munich

View of “Allan Kaprow: Art as Life,” 2006, Haus der Kunst, Munich. Photo: Wilfried Petzi.

Allan Kaprow

Haus der Kunst

CREATIVELY BESET FROM THEIR INCEPTION by the innocence, license, and incipient counterculturalism of the second wave of America’s post–World War II avant-garde, Allan Kaprow’s actions and reflections on the compounding of art and life shuttled between the comestible and the laborious, the sonic and the tactile, home and work. While clearly a prophet of aesthetic relationality—his practice anticipating almost everything suggested in relational art’s much-touted, post-neo-avant-garde reformulation (including, perhaps, its political diffidence)—Kaprow’s braiding of chance and designation was unique and ineffable. Layering everyday encounters with scripted routines, he took on the heterotopic recalibration of objects and events within a vast gesamtliebenwerk of experiential equivalence punctuated by moments of intensity both found and assisted.

The precipitants of all this were paraded

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