"In Fluxus there has never been any attempt to agree on aims or methods; individuals with something unnamable in common have simply naturally coalesced to publish and perform their work. Perhaps this common thing is a feeling that the bounds of art are much wider than they have conventionally seemed, or that art and certain long established bounds are no longer very useful."
Fluxus was a loosely organized group of artists that spanned the globe, but had an especially strong presence in New York City.is historically considered the primary founder and organizer of the movement, who described Fluxus as, "a fusion of Spike Jones, gags, games, Vaudeville, Cage and Duchamp." Like the and before them, Fluxus artists did not agree with the authority of museums to determine the value of art, nor did they believe that one must be educated to view and understand a piece of art. Fluxus not only wanted art to be available to the masses, they also wanted everyone to produce art all the time. It is often difficult to define Fluxus, as many Fluxus artists claim that the act of defining the movement is, in fact, too limiting and reductive.
MOST IMPORTANT ART
TITLE: Cut Piece (1964-1966)
Artist: Yoko Ono
Artwork Description & Analysis: Cut Piece puts the artist at the mercy of the audience: Ono invited the audience to cut away her clothing as she sat completely still and expressionless on stage. The interaction between artist and viewer is unequivocally intimate, as the viewer completely invades the personal space of the artist, literally cutting away the boundary between the self and the other. Control is literally in the hands of the audience member who holds the scissors, and the outcome of the piece changed each time it was performed. This particular piece likely influenced Marina Abramovic's Rhythm O, though Abramovic took this concept even further, presenting the audience with items to use on her body as they wished, including a knife and a loaded gun, which one audience member pointed at her head.
Fluxus was an avant-garde art movement that emerged in the late 1950s as a group of artists who had become disenchanted with the elitist attitude they perceived in the art world at the time. These artists looked to Futurists and Dadaists for inspiration, focusing especially on performance aspects of the movements. The Dadaist use of humor in art was also definitive in the formation of the Fluxus ethos. The two most dominant forces on Fluxus artists were Marcel Duchamp and John Cage, who championed the use of everyday objects and the element of chance in art, which became the fundamental attitude and practice of all Fluxus artists.
The early phase of Fluxus, often called Proto-Fluxus, began in 1959 when a group of artists who had met in Cage's class at The New School in New York banded together to form the New York Audio Visual Group. This group provided venues for experimental and performance art., and were associated with this group, and would all be part of Fluxus. George Maciunas, often credited as the driving force behind what is otherwise a rather inchoate movement, would often be in the audience at the performance venues. Maciunas is credited with naming the group Fluxus, which means "to flow." The first Fluxus event was organized by Maciunas at the AG Gallery in New York in 1961, where he was co-owner. The event was called Bread & AG, and consisted of readings by poet Frank Kuenstler. That was the first in a series of performances that were staged that year at AG Gallery.
Concepts and Styles
had strong opinions he frequently and forcefully expressed, often leading to contention between himself and other Fluxus artists. Maciunas articulated his beliefs in Fluxus manifestos, one being that fine art, "at least its institutional forms," should be, "totally eliminated." Other Fluxus artists such as Jackson Mac Low did not agree, once writing, "...I would not want to eliminate museums (I like museums)."
Maciunas was a bit of a volatile leader; he would indiscriminately expel individuals from Fluxus according to his whims and had no qualms about dropping artists for the most petty of disagreements. In 1963, Maciunas removed Jackson Mac Low from the Fluxus group, and the following year, expelled, , and .
Essentially, while a group of artists who were all considered Fluxus existed, they did not all agree to the same ideals and each viewed Fluxus in a different way. As filmmakerput it, "In Fluxus there has never been any attempt to agree on aims or methods; individuals with something unnamable in common have simply coalesced to publish and perform their work."
Fluxus events included audience participation as a way of involving the public in the making of art. Such was the 1970 Fluxfest Presentation of John Lennon and Yoko Ono, where Maciunas made paper masks of John Lennon andfor the audience to wear. With this act, Maciunas shifted the role of the viewer from observer to performer .The use of the audience as the focus of the piece was a logical extension of his idea that, "anything can substitute for art and anyone can do it...the value of art-amusement must be lowered by making it unlimited, mass-produced, obtainable by all and eventually produced by all."
Although Fluxus is mainly known for performances and organized events, Fluxus artists also created more plastic forms of art, such as boxes filled with various items (often called Fluxkits), prints, and Fluxus films. Sometimes these works were not signed, as per Maciunas' belief that the ego of the artist should be removed from the artwork, meaning all pieces should be signed as simply, "Fluxus."
Fluxus and Zen
Zen is a Japanese Buddhist philosophy that focuses on meditation and the importance of the present moment. No single moment is to be more important than another in life. Zen had a powerful impact onwho thought that art should be concerned with equivalency of values instead of elevating artistic experiences from everyday experiences - "in this way art becomes important as a means to make one aware of one's actual environment." This comes directly from Buddhist teachings on the importance of being aware of every moment and present in every moment in life.
Fluxus artists sought to apply that philosophy to art. This idea comes from Cage's classes at the New School where some artists followed along these lines in their work related to Fluxus. Besides wanting to challenge the elitist art institutions, the other side of Fluxus was to reach a kind of enlightened state that involved art so much that art and life would meld into one, and there would be no distinction between them. Althoughonce stated that Fluxus was, "more like Zen than Dada." Maciunas himself was less concerned with the Zen aspect of things and more concerned with a political, nonsensical, and anti-art stance.
Fluxus arguably came to an end with the death of
The influence of Fluxus resonates throughout the arts particularly with later incarnations of , , and , and those artists who deliberately work outside established museum systems. An artist like is a good example of the continuation of the Fluxus philosophy.
"The misunderstandings have seemed to come from comparing Fluxus with movements or groups whose individuals seem to have some principle in common or an agreed upon program."
- George Brecht
"Purge the world of bourgeoisie sickness, "intellectual," professional and commercialized culture, purge the world of dead art, imitation, artificial art, abstract art, illusionistic art, mathematical art, - PURGE THE WORLD OF "EUROPANISM!" PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, promote living art, anti-art, promote NON ART REALITY to be fully grasped by all peoples, not only critics, dilettantes and professionals."
- George Maciunas, from the Fluxus Manifesto
"I've always thought of Fluxus as remarkable for its offering of collaboration with so-called ordinary people as well as Fluxus artists."
- Alison Knowles