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Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product. Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms. These art forms include intermedia, a term coined by Fluxus artist Dick Higgins; conceptual art, first developed by Henry Flynt, an artist contentiously associated with Fluxus; and video art, first pioneered by Nam June Paik and Wolf Vostell. Dutch gallerist and art critic Harry Ruhé describes Fluxus as "the most radical and experimental art movement of the sixties".
Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.
Dick Higgins was an American artist, composer, art theorist, poet, publisher, printmaker, and a co-founder of the Fluxus international artistic movement. Inspired by John Cage, Higgins was an early pioneer of electronic correspondence. Higgins coined the word intermedia to describe his artistic activities, defining it in a 1965 essay by the same name, published in the first number of the Something Else Newsletter. His most notable audio contributions include Danger Music scores and the Intermedia concept to describe the ineffable inter-disciplinary activities that became prevalent in the 1960s.
George Maciunas was a Lithuanian American artist, born in Kaunas. A founding member and the central coordinator of Fluxus, an international community of artists, architects, composers, and designers, he is most famous for organising and performing early happenings and for assembling a series of highly influential artists' multiples.
Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
Alison Knowles is an American visual artist known for her installations, performances, soundworks, and publications. Knowles was a founding member of the Fluxus movement, an international network of artists who aspired to merge different artistic media and disciplines. Criteria that have come to distinguish her work as an artist are the arena of performance, the indeterminacy of her event scores resulting in the deauthorization of the work, and the element of tactile participation. She graduated from Pratt Institute in New York with an honors degree in fine art. In May 2015, she was awarded an honorary doctorate degree by Pratt.
Something Else Press was founded by Dick Higgins in 1963. It published many important Intermedia texts and artworks by such Fluxus artists as Higgins, Ray Johnson, Alison Knowles, Allan Kaprow, George Brecht, Daniel Spoerri, Robert Filliou, Al Hansen, John Cage, Emmett Williams and by such important modernist figures as Gertrude Stein, Henry Cowell, and Bern Porter.
The mid-20th-century art movement Fluxus had a strong association with Rutgers University.
Geoffrey Hendricks was an American artist associated with Fluxus since the mid 1960s. He was professor emeritus of art at Rutgers University, where he taught from 1956 to 2003 and was associated with Allan Kaprow, Roy Lichtenstein, and Lucas Samaras during the 1960s.
USCO was an American media art collective in the 1960s, founded by Gerd Stern, Michael Callahan, Steve Durkee, Judi Stern, and Barbara Durkee in New York. The name USCO is an acronym for Us Company or the Company of Us. The collective was most active during the years 1964–66. USCO exhibited in the United States, Canada, and Europe, and is considered a key link in the development of expanded cinema, visual music, installation art, multimedia, intermedia, and the Internet. In addition, USCO's strobe environments heralded new media art.
Hannah B. Higgins is an American writer and academic living in Chicago, Illinois. Higgins's research examines various post-conceptual art historical subjects in terms of two philosophically and practically entwined terms: information and sensation. She is a Professor in the Department of Art History and a founding Director of IDEAS, an interdisciplinary arts major, at the University of Illinois at Chicago.
Danger music is an experimental form of avant-garde 20th and 21st century music and performance art. It is based on the concept that some pieces of music can or will harm either the listener or the performer, understanding that the piece in question may or may not be performed. Kyle Gann describes in his book Music Downtown: Writings from the Village Voice how Takehisa Kosugi's composition Music for a Revolution directs the performer to "[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later". Works such as this are also sometimes referred to as anti-music because they seem to rebel against the concept of music itself. Danger music is often closely associated with the Fluxus school of composition, especially the work of Dick Higgins who composed a series of works entitled Danger Music.
In the visual arts, late modernism encompasses the overall production of most recent art made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences. The predominant term for art produced since the 1950s is contemporary art. Not all art labelled as contemporary art is modernist or post-modern, and the broader term encompasses both artists who continue to work in modern and late modernist traditions, as well as artists who reject modernism for post-modernism or other reasons. Arthur Danto argues explicitly in After the End of Art that contemporaneity was the broader term, and that postmodern objects represent a subsector of the contemporary movement which replaced modernity and modernism, while other notable critics: Hilton Kramer, Robert C. Morgan, Kirk Varnedoe, Jean-François Lyotard and others have argued that postmodern objects are at best relative to modernist works.
Water Yam is an artist's book by the American artist George Brecht. Originally published in Germany, June 1963 in a box designed by George Maciunas and typeset by Tomas Schmit, it has been re-published in various countries several times since. It is now considered one of the most influential artworks released by Fluxus, the internationalist avant-garde art movement active predominantly in the 1960s and '70s. The box, sometimes referred to as a Fluxbox or Fluxkit, contains a large number of small printed cards, containing instructions known as event-scores, or fluxscores. Typically open-ended, these scores, whether performed in public, private or left to the imagination, leave a lot of space for chance and indeterminancy, forcing a large degree of interpretation upon the performers and audience.
In some cases [event-scores] would arise out of the creation of the object, while in others the object was discovered and Brecht subsequently wrote a score for it, thus highlighting the relationship between language and perception. Or, in the words of the artist, "ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed." The event-score was as much a critique of conventional artistic representation as it was a gesture of firm resistance against individual alienation.
Takako Saito is a Japanese artist closely associated with Fluxus, the international collective of avant-garde artists that was active primarily in the 1960s and 1970s. Saito contributed a number of performances and artworks to the movement, which continue to be exhibited in Fluxus exhibitions to the present day. She was also deeply involved in the production of Fluxus edition works during the height of their production, and worked closely with George Maciunas.
Milan Knížák is a Czech performance artist, sculptor, noise musician, installation artist, political dissident, graphic artist, art theorist and pedagogue of art associated with Fluxus.
Eric Andersen is a Danish artist associated with the Fluxus art movement. He lives in Copenhagen, Denmark.
Benjamin Patterson was an American musician, artist, and one of the founders of the Fluxus movement.
Larry Miller is an American artist, most strongly linked to the Fluxus movement after 1969. He is "an intermedia artist whose work questions the borders between artistic, scientific and theological disciplines. He was in the vanguard of using DNA and genetic technologies as new art media." Electronic Arts Intermix, a pioneering international resource for video and new media art has said, "Miller has produced a diverse body of experimental art works as a key figure in the emergent installation and performance movements in New York in the 1970s... His installations and performances have integrated diverse mediums [sic] and materials."
Intermedia Systems Corporation was an American media technology company, co-founded in Cambridge, Massachusetts in 1969 by Gerd Stern and Michael Callahan. Stern and Callahan had been members of the media art collective USCO in the 1960s when they had lived in Rockland County, New York. Intermedia Systems Corporation produced multimedia art internationally during the 1970s.
References
- ↑ Dick Higgins, Intermedia, re-published in Leonardo, vol 34, 2001, p49 - 54, with an Appendix by Hannah Higgins
- ↑ Hannah B. Higgins, "The Computational Word Works of Eric Andersen and Dick Higgins" