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The essay situates its delayed production, collaborative tensions, and commercial shortcomings within broader 1960s-to-1970s struggles over documenting performance and mass-media 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is Days Off: A Calendar of Happenings?","Question",{"text":63,"@type":64},"It is Allan Kaprow’s commissioned calendar-like object designed as a “non calendar calendar” for 1970, using scores and photographs from his Happenings between 1967 and 1969 in a deliberately dysfunctional calendar format.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How did the MoMA Junior Council shape the project?",{"text":68,"@type":64},"The MoMA Junior Council commissioned the work under a remit to create educational and promotional materials, seeking to extend the museum’s reach beyond its walls and to a wide audience through such formats.",{"name":70,"@type":61,"acceptedAnswer":71},"Why is the project significant despite its collaborative and commercial limitations?",{"text":72,"@type":64},"The essay argues that its relative failure still powerfully reveals tensions about how actions and events should be documented as the 1960s transition into the 1970s, linking Kaprow’s earlier Happenings with later “Activities.”","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},379425,1791545597,{"code":4,"msg":82,"data":83},"success",[84,88,93,98,103,108,113,118,123],{"id":85,"doc_module":22,"doc_module_name":25,"category_name":29,"show_sort_weight":86,"slug":87},11,90,"presentations",{"id":89,"doc_module":22,"doc_module_name":25,"category_name":90,"show_sort_weight":91,"slug":92},12,"Resumes",80,"resumes",{"id":94,"doc_module":22,"doc_module_name":25,"category_name":95,"show_sort_weight":96,"slug":97},14,"Invoices",70,"invoices",{"id":99,"doc_module":22,"doc_module_name":25,"category_name":100,"show_sort_weight":101,"slug":102},15,"Posters",60,"posters",{"id":104,"doc_module":22,"doc_module_name":25,"category_name":105,"show_sort_weight":106,"slug":107},16,"Social 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the performance artist Allan Kaprow worked to design a ‘non calendar calendar’ for 1970 as the press release, delighting in the paradox, put it.1 Measuring nearly forty centimetres high and just under thirty centimetres wide, Kaprow’s Days Off: A Calendar of Happenings is an unwieldy, uncompromising affair, designed ‘for wall hanging’ and fashioned using rough and ready newsprint to keep the retail cost down.2 For Kaprow, this was vital if his aspiration‘to reach numbers of young people with a cheap throw-away item’was to be fulfilled.3 The content that Kaprow was so keen to communicate consists of scores and photographs from ten of his Happenings executed between 1967 and 1969, arranged in the format of a calendar, albeit a distinctly dysfunctional one which skips some dates and repeats others. The curator and critic Lawrence Alloway celebrated it as ‘an object of tough grace, with a profusion of grainy, factual and enigmatic photographs.’4 Somewhat ironically (or perhaps appositely) for a ‘non calendar calendar’, Days Off’s production  \nschedule was delayed by disagreements about promotion and packaging between Kaprow and the Junior Council, with the artist convinced that his project was ‘irreversibly being turned into just one more cute art world gag’.5 Yet despite, and even arguably because of, the project’s relative collaborative and commercial failure, Days Off powerfully demonstrates the tensions surrounding the documentation of actions and events asthe 1960s progressed into the 1970s.  \nDays Off was first commissioned by the MoMA Junior Council in 1968, under their remit to produce educational and promotional materials connected to the Museum’s activities, including lectures, Christmas cards and an annual calendar.6 The Junior Council sought‘to extend the Museum beyond its own walls and to make modern art available to as wide an audience as possible’.7 They approached Days Off in this spirit, collaborating with an artist not represented in MoMA’s holdings, and who operated predominately outside museums and galleries.8 Never one to pull any punches, in 1967 Kaprow claimed that museums ‘reek of a holy death which offends my sense of reality’.9 Days Off fell into the category of ‘special projects’, and Kaprow’s calendar differed markedly from those normally produced by the Junior Council.10 Their standard appointment calendar for 1969, despite a psychedelic cover, is astaid affair featuring highlights from MoMA’s collection. The most adventurous it gets is Claes Oldenburg’s 1962 Dual  \nHamburgers, and a 1964 lithograph by Allen Jones. By contrast, Kaprow adapted the calendar template as a means of frustrating attempts to order, fix engagements and divide time up into clearly demarcated zones of work and play, resisting the regulation of leisure time according to the demands of production.11 While the Junior Council’s 1969 appointment diary is an eminently functional object, perfect for the citydwelling cultural consumer, Days Off presents a very different kind of social calendar.  \nThe now-yellowing pages of Days Off reveal Kaprow reflecting on his most recent experimentations in a form that he had been honing since his first performance in 1959, thinking seriously about photographic documentation and its capacity to circulate through mass media channels, and addressing the pressure to catalogue performance as its recently accrued histories became ever-more evident. 12 Kaprow undertook his first retrospective exhibition in 1967 at the Pasadena Art Museum, while exhibitions such as Happening & Fluxus curated by Harald Szeemann at the Kölnischer Kunstverein in Cologne between 1970 and 1971 attempted to catalogue and display transient art works on a grand scale, embroiling artists like Kaprow in a wider ","cbCaitwVxxYG67bd","https://ap.wps.com/l/cbCaitwVxxYG67bd","pdf",339985,52,"English","# Days Off as a “non calendar calendar”\n# Commissioning, format, and production tensions\n# Documentation, media circulation, and historical positioning","[{\"question\":\"What is Days Off: A Calendar of Happenings?\",\"answer\":\"It is Allan Kaprow’s commissioned calendar-like object designed as a “non calendar calendar” for 1970, using scores and photographs from his Happenings between 1967 and 1969 in a deliberately dysfunctional calendar format.\"},{\"question\":\"How did the MoMA Junior Council shape the project?\",\"answer\":\"The MoMA Junior Council commissioned the work under a remit to create educational and promotional materials, seeking to extend the museum’s reach beyond its walls and to a wide audience through such formats.\"},{\"question\":\"Why is the project significant despite its collaborative and commercial limitations?\",\"answer\":\"The essay argues that its relative failure still powerfully reveals tensions about how actions and events should be documented as the 1960s transition into the 1970s, linking Kaprow’s earlier Happenings with later “Activities.”\"}]","A Calendar of Happenings - Days Off: A Calendar of Happenings | PDF",1790235736]