2004, ISBN: 9780520236714

Gebundene Ausgabe

Newark and New Brunswick, NJ:: Newark Museum; Rutgers University Press, 1999. xviii, 194 pages, illustrations (some colour); 29 cm. Published to accompany the exhibition, shown at the New… Mehr…

Newark and New Brunswick, NJ:: Newark Museum; Rutgers University Press, 1999. xviii, 194 pages, illustrations (some colour); 29 cm. Published to accompany the exhibition, shown at the Newark Museum from February 18 through May 16, 1999. Firm binding, clean inside copy. "During the late 50's/early 60's, an amazing group of artists, including George Brecht, Geoffrey Hendricks, Allan Kaprow, Roy Lichtenstein, Lucas Samaras, George Segal, Robert Watts and Robert Whitman, were affiliated with Rutgers University. Off Limits examines a group of Rutgers artists who came together on the Rutgers University, New Brunswick, campus during the 1950s and revolutionized art practices and pedagogy. This groundbreaking book features more than 140 illustrations as well as interviews with Allan Kaprow, Roy Lichtenstein, Lucas Samaras, George Segal, Robert Whitman, and Geoffrey Hendricks. Essays are by Simon Anderson, Joseph Jacobs, Jackson Lears, Joan Marter, and Kristine Stiles. Also included is 'Project in Multiple Dimensions,' a previously unpublished statement by Kaprow, Robert Watts, and George Brecht about their commitment to art and technology, and an uncanny prediction about the future of art. Rutgers was clearly the place to be for experimental artists during the late 1950s and early 1960s. Allan Kaprow's first Happening, Roy Lichtenstein's first Pop paintings, George Segal's earliest figurative tableaux, and proto-Fluxus events and Conceptual Art by Robert Watts and George Brecht all were made or took place on or near the Rutgers campus. Simultaneously, Lucas Samaras was painting with smoke on aluminum foil and embedding razor blades in boards, and Robert Whitman was making installations incorporating film projections, the forerunner of video installation.This innovative group boldly rejected the then-fashionable Abstract Expressionism and created startling new artforms that still prevail at the end of the century. Off Limits accompanies a major exhibition of the same title at The Newark Museum, February 18-May 16, 1999. / Joan Marter is a professor of art history at Rutgers University and the author of several books, including Alexander Calder and Theodore Roszak: The Drawings." - Publisher.. 1st. Paperback. Fine. 4to. Collectible., Newark Museum; Rutgers University Press, 1999, 5, University of California Press, Los Angeles, 2004. hardcover with dust jacket. fine. Described variously as "an avant-garde revolutionary, a radical sociologist, a Zen(ish) monk, a progressive educator and an anti-art theorist," Kaprow is almost as difficult to define as his art, which he considered "un-art." Kaprow created "happenings," which incorporated materials usually dispersed at the end of a performance, as well as the actions of the participants themselves. They ranged from chaotic installation "environments" (Beauty Parlor, The Apple Shrine) and carnivalesque, sometimes menacing, spectacles (Tree, Chicken, Courtyard) to intensely private interactions experienced directly only by those taking part in them (Rates of Exchange, Useful Fictions). None of these, however, can be adequately presented in anything resembling a standard coffee table book, so Kelley instead offers something that is part intellectual biography, part academic criticism. By showing the context within which Kaprow made his forays into the outer reaches of the avant-garde, Kelley helps readers appreciate the contours of the artists wide-ranging career. But Kelleys primary achievement is his painstaking description and analysis of Kaprows mature works (from Rearrangable Panels to Seven Environments). Using photos, eyewitness accounts and Kaprows own notes and journals, he manages to preserve some measure of Kaprows works for posterity, even though their full impact is no longer accessible. Though this book will appeal primarily to artists and art historians who are either interested in Kaprows life and work or in the development of performance art after WWII, Kelleys clear, elegant prose makes it an excellent introduction for readers unacquainted with art theory or criticism., University of California Press, Los Angeles, 2004, 5<

2004, ISBN: 9780520236714

University of California Press, Los Angeles, 2004. hardcover with dust jacket. fine. Described variously as "an avant-garde revolutionary, a radical sociologist, a Zen(ish) monk, a prog… Mehr…

University of California Press, Los Angeles, 2004. hardcover with dust jacket. fine. Described variously as "an avant-garde revolutionary, a radical sociologist, a Zen(ish) monk, a progressive educator and an anti-art theorist," Kaprow is almost as difficult to define as his art, which he considered "un-art." Kaprow created "happenings," which incorporated materials usually dispersed at the end of a performance, as well as the actions of the participants themselves. They ranged from chaotic installation "environments" (Beauty Parlor, The Apple Shrine) and carnivalesque, sometimes menacing, spectacles (Tree, Chicken, Courtyard) to intensely private interactions experienced directly only by those taking part in them (Rates of Exchange, Useful Fictions). None of these, however, can be adequately presented in anything resembling a standard coffee table book, so Kelley instead offers something that is part intellectual biography, part academic criticism. By showing the context within which Kaprow made his forays into the outer reaches of the avant-garde, Kelley helps readers appreciate the contours of the artists wide-ranging career. But Kelleys primary achievement is his painstaking description and analysis of Kaprows mature works (from Rearrangable Panels to Seven Environments). Using photos, eyewitness accounts and Kaprows own notes and journals, he manages to preserve some measure of Kaprows works for posterity, even though their full impact is no longer accessible. Though this book will appeal primarily to artists and art historians who are either interested in Kaprows life and work or in the development of performance art after WWII, Kelleys clear, elegant prose makes it an excellent introduction for readers unacquainted with art theory or criticism., University of California Press, Los Angeles, 2004, 5<

2004, ISBN: 0520236718

[EAN: 9780520236714], Gebraucht, sehr guter Zustand, [PU: University of California Press, Berkeley & Los Angeles, CA], KELLEY CHILDSPLAY ART ALLAN KAPROW MONOGRAPH CRITICISM INTERPRETATIO… Mehr…

[EAN: 9780520236714], Gebraucht, sehr guter Zustand, [PU: University of California Press, Berkeley & Los Angeles, CA], KELLEY CHILDSPLAY ART ALLAN KAPROW MONOGRAPH CRITICISM INTERPRETATION HAPPENING UNITED STATES CONCEPTUAL, Cover is in excellent condition, save for minimal edge wear. Text is otherwise tight in binding. Text is clean and free of blemishes throughout. No other markings or indications of note. Size: 8vo - over 7¾" - 9¾" tall, Books<

2004, ISBN: 9780520236714

University of California Press, Berkeley CA, 2004. Book. Fine Condition. Cloth. 249 pages 176 illustrations 20 in color. First edition. Foreword by David Antin. Notes. List of Illustratio… Mehr…

University of California Press, Berkeley CA, 2004. Book. Fine Condition. Cloth. 249 pages 176 illustrations 20 in color. First edition. Foreword by David Antin. Notes. List of Illustrations. Index.., University of California Press, Berkeley CA, 2004, 5<

2004, ISBN: 9780520236714

University of California Press, 2004-12-07. Hardcover. Good., University of California Press, 2004-12-07, 2.5