Word: fluxus
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...played a central role in “realizing” a work of art, which was as much “in the mind” as on the gallery wall. In their focus on process rather than product, these pieces also show the influence of the Fluxus group, a loose association of conceptual artists active throughout the 60s and 70s. The group’s name, Latin for “flow,” reflected their interest in incorporating temporal or immaterial elements into art. Ono’s “Smoke Painting...
Long before she met John Lennon, in 1966, Ono had been part of the group of New York musicians and artists who would call themselves Fluxus, pioneers of conceptual and performance art. For her 1964 Cut Piece, Ono sat onstage at Carnegie Hall while audience members came up one by one to scissor off pieces of her clothes. Her "instruction paintings" of 1961 were just typed directives like WATCH THE SUN UNTIL IT BECOMES SQUARE...
...early 1960s artists' collective known as Fluxus is among the most elusive "movements" of late twentieth century art. Its name itself bespeaks a fundamental desire to create art perpetually in flux, to move art out of galleries and into unconventional spaces, to infiltrate commercial culture, to provide an alternative to restrictive formalism. An exhibition of Fluxworks, therefore, poses a perplexing curatorial problem. Nonetheless, under the direction of Benjamin Buchloc and Judith Rodenbeck, the List Visual Arts Center at MIT has recently attempted to put together a comprehensive show, called Experiments in the Everyday, of two artists active in Fluxus, Allan...
...Fluxus is often pegged the "other tradition" of the twentieth century avant-garde, the irrational alternative to high modernism's fixation on form, structure and dogma. Watts and Kaprow inherited this position from Marcel Duchamp, father of Dada and first to insist that "the viewer completes the work of art." Their process was Duchampian in intent and radical in form: they created art objects from everyday objects and performance pieces from everyday events, decontextualizing those elements and thereby giving the piece a new function within the aesthetic space of the gallery. Often they rejected the confines of the gallery space...
...happenings. The problem here is that these images and remnants are displayed as art objects, when in fact they merely document a past art event. Kaprow's happenings were intended as temporal events requiring spectator participation. As a result, these still shots appeal more to an anthropological understanding of Fluxus than an aesthetic one, and must be approached with caution...