- Fluxus ExperienceOur PickBy Hannah Higgins
- Fluxus: the History of an AttitudeBy Owen F. Smith
- Fluxus Selections from the Gilbert and Lila Silverman CollectionsBy Clive Phillpot
Important Art and Artists of Fluxus
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.
Optimistic Box #3 is an actual fold-up chess set similar to Dada readymades but in this instance the viewer is invited to interact with the artwork. In order to see the entire text, one has to open the box to continue reading. The interior verse is a tip of the hat to Marcel Duchamp, the artist who conceived the readymades. While this piece is an object and not a performance, it still incorporates the Fluxus ideals; nonsensical humor and a lack of boundary between the art and the viewer. The significance of this piece is in its insistence that the viewer interact with it, unlike traditional art objects in a museum context in which touching is forbidden.
The piece is a box of matches with "directions" printed on the cover stating, "USE THESE MATCHES TO DESTROY ALL ART - MUSEUMS ART LIBRARY'S - READY-MADES - POP-ART AND AS I BEN SIGNED EVERYTHING WORK OF ART - BURN - ANYTHING - KEEP LAST MATCH FOR THIS MATCH -" This piece literally proclaims the Fluxus belief in anti-art and is one of many "editions" manufactured. Often Fluxus artists would produce a large number of identical pieces to deliberately devalue the object. It can be assumed that many of these boxes were burned as per the instructions on the cover, the involvement of the viewer completing the piece.