Getty Research Institute
This flier is one of several announcements made for screenings of Self-Obliteration, a 16mm film produced by Kusama and the filmmaker Jud Yalkut. Both the short and the ephemera relating to it document the summer of Body Festivals that kicked off the most notorious moment of Yayoi Kusama's New York period, when she frequently put naked bodies on display in public places. For this series, Kusama invited parkgoers to be transformed into art by allowing her to paint their stripped-down bodies with her trademark polka dots. Unlike some of the handbills produced for the film, this one (for a screening at nine p.m. Jan 21, 1968) is illustrated, and is quite appropriately almost completely covered by a field of polka dots
National Museum of Women in the Arts
Art reproductions, biographical material, clippings, exhibition announcements, press releases, announcement for " A Box of Smile" with artwork information
University of California, San Diego
Personal papers and other documents assembled by Friedman documenting his involvement from 1964-1971 in the Fluxus movement and the Free Religious Youth and Liberal Religious Youth, two organizations affiliated with the Unitarian Church -- The collection includes correspondence with a number of artists associated with the Fluxus movement, examples of Fluxus work and sketches for happenings by Friedman and others, materials pertaining to the New York Correspondence School and its founder Ray Johnson, materials pertaining to the rock band the Fugs, and a large cache of materials by and about the Cleveland poet d.a. levy, whose work instigated a nationally important obscenity trial in 1967. Significant correspondents include George Brecht, John Cage, Robert Filliou, Albert Fine, Dick Higgins, Ray Johnson, Milan Knizak, Alison Knowles, d.a. levy, George Maciunas, Jerry Rubin, Paul Sharits, Hans Sohm, Daniel Spoerri, and Emmett Williams
Getty Research Institute
Three interviews conducted by Judith Rodenbeck in preparation for her exhibition and book, Experiments in the Everyday: Allan Kaprow and Robert Watts: Events, Objects, Documents. The CD-ROM contains transcripts of the interviews
Cornell University Libraries
Research papers written for Michael Kammen's senior seminar, Art Controversies in American Culture, concerning the history of art-related controversies in the U.S. Papers include "Stella's Journey from Minimal to Maximal Art," by Emily Bauman; "Donald Wildmon's War on the Arts," by Mackenzie Damon; "The Boilerhouse Addition to the Victoria & Albert Museum: The Daniel Libeskind Spiral Building," by Kathryn Meg Frankel; "The Life and Art of 'Happenings'," by Lydia Gilbert; "Hercules' 13th Labor: The Twelve Year Odyssey of Michael Spafford's The Twelve Labors of Hercules," by Alex Jackson; "The Great American Nude Exposed: An Exploration of the Themes and Social Significance of Tom Wesselman's Controversial Series," by Lisa Jacobs; "Salomania," by Jaffa Panken; "Surface, Surface, Surface: The Problem with 'American Psycho'," by Jonathan W. Rich; and "Redefining Community Standards: Cincinnati and the Robert Mapplethorpe A Perfect Moment Exhibition," by Courtney Ritter
New York Public Library
Collection consists of objects, text scores, correspondence art, gallery announcements, concert programs, posters and other items produced by and/or relating to the Fluxus group of artists, ca. 1958-1987 -- Highlights include: multiple edition Fluxus objects, e.g. George Brecht's Water yam, 1963, Robert Watts' Events, 1964, Joseph Beuys' Zwei Fräulein mit leuchtendem Brot, 1966, and Yoko Ono's A box of smile, signed in 1984; complete set of the Fluxus in-house newspaper, V TRE, 1963-1978; posters from Charlotte Moorman's Annual New York Avant-Garde Festivals, 1964-1980; signed performance poems and "text-sound texts" by Jackson Mac Low; performance programs from La Monte Young and Yoko Ono's Chamber Street Loft Series, ca. 1961-1962. Many items are inscribed to the collector, Ellsworth Snyder
Getty Research Institute
The Allan Kaprow Papers offer comprehensive documentation of an artistic career that spanned the latter half of the 20th century and continues into the 21st. Arranged chronologically so as to demonstrate the artist's passage from student of art and art history to practicing artist, art theorist and art educator, the collection contains drawings, term papers and notebooks from Kaprow's student days, including a paper on Jackson Pollock and a Master's thesis on Piet Mondrian that he wrote as a student of Meyer Schapiro's, and scores he composed while studying with John Cage. The ca. 250 project files, comprising the complete extant documentation of Kaprow's Environments, Happenings, and Activities, demonstrate the evolution of Kaprow's Happening from a relatively scripted, grand, social event (Chicken; Household) to an austere, inter-subjective experience (Time Pieces; Rates of Exchange). They contain the artist's notes and drafts of his casually poetic scores, along with correspondence ... Read More
Getty Research Institute
The Getty Research Institute (GRI) presented Overflow: A Reinvention of Allan Kaprow's Fluids in collaboration with the J. Paul Getty Museum, Museum of Contemporary Art (MOCA) in Los Angeles, and the Los Angeles County Museum of Art in conjunction with MOCA's Kaprow retrospective, the J. Paul Getty Museum's California Video exhibition, and the GRI's publication Allan Kaprow--Art as life. Fluids, one of renowned artist Allan Kaprow's "happenings," occurred in 1967 when teams of volunteers built rectangular structures of ice throughout the city of Los Angeles. Overflow, by the LA Art Girls, was a reinvention of Fluids that reinterpreted the original score. It was conceived as both a historical dedication and a contemporary investigation of some of the issues raised by Kaprow's original work
Getty Research Institute
The collection covers The Kitchen’s activities from its founding in 1971 through the end of 1999. Consisting of over 6,000 videotapes and audiotapes, archival materials, and 200 posters, this archive documents experimental art produced in New York City in the 1970s, 80s, and 90s. The majority of the collection is composed of artist files, photographic, video, and audio documentation of exhibitions, performances and events that took place at The Kitchen, including major works by Laurie Anderson, Philip Glass, Mike Kelley, and David Tudor
Smithsonian Institution - Archives of American Art
Slides, writings, printed material, and letters from the early 1960s document Goldsmith's association with Allan Kaprow and his "Happenings." Included are slides of the Happening (part of the Yam Festival) at George Segal's farm, South Brunswick, N.J., held May 19, 1963, to which Goldsmith had been invited, including images of Kaprow, Jim Dine, Yvonne Rainer, Dick Higgins, and La Monte Young. Printed material consists of clippings on Happenings by Kaprow, directions to Segal's farm, a mimeographed explanation of Happenings by Kaprow, and a handbill for "Eat," a happening in the Bronx, January, 1963. Writings consist of a typescript of Kaprow's "Pop Art," 1963 given at the Jewish Museum, a handwritten manuscript of the talk, and a script for a Happening called "Calling" enacted by Kaprow in August, 1965. Correspondence is with Jean Lipman (then editor of Art in America) and Harvey Shapiro (of the Sunday New York Times), both of whom turned down Kaprow's lecture


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