Call me a lazy dumbass who can't be bothered to look in an encyclopaedia...
J.R.Smith2
etidave
Think artists like Yoko Ono, and Beck.. They kind of mix mediums, and do
really avante garde stuff..
My favorite example besides anythig beck or al hansen did is the video john
and yoko shot of the entirety of his erection.. it was pretty funny!
Janny Jas
J.R.Smith2 wrote in message <39183772...@durham.ac.uk>...
dym...@ripco.com
"J.R.Smith2" wrote:
>
> but can you also tell me what flux/fluxus (art) is?
See this URL:
from the Grove Dictionary of Art (note the bibliography
at the end):
> Fluxus.
>
> Informal international group of avant-garde artists working
> in a wide range of media and active from the early 1960s
> to the late 1970s. Their activities included public concerts
> or festivals and the dissemination of innovatively designed
> anthologies and publications, including scores for electronic
> music, theatrical performances, ephemeral events, gestures
> and actions constituted from the individual’s everyday
> experience. Other types of work included the distribution
> of object editions, correspondence art and concrete
> poetry. According to the directions of the artist, Fluxus
> works often required the participation of a spectator in
> order to be completed (see Performance art).
>
> The name Fluxus, taken from the Latin for ‘flow’, was
> originally conceived by the American writer, performance
> artist and composer George Maciunas (1931–78) in 1961
> as the title for a projected series of anthologies profiling the
> work of such artists as the composer La Monte Young,
> George Brecht, Yoko Ono (b 1933), Dick Higgins (b
> 1928), Ben, Nam June Paik and others engaged in
> experimental music, concrete poetry, performance events
> and ‘anti-films’ (e.g. Paik’s imageless Zen for Film,
> 1962). In a manifesto of 1962 (‘Neo-Dada in Music,
> Theater, Poetry, Art’, in J. Becker and W. Vostell:
> Happenings, Fluxus, Pop Art, Nouveau Réalisme,
> Hamburg, 1965), Maciunas categorized this diversity under
> the broad heading of ‘Neo-Dada’ and stressed the interest
> shared by all the artists in manifesting time and space as
> concrete phenomena. Influences of Fluxus noted by
> Maciunas included John Cage’s concrete music (1939)
> and intermedia event at Black Mountain College, NC
> (1952), with Merce Cunningham, Robert Rauschenberg
> and others; the Nouveaux Réalistes; the work of Ben; the
> concept art of Henry Flynt (b 1940); and Duchamp’s
> notion of the ready-made.
>
> The first of many Fluxus festivals, or Fluxconcerts,
> was organized by Maciunas in 1962 at the Museum
> Wiesbaden in Wiesbaden, Germany, to promote the
> anthology. The International Fluxus Festival of the Newest
> Music (festum fluxorum) consisted of 14 concerts,
> presenting musical and performance work by Joseph
> Beuys, Brecht, Cage, Alison Knowles (b 1933), Paik,
> Wim T. Schippers, Wolf Vostell, Robert Watts
> (1923–87), Young and others. Fluxconcerts—sometimes
> called Aktionen—also took place in Düsseldorf,
> Wuppertal, Paris, Copenhagen, Amsterdam, Nice,
> Stockholm and Oslo in 1962 and 1963. These events
> organized by Maciunas were influenced and paralleled by
> the independent activities of Young, Flynt, Robert Morris
> (ii) and others at Yoko Ono’s studio in New York in 1961
> and Brecht and Watts’s Yam Festival in New York in
> 1963. All these artists were eventually associated with
> Maciunas and Fluxus, either through their collaboration on
> multiples, inclusion in anthologies, or participation in Fluxus
> concerts. The typical Fluxconcert consisted of a rapid
> series of performances of short events of scored actions
> and music. These events frequently consisted of physical
> performances representative of mundane activities, or
> music based on non-musical sound sources. They were
> often humorous and concerned with involving the audience,
> specifically to disrupt the expected conventions of musical
> and theatrical performance and spectatorship; their ‘event
> scores’ were characterized by reduction, repetition,
> improvisation and chance.
