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The obits of Kaprow have been lame, esp. the one from his practically-hometown paper, the San Jose Mercury, which online had his name as "Krapow." This was unfortunate, but also very Allan in its Pop overtones... Artists like Allan will inevitably be reframed in terms of contemporary concerns--our parallax view--but it's important to remember that one of the reasons he and others in his cohort were always semi-underground is that they arrived in advance of today's concerns. Allan was working with "communication" as a performative in 1958, with network technologies in 1964, with satellites in 1966, with 2-way broadcasting in 1968... Judith Rodenbeck > -----Original Message----- > From: Curating digital art - www.crumbweb.org [mailto:NEW-MEDIA- > [log in to unmask]] On Behalf Of Sarah Cook > Sent: Tuesday, April 11, 2006 5:08 PM > To: [log in to unmask] > Subject: Re: [NEW-MEDIA-CURATING] Art and Activism > > I hope this isn't too much of a tangent either, but I'd be curious to > keep an eye on how obituaries of some of the great > performance/action/happening-related artists are written -- will we be > re-framing their work in relation to current/growing [?] acceptance of > activist / community / collaborative practices in the history of art or > the place of art in networked/media saturated culture? > I feel unqualified to say. > Rest in peace Allan Kaprow (Ian Breakwell, John Latham, Dick Higgins...) > http://www.nytimes.com/2006/04/10/arts/design/10kaprow.html > Sarah > > > On 10 Apr 2006, at 3:48 pm, leon wrote: > > > Historically art has constantly confronted itself and its audience in > > the > > pursuit of the new. From the dynamics of the gaze, of enactment and > > participation, the artist has been involved in a constant process of > > breaking the conventions of previous movements and styles. Each epoch > > has > > had its own technologies that have shaped its art, politics and > > religion. > > These have been interdependently employed evolving the practice of its > > activists which feed back into this cyclic cultural process. > > > > This era's concerns are no doubt influencing the practice of those > > engaged > > in its activism. Today's new technologies, that of a globalized digital > > communication network offers new tactics and strategies to be employed > > in > > interpersonal exchange. Is it any wonder that the concerns of > > collective > > action seem to be a foremost on the minds of artists today? This > > escalation > > of the radical proposes new medias and locations for art, switching the > > focus in the way art is located, perceived and experienced. > > > > The broad range of current practice being associated with this genre > > only > > shows that there are many opinions on how an artist today generates a > > dialogue with a wider audience and under which context. Whatever the > > methods, a dialogue with the public around issues that they hold > > relevant in > > a language they understand seems to be recurrent. The code employed in > > fine > > art criticism often only presenting itself in the funding proposals > > written > > to facilitate them.