Allan Kaprow: Artist

“It's not what artists touch that counts most. It's what they don't touch.”

Allan Kaprow

In his Essays on the Blurring of Art and Life', 1993; published by University of California Press, 4 October, 1993

“Pollock.... left us [c. 1958] at the point where we must be preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-Second Street [New York].... Objects of every sorts are materials for the new art, paints, chairs, food, electric and neon-lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists.... All will become materials for this new concrete art.”

Allan Kaprow

In his essay 'The legacy of Jackson Pollock', published in 'ARTnews', Fall of 1958; as quoted by Christina Bryan Rosenberger, in 'Drawing the Line: The Early Work of Agnes Martin', Univ. of California Press, July 2016, p 121
this essay of 1958 became more or less an art-manifesto for the generation American artists after Abstract Expressionism

Life , Food , Dogs , Art

“Around late 1961 to 1962, right around there, somewhat unevenly and sort of spottily, I began to do pieces that were based upon a short text of actions that only involved a handful of friends or students at some specific site — a site that was not marked as an art site, a ravine somewhere, or a roadway, or somebody's apartment, or the telephone, that is, the places of everyday life, not designated as sites of art. And the work itself, the action, the kind of participation, was as remote from anything artistic as the site was.... I chose the word Happening from its normal language usage somewhat earlier for that philosophical reason, but I didn't categorize that as lifelike until much later. But in fact, looking back, that's exactly what Happening meant.”

Allan Kaprow

In an interview with Robert C. Morgan, 1991; in the 'Journal of Contemporary Art, 4', no. 2, p. 56-69

Life , Art