>
> About nine major compilations of activities of Fluxus
> artists were planned. The first, entitled Fluxus 1
> (Wiesbaden and New York, 1964), was termed a
> yearbox, because of its unique wooden packaging. The
> contents included texts and objects by dozens of artists
> associated with the first Fluxfestival, such as Ay-O, Brecht,
> Stanley Brown, Robert Filliou, Ken Friedman (b 1949),
> Geoff Hendricks (b 1931), Higgins, Takehisa Kosugi,
> Jackson MacLow (b 1932), Takako Saito, Tomas Schmit,
> Ben and Emmett Williams (b 1925). The publication of
> collections of object-based works by artists associated
> with Fluxus and the documentation of Fluxconcerts soon
> became the focus of Maciunas’s activities. Examples of
> these publications include: broadsides, such as
> Fluxmanifesto on Fluxamusement (edited by Maciunas
> in New York, 1965); the 11 irregularly published editions
> of the Fluxus Newspaper (New York, 1964–79);
> Fluxyearbox 2 (1966–8, 1976); the Duchamp-inspired
> attaché case of objects entitled Fluxkit (New York,
> 1965–6); the Fluxfilms anthology (New York, 1966) and
> the Fluxus Cabinet (New Marlborough, MA, 1975–7).
> Perhaps most important of all of Maciunas’s publishing
> activities remain the object multiples, conceived as
> inexpensive, mass-produced unlimited editions. These were
> either works made by individual Fluxus artists, sometimes
> in collaboration with Maciunas, or, most controversially,
> Maciunas’s own interpretations of an artist’s concept or
> score. Their purpose was to erode the cultural status of art
> and to help to eliminate the artist’s ego.
>
> Fluxus embraced many of the concepts and practices
> associated with the post-war avant-garde of western
> Europe and North America, including those of Lettrism,
> concrete poetry, concrete and random music, Happenings
> and conceptual art, as first described by Flynt during the
> late 1950s and early 1960s. Under the organization and
> direction of Maciunas, a specific programme of ideological
> goals was formulated and disseminated through a series of
> manifestos. The manifesto of 1963 exhorted the artist to
> ‘purge the world of bourgeois sickness, “intellectual”,
> professional and commercialized culture … dead art,
> imitation, artificial art, abstract art, illusionistic art …
> promote a revolutionary flood and tide in art, promote
> living art, anti-art, … non art reality to be grasped by all
> peoples, not only critics, dilettantes and professionals’. The
> Fluxmanifesto on Fluxamusement used innovative
> typography and ready-made printed images to
> communicate the concept of the self-sufficiency of the
> audience, an art where anything can substitute for an art
> work and anyone can produce it.
>
>
>
> BIBLIOGRAPHY
>
>
> Happening und Fluxus: Materialen (exh. cat., ed. H. Sohm and H.
> Szeeman; Cologne, Kstver., 1970)
> H. Ruhe: Fluxus, the Most Radical and Experimental Art
> Movement of the Sixties (Amsterdam, 1979)
> J. Hendricks, ed.: Addenda I (New York, 1983)
> Addenda II: The Gilbert and Lila Silverman Collection (exh. cat.,
> ed. J. Hendricks; Pasadena, Baxter A.G., 1983)
> B. Moore: Fluxus I: A History of the Edition (New York, 1985)
> Fluxus: Selections from the Gilbert and Lila Silverman
> Collection (exh. cat. by C. Phillpot and J. Hendricks, New York,
> MOMA, 1988)
> J. Hendricks: Fluxus Codex (New York, 1989)
> E. Milman, ed.: ‘Fluxus: A Conceptual Country’, Visible Language,
> xxvi/1–2 (1992) [special issue]
--
Kerry
Dirt
______________________
http://www.ultranet.com/~amsan
...for free music and naked people
dym...@ripco.com
Dirt wrote:
>
> How can you put Yoko Ono and Beck on the same post? That's so degrading!
I don't think Beck would think so.
Read about Fluxus and find out.
--
Kerry
dym...@ripco.com
Following up on this, here are some links that deal
specifically with Al Hansen. One of them is Bibbe
Hansen's web site:
http://www.bibbe.com/fluxus/alfred.htm
http://www.artincontext.org/artist/h/al_hansen/
And if you want to get the Playing With Matches book,
or a t-shirt, you can get those here:
http://shop.plugin.org/playing.matches.html
--
Kerry
dym...@ripco.com
Americans might have an easier time ordering
the book here (although the Plug-In Store is
really cool!):
http://www.smartartpress.com/four/beck.html
--
Kerry
Pixel =^..^=
Dirt <asa...@aol.com> wrote in message
news:20000509182747...@ng-fp1.aol.com...
> How can you put Yoko Ono and Beck on the same post? That's so degrading!
Yoko Ono and John Lennon hung out at Beck's
grandparents house (Al Hansen) for barbecues, man
there's pics in the book "Playing With Matches."
It's all relative....
etidave
there! :p hee hee.. sorry..
dym...@ripco.com wrote in message <39189A8F...@ripco.com>...
>
>
>Dirt wrote:
>>
>> How can you put Yoko Ono and Beck on the same post? That's so degrading!
>
>
>Read about Fluxus and find out.
>
>
>
>Kerry