Gerhard Richter's Leben mit Pop (1963).Rodenbeck casts happenings as a form of participatory art that simultaneously delivers a radical critique of that very participation―a view that revises our understanding of contemporary constructions of the participatory as well as of 1960s projects from Fluxus to conceptual art.

These paintings from Allan Kaprow never had been seenAllan Kaprow (1927–2006) is internationally renowned mainly as an action artist. Not only did he coin the term Happening—he gave distinction to this art form in New York in the late 1950s. Also his environments—huge, changeable installations, made from material such as car tires, drums and ice blocks – are regarded as milestones in recent art history. Allan Kaprow did, however, began his artistic career as a painter, not least in connection with his studies under Hans Hofmann; in addition, he studied art history under Meyer Shapiro and composition with John Cage. He was, therefore, not only open to theory at an early stage, but also to various artistic and interpretative approaches. He always moved be­tween the tension-filled areas of intuition, open form and time reference on the one hand, and the reflexive practice as a theoretician and art historian on the other. The exhibition at Villa Merkel in Esslingen was, for the first time, exclusively dedicated to his early paintings from the time between 1946 and 1957, and reveals the role models the young artist chose to follow and work on, and, in particular, his interest in questions on space as well as his endeavor to somehow contextualize the achievements of Jackson Pollock and John Cage. This extends to the works created during the mid-1950s, which he called »action collages« and in which he ­gradually incorporated everyday materials and objects. The current book presents a large number of ­previously unseen paintings by Allan Kaprow.  Exhibition: Villa Merkel Esslingen, 19/3–28/5/2017

 A self-described “un-artist,” Allan Kaprow championed an artistic practice that moved art out of the museum and into the everyday. His works insistently blurred the boundaries between art and life, requiring active participation rather than passive spectatorship, interactive collaboration rather than solitary creation. This richly illustrated volume documents five decades of Kaprow's life and work. Its six essays range across his shifts from painter to environmental artist to the inventor of the Happening and the Activity, while its extensive chronology features scores, letters, posters, photographs, and clippings, most drawn from the Allan Kaprow Papers held by the Research Library at the Getty Research Institute. Though the forms Kaprow largely invented have lost their shock value and were meant in most cases to be ephemeral, in fact they live on, captured in scores and other surviving documentation, still stretching the boundaries of art in the modern world.  

Allan Kaprow has been described as an avant-garde revolutionary, a radical sociologist, a Zen(ish) monk, a progressive educator, and an anti-art theorist. But, above all, as this book reminds us, he has been an influential artist. Known for his "Happenings," Kaprow created vanguard performances in the early 1960s in which he collaged various art forms (painting, music, dance), disguised as ordinary things (newspaper, noise, body movement), into quasi-theatrical events. In the decades since, his works have remained open to the changing character of contemporary experience, always seeking the thresholds at which art and life converge. Because this art places such emphasis on direct experience, some people today think Kaprow's works were primarily transitory and immaterial. Childsplay corrects that misconception by providing a vivid description of Kaprow's Happenings and other art activities, clarifying their materiality, duration, and setting, as well as the ways in which people participated in them. Jeff Kelley brings the artist, his era, and his work to life by showing that Kaprow's artworks were physically present, socially engaged, and intellectually resonant in the moment of their enactment.

These paintings from Allan Kaprow never had been seenAllan Kaprow (1927–2006) is internationally renowned mainly as an action artist. Not only did he coin the term Happening—he gave distinction to this art form in New York in the late 1950s. Also his environments—huge, changeable installations, made from material such as car tires, drums and ice blocks – are regarded as milestones in recent art history. Allan Kaprow did, however, began his artistic career as a painter, not least in connection with his studies under Hans Hofmann; in addition, he studied art history under Meyer Shapiro and composition with John Cage. He was, therefore, not only open to theory at an early stage, but also to various artistic and interpretative approaches. He always moved be­tween the tension-filled areas of intuition, open form and time reference on the one hand, and the reflexive practice as a theoretician and art historian on the other. The exhibition at Villa Merkel in Esslingen was, for the first time, exclusively dedicated to his early paintings from the time between 1946 and 1957, and reveals the role models the young artist chose to follow and work on, and, in particular, his interest in questions on space as well as his endeavor to somehow contextualize the achievements of Jackson Pollock and John Cage. This extends to the works created during the mid-1950s, which he called »action collages« and in which he ­gradually incorporated everyday materials and objects. The current book presents a large number of ­previously unseen paintings by Allan Kaprow.  Exhibition: Villa Merkel Esslingen, 19/3–28/5/2017

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Published in conjunction with the May 2001 exhibition at the Frye Art Museum, this catalogue presents 53 color reproductions of the work of artist Allan Rohan Crite, whose paintings illustrate everyday activities or seemingly insignificant moments. Four essays provide introductory information and commentary on the Crite and his work. Distributed by the U. of Washington Press. Annotation c. Book News, Inc., Portland, OR (booknews.com)

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Published in conjunction with the May 2001 exhibition at the Frye Art Museum, this catalogue presents 53 color reproductions of the work of artist Allan Rohan Crite, whose paintings illustrate everyday activities or seemingly insignificant moments. Four essays provide introductory information and commentary on the Crite and his work. Distributed by the U. of Washington Press. Annotation c. Book News, Inc., Portland, OR (booknews.com)

Painter, novelist and wrestler, Drexler is the great polymath of PopRosalyn Drexler has always moved between worlds. In the late 1950s and early ’60s, she showed sculpture at New York’s Reuben Gallery, a gathering place for artists like Allan Kaprow and Claes Oldenburg who combined installation and performance with traditional media. Drexler took part in Happenings at Reuben Gallery and at Judson Church (years after her own quasi-performance as a female wrestler, memorialized by Andy Warhol in the 1962 series Album of a Mat Queen). Drexler’s collages and large-format paintings of the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media.Her writing also crosses high and low genres, comprising novels both experimental and popular, avant-garde theater and writing for television (including an Emmy-winning Lily Tomlin special). In addition to a comprehensive selection of Drexler’s major paintings, Who Does She Think She Is? also recovers the artist’s early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler’s performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler’s varied career.Rosalyn Drexler was born in 1926 in the Bronx, New York. In 1951 Drexler pursued a brief career as a professional wrestler under the name "Rosa Carlo, the Mexican Spitfire." In January 1964 her work was included in the First International Girlie Exhibit at Pace Gallery, New York. In 1968, Drexler signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.

In early October 1959, thirty-two-year-old Allan Kaprow presented a performance piece entitled "18 Happenings in 6 Parts." This unique conjunction of visual, aural, and physical events, performed for an intimate art world audience by his friends and colleagues, would change the course of art history. The genre of artwork that evolved from this debut would become known as Happenings. This new volume provides a comprehensive look at this revolutionary art form. Prepared in conjunction with an exhibition at the Pace Gallery in New York, it focuses on the years that saw the movement's birth in New York and Provincetown, Mass., and the artists who made the genre a legend: Red Grooms, Allan Kaprow, Robert Whitman, Jim Dine, Claes Oldenburg, Simone Forti, Carolee Schneemann. Together, they created a new and outrageous art form with an "anything goes" attitude, one whose influence is still felt within the contemporary art world. Author Mildred Glimcher, an art historian,

Allan Kaprow's "happenings" and "environments" were the precursors to contemporary performance art, and his essays are some of the most thoughtful, provocative, and influential of his generation. His sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings. A new preface and two new additional essays published in the 1990s bring this valuable collection up to date.

As the creator of "Happenings" and "Environments," Allan Kaprow is the prince and prophet of all we call performance art today. He is also known for having written some of the most thoughtful, provocative, and influential essays of his generation. From "The Legacy of Jackson Pollock" in 1958 to "The Meaning of Life" in 1990, Kaprow has conducted a sustained philosophical inquiry into the paradoxical relationship of art to life, and thus into the nature of meaning itself. With the publication of this book, twenty-three of Kaprow's most significant essays are brought together in one volume for the first time.Kaprow charts his own evolution as an artist and also comments on contemporaneous developments in the arts. From the modernist avant-garde of the fifties to the current postmodern fin de siècle, Kaprow has written about—and from within—the shifting, blurring boundaries of genre, media, culture, and experience. Edited and introduced by critic Jeff Kelley, these essays bring into crisp focus the thinking of one of the most influential figures in the varied landscape of American art since the late 1950s.

Painter, novelist and wrestler, Drexler is the great polymath of PopRosalyn Drexler has always moved between worlds. In the late 1950s and early ’60s, she showed sculpture at New York’s Reuben Gallery, a gathering place for artists like Allan Kaprow and Claes Oldenburg who combined installation and performance with traditional media. Drexler took part in Happenings at Reuben Gallery and at Judson Church (years after her own quasi-performance as a female wrestler, memorialized by Andy Warhol in the 1962 series Album of a Mat Queen). Drexler’s collages and large-format paintings of the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media.Her writing also crosses high and low genres, comprising novels both experimental and popular, avant-garde theater and writing for television (including an Emmy-winning Lily Tomlin special). In addition to a comprehensive selection of Drexler’s major paintings, Who Does She Think She Is? also recovers the artist’s early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler’s performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler’s varied career.Rosalyn Drexler was born in 1926 in the Bronx, New York. In 1951 Drexler pursued a brief career as a professional wrestler under the name "Rosa Carlo, the Mexican Spitfire." In January 1964 her work was included in the First International Girlie Exhibit at Pace Gallery, New York. In 1968, Drexler signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.

This book is a collection of fascinating photographs taken by Allan Tannenbaum, the chief photographer of the SoHo Weekly News, documenting an exciting era in New York City – the 1970s. The city was bursting with creative activity and things were happening all over. The Arab Oil Embargo was affecting the economy, and the Vietnam War was eroding respect for government. Pop art gave way to performance art, rock ‘n’ roll succumbed to disco music, sex was accepted and even glorified. New York in the 70s paints a complete and unadorned portrait of this very special era.

This is a reprint of the official U.S. Department of Justice report of 1983, giving a detailed history of the Klaus Barbie relationship with the U. S. government, and his criminal activities after the war. In the words of the Allan A. Ryan, Jr., then the Special Assistant to the Assistant Attorney General, Criminal Division, United States Department of Justice: "As the investigation of Klaus Barbie has shown, officers of the United States government were directly responsible for protecting a person wanted by the government of France on criminal charges and in arranging his escape from the law. As a direct result of that action, Klaus Barbie did not stand trial in France in 1950; he spent 33 years as a free man and a fugitive from justice, and the fact that he is awaiting trial today in France is due entirely to the persistence of the government of France and the cooperation of the present government of Bolivia."

This is a reprint of the official U.S. Department of Justice report of 1983, giving a detailed history of the Klaus Barbie relationship with the U. S. government, and his criminal activities after the war. In the words of the Allan A. Ryan, Jr., then the Special Assistant to the Assistant Attorney General, Criminal Division, United States Department of Justice: "As the investigation of Klaus Barbie has shown, officers of the United States government were directly responsible for protecting a person wanted by the government of France on criminal charges and in arranging his escape from the law. As a direct result of that action, Klaus Barbie did not stand trial in France in 1950; he spent 33 years as a free man and a fugitive from justice, and the fact that he is awaiting trial today in France is due entirely to the persistence of the government of France and the cooperation of the present government of Bolivia."

In these three Tanner lectures, distinguished ethical theorist Allan Gibbard explores the nature of normative thought and the bases of ethics. In the first lecture he explores the role of intuitions in moral thinking and offers a way of thinking about the intuitive method of moral inquiry that both places this activity within the natural world and makes sense of it as an indispensable part of our lives as planners. In the second and third lectures he takes up the kind of substantive ethical inquiry he has described in the first lecture, asking how we might live together on terms that none of us could reasonably reject. Since working at cross purposes loses fruits that might stem from cooperation, he argues, any consistent ethos that meets this test would be, in a crucial way, utilitarian. It would reconcile our individual aims to establish, in Kant's phrase, a "kingdom of ends." The volume also contains an introduction by Barry Stroud, the volume editor, critiques by Michael Bratman (Stanford University), John Broome (Oxford University), and F. M. Kamm (Harvard University), and Gibbard's responses.