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REINVENTING EPHEMERAL FORMS: AN INVESTIGATION OF THE REINVENTION OF
ALLAN KAPROW’S WORK IN ALLAN KAPROW—ART AS LIFE (2008)
by
Julia R. McCornack
A Thesis Presented to the
Faculty of the USC Graduate School
University of Southern California
In Partial Fulfillment of the
Requirements for the Degree
Master of Arts
(Art and Curatorial Practices in the Public Sphere)
May 2014
Object Description
| Title | Reinventing ephemeral forms: an investigation of the reinvention of Allan Kaprow's work in Allan Kaprow—Art as life (2008) |
| Author | McCornack, Julia R. |
| Author email | jmccornack@mac.com;mccornac@usc.edu |
| Degree | Master of Arts |
| Document type | Thesis |
| Degree program | Art and Curatorial Practices in the Public Sphere |
| School | School of Fine Arts |
| Date defended/completed | 2014-03-25 |
| Date submitted | 2014-04-16 |
| Date approved | 2014-04-16 |
| Restricted until | 2014-04-16 |
| Date published | 2014-04-16 |
| Advisor (committee chair) | Butler, Connie |
| Advisor (committee member) |
Anastas, Rhea Hudson, Suzanne P. |
| Abstract | The late Allan Kaprow’s notion of reinvention functions as a model that carefully systematizes future instantiations of the artist’s work. Deftly articulated through his writings, reinventions are not the same as reconstructions, re‐presentations, or re‐creations because the term denotes that such reinvented versions “differ markedly from their originals.”¹ What is reinvention to Kaprow, and what are its limits as an approach when it is transferred to curators, scholars and other artists making his work? Looking at the example of the traveling retrospective Allan Kaprow—Art as Life, realized just after Kaprow’s death in 2006, this thesis centers on the production of the artist’s ephemeral works in the 2008 presentation at the Geffen Contemporary at the Museum of Contemporary Art (MOCA), Los Angeles. By defining and conceiving of reinvention as an artists’ methodology, this thesis argues that reinvention can be theorized, despite hierarchies between artists’ writing and critical discourse. This study reveals how this artists’ methodology changes when it is transferred from the original artist to curators, scholars and other artists. It looks at such changes by focusing on aspects such as authorship, artist’s intention, and authority. This thesis demonstrates that reinvention can be used to analyze works in the MOCA show, including Push and Pull: A Furniture Comedy for Hans Hofmann (1963/2008), Words (1962/2008), and Fluids (1967/2008)—pieces that were also realized in Kaprow’s first retrospective at the Pasadena Art Museum in 1967—as well as other instances of reinvention. Additionally, given Kaprow’s interest in reinvention, process, and changeability, this thesis explores the very idea of theorizing from artists’ writing and own self-theorization. ❧ ¹ Allan Kaprow, “Introduction to a Theory,” in 7 Environments, by Allan Kaprow (Milan: Fondazione Mudima, 1992), 23. |
| Keyword | Allan Kaprow; reinvention; reperformance; restaging; representation; reenactment; Allan Kaprow—Art as life; MOCA; happening; environment |
| Language | English |
| Format (imt) | application/pdf |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m |
| Contributing entity | University of Southern California |
| Rights | McCornack, Julia R. |
| Physical access | The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given. |
| Repository name | University of Southern California Digital Library |
| Repository address | USC Digital Library, University of Southern California, University Park Campus MC 7002, 106 University Village, Los Angeles, California 90089-7002, USA |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-McCornackJ-2367.pdf |
| Archival file | uscthesesreloadpub_Volume8/etd-McCornackJ-2367-0.pdf |
Description
| Title | Page 1 |
| Repository email | cisadmin@lib.usc.edu |
| Full text | REINVENTING EPHEMERAL FORMS: AN INVESTIGATION OF THE REINVENTION OF ALLAN KAPROW’S WORK IN ALLAN KAPROW—ART AS LIFE (2008) by Julia R. McCornack A Thesis Presented to the Faculty of the USC Graduate School University of Southern California In Partial Fulfillment of the Requirements for the Degree Master of Arts (Art and Curatorial Practices in the Public Sphere) May 2014 |
