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Fluxus Anthology: Collection Of Music / Various Various Artists - LP 889397719975

Fluxus—from the Latin, meaning “to flow”—was a radical, international network of artists, composers, and designers in the 1960s and 1970s noted for blurring the boundaries between what we term “art” and what makes up everyday life. Following the work of American Fluxus founder George Maciunus, Fluxus and the Essential Questions of Life presents a variety of objects that express the Fluxus mission, while empowering readers to challenge the presumptions we bring to the concept and practice of art making.Based on a large-scale traveling exhibition first organized at Dartmouth College’s Hood Museum of Art, this book chronicles the movement in the form of an art self-help book, playfully providing answers to fourteen key questions such as “Art—what is it good for?” and “What am I?” via Fluxus works. Featuring over eighty color and black-and-white illustrations, accompanied by essays from curator Jacquelynn Baas, Fluxus scholars Hannah Higgins and Jacob Proctor, and Fluxus artist Ken Friedman, this book will make an original contribution to our understanding of this provocative moment in modern art.

Was ist Fluxus, wer ist Fluxus, wann und wo war Fluxus? Es gibt kaum eine Kunstbewegung, deren nähere Bestimmung so schwer fällt. Diverse AutorInnen verweisen darauf, dass aus diesem Grund der Fluxus-Bewegung eine größere Bekanntheit und ein größerer Erfolg am Kunstmarkt verwehrt geblieben ist. Jedoch wirft auch schon die Vermutung Fragen auf: 1. War Fluxus überhaupt eine "Kunstbewegung"? 2. Wollten Fluxus-KünstlerInnentatsächlich Erfolg am Kunstmarkt? Insofern erstaunt es nicht gerade, dass Eric Anderson, ein Fluxus-Künstler der ersten Stunde, noch 2008 behauptet hat, Fluxus habe es nie gegeben. Die divergierenden Äußerungen, die man heute als Fluxus bezeichnen würde, seien genauer unter dem Begriff Intermedia einzuordnen. Auch über die Gruppe der KünstlerInnen, die man als zu Fluxus gehörig oder auch nur mit Fluxus assoziiert bezeichnen könnte, besteht keine Einigkeit. Insofern bietet "Fluxus" (was immer damit gemeint ist) eine hervorragende Vorlage, um Mythologeme und verschlungene Narrationen an den Begriff anzuheften. Zumal Aktionen und ephemere Objekte, Auflagenarbeiten und Zeitungen jene objekthafte kunstgeschichtliche Spur verkomplizieren, die traditionelle künstlerische Aktivitäten gewöhnlicherweise für die InterpretInnen legen. Dabei ersetzen einige Schlagwörter, die im Zusammenhang mit Fluxus häufig genannt werden, die traditionellen Kunstobjekte, sie funktionieren als Klammer für unterschiedliche Praktiken, Orte, Beteiligte und Relikte. Diese Schlagwörter gerinnen zu Quasibildern. Die Parole von "Kunst gleich Leben" etwa ist ein besonders wirkungsvolles Wortbild, das im Kontext von Fluxus gerne genannt wird. Auch die Kombination von Kunst und Politik, Kunst und Alltag oder Aktion und Zufall findet häufig Erwähnung.

In this groundbreaking work of incisive scholarship and analysis, Hannah Higgins explores the influential art movement Fluxus. Daring, disparate, contentious―Fluxus artists worked with minimal and prosaic materials now familiar in post-World War II art. Higgins describes the experience of Fluxus for viewers, even experiences resembling sensory assaults, as affirming transactions between self and world.Fluxus began in the 1950s with artists from around the world who favored no single style or medium but displayed an inclination to experiment. Two formats are unique to Fluxus: a type of performance art called the Event, and the Fluxkit multiple, a collection of everyday objects or inexpensive printed cards collected in a box that viewers explore privately. Higgins examines these two setups to bring to life the Fluxus experience, how it works, and how and why it's important. She does so by moving out from the art itself in what she describes as a series of concentric circles: to the artists who create Fluxus, to the creative movements related to Fluxus (and critics' and curators' perceptions and reception of them), to the lessons of Fluxus art for pedagogy in general. Although it was commonly associated with political and cultural activism in the 1960s, Fluxus struggled against being pigeonholed in these too-prescriptive and narrow terms. Higgins, the daughter of the Fluxus artists Alison Knowles and Dick Higgins, makes the most of her personal connection to the movement by sharing her firsthand experience, bringing an astounding immediacy to her writing and a palpable commitment to shedding light on what Fluxus is and why it matters.

Unread book in perfect condition.

Tested in great working used condition, includes bus cable. Zetaohm's FLXS1 (Fluxus One) is a 4-channel, 64-step sequencer with built-in microtona...

Fluxus—from the Latin, meaning “to flow”—was a radical, international network of artists, composers, and designers in the 1960s and 1970s noted for blurring the boundaries between what we term “art” and what makes up everyday life. Following the work of American Fluxus founder George Maciunus, Fluxus and the Essential Questions of Life presents a variety of objects that express the Fluxus mission, while empowering readers to challenge the presumptions we bring to the concept and practice of art making.Based on a large-scale traveling exhibition first organized at Dartmouth College’s Hood Museum of Art, this book chronicles the movement in the form of an art self-help book, playfully providing answers to fourteen key questions such as “Art—what is it good for?” and “What am I?” via Fluxus works. Featuring over eighty color and black-and-white illustrations, accompanied by essays from curator Jacquelynn Baas, Fluxus scholars Hannah Higgins and Jacob Proctor, and Fluxus artist Ken Friedman, this book will make an original contribution to our understanding of this provocative moment in modern art.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 2.02

Fluxus was an art movement of the 1960s and 70s that set out to abolish the canonized art idioms of the day. Pioneers of Conceptual Art and Minimalism, the Fluxus artists were known for their environments, performance art and mass-producible objects. This book is a study of the Fluxus movement.

In this groundbreaking work of incisive scholarship and analysis, Hannah Higgins explores the influential art movement Fluxus. Daring, disparate, contentious―Fluxus artists worked with minimal and prosaic materials now familiar in post-World War II art. Higgins describes the experience of Fluxus for viewers, even experiences resembling sensory assaults, as affirming transactions between self and world.Fluxus began in the 1950s with artists from around the world who favored no single style or medium but displayed an inclination to experiment. Two formats are unique to Fluxus: a type of performance art called the Event, and the Fluxkit multiple, a collection of everyday objects or inexpensive printed cards collected in a box that viewers explore privately. Higgins examines these two setups to bring to life the Fluxus experience, how it works, and how and why it's important. She does so by moving out from the art itself in what she describes as a series of concentric circles: to the artists who create Fluxus, to the creative movements related to Fluxus (and critics' and curators' perceptions and reception of them), to the lessons of Fluxus art for pedagogy in general. Although it was commonly associated with political and cultural activism in the 1960s, Fluxus struggled against being pigeonholed in these too-prescriptive and narrow terms. Higgins, the daughter of the Fluxus artists Alison Knowles and Dick Higgins, makes the most of her personal connection to the movement by sharing her firsthand experience, bringing an astounding immediacy to her writing and a palpable commitment to shedding light on what Fluxus is and why it matters.

The complete collection of Fluxus' newspapers featuring work by iconic conceptual artists, writers and composers.This volume collects all 11 newspapers published by the Fluxus artists' collective between January 1964 and March 1979. Although published irregularly, the newspapers promoted Fluxus events and publicationsespecially the group's famous multiples and Fluxkitswith advertising materials, order forms and price lists interspersed throughout.More than just a space for promotion and information, the newspapers featured artworks by more than 60 artists as well as appropriated newspaper headlines, advertisements, articles and comic strips. The Fluxus Newspaper exemplifies the group's "do-it-yourself" attitude: an approach that is comical, collaborative, interdisciplinary and anti-commercial. The periodical is also an early example of the artist newspaper: a medium which grew out of the underground press movement and flourished in the late '60s and '70s as artists sought new mediums for distributing their work.Artists include: Ay-O, Carol Bergé, Joseph Beuys, Walter De Maria, Willem de Ridder, Robert Filliou, Ken Friedman, Allan Kaprow, Alison Knowles, George Macunias, Yoko Ono, Nam June Paik, Ben Patterson, Dieter Roth, Takako Saito, Wolf Vostell. 80 pages, paper with stiff cover. Black and white reproductions. 10 1/2" x 14". New in publishers shrinkwrap.

In the Spirit of Fluxus is published on the occasion of the exhibition "In the Spirit of Fluxus," organized by Elizabeth Armstrong and Joan Rothfuss. Essays by Simon Anderson, Elizabeth Armstrong, Andreas Huyssen, Bruce Jenkins, Douglas Kahn, Owen F. Smith, and Kristine Stiles. The exhibition originated on February 14, 1993 at the Walker Art Center and traveled to the Whitney Museum of American Art, the Museum of Contemporary Art (Chicago), the Wexner Center of the Visual Arts, the San Francisco Museum of Modern Art, and the Fundacio Antoni Tapies.

Felt provides a nonlinear look at the engagement of the postwar avant-garde with Eastern spirituality, a context in which the German artist Joseph Beuys appears as an uneasy shaman. Centered on a highly publicized yet famously inconclusive 1982 meeting between Beuys and the Dalai Lama, arranged by the Dutch artist Louwrien Wijers, Chris Thompson explores the interconnections among Beuys, the Fluxus movement, and Eastern philosophy and spiritual practice. Building from the resonance of felt, the fabric, in both Tibetan culture and in Beuys’s art, Thompson takes as his point of departure Deleuze and Guattari’s discussion in A Thousand Plateaus of felt as smooth space that is “in principle infinite, open, and unlimited in every direction,” its structure determined by chance as opposed to the planned, woven nature of most fabrics. Felt is thus seen as an alternative to the model of the network: felt’s anarchic form is not reducible to the regularity of the net, grid, or mesh, and the more it is pulled, tweaked, torn, and agitated, the greater its structural integrity.Felt thus invents its methodology from the material that represents its object of inquiry and from this advances a reading of the avant-garde. At the same time, Thompson demonstrates that it is sometimes the failures of thought, the disappointing meetings, even the untimely deaths that open portals through which life flows into art and allows new conjunctions of life, art, and thought. Thompson explores both the well-known engagement of Fluxus artists with Eastern spirituality and the more elusive nature of Beuys’s own late interest in Tibetan culture, arriving at a sense of how such noncausal interactions—interhuman intrigue—create culture and shape contemporary art history.

2014 release. Wolf Vostell - Actions, electronics, tapes; Nancy Bellow - Soprano; Mercedes Guardado - Ximbomba. Edition of 450. Comes in full-color gatefold sleeve plus printed inner sleeve featuring photos of the concert.

Mr Fluxus is the first biography of George Maciunas, a key figure in the history of 20th century art. This book recounts in text and archive photographs the life story of an unorthodox, contradictory and elusive genius.

Dick Higgins and his Something Else Press epitomized the riotous art of the ‘60sThere are few art-world figures as influential―and as little known―as Dick Higgins (1938–98), cofounder of Fluxus, "polyartist," poet, scholar, theorist, composer, performer and, not least, the publisher of the legendary Something Else Press. In 1965 he restored the term "intermedia" to the English language, giving it new dimension to recognize the dissolution of boundaries between traditional modes of art-making and the open field for new forms that cannot be compartmentalized. His own contributions to intermedia are many―as a participant and instigator of happenings, as writer and composer straddling traditional and vanguard forms, among others―but it was Something Else Press (1963–74) that redefined how "the book" could inhabit that energized, in-between space.Something Else Press was as much a critical statement and radical experiment as it was a collection of books by some of the most luminary artists and writers of the 20th century: Gertrude Stein, John Cage, Ray Johnson, Dieter Roth, Bern Porter, Ian Hamilton Finlay, Emmett Williams, Robert Filliou, and George Brecht, among many others. Along with his Great Bear Pamphlet series and the Something Else newsletter, Higgins exploited and subverted conventional book production and marketing strategies to get unconventional and avant-garde works into the hands of new and often unsuspecting readers.Edited by Granary Books publisher Steve Clay and Fluxus artist Ken Friedman, this judiciously curated and indispensable compendium of essays, theoretical writings and narrative prose dives deep into the ever-influential ideas that Higgins explored in theory and practice. Clay and Friedman have chosen works that illuminate Higgins' voracious intellectual appetite, encyclopedic body of knowledge and playful yet rigorous experimentation in a selection that includes many writings long out of print or difficult to find.

In the Spirit of Fluxus is published on the occasion of the exhibition "In the Spirit of Fluxus," organized by Elizabeth Armstrong and Joan Rothfuss. Essays by Simon Anderson, Elizabeth Armstrong, Andreas Huyssen, Bruce Jenkins, Douglas Kahn, Owen F. Smith, and Kristine Stiles. The exhibition originated on February 14, 1993 at the Walker Art Center and traveled to the Whitney Museum of American Art, the Museum of Contemporary Art (Chicago), the Wexner Center of the Visual Arts, the San Francisco Museum of Modern Art, and the Fundacio Antoni Tapies.

This book focuses on a period of time in the late 1950s when a group of artists began look around them in a new way. It is filled with pictures of performance stills and reproductions of print pieces.

This book focuses on a period of time in the late 1950s when a group of artists began look around them in a new way. It is filled with pictures of performance stills and reproductions of print pieces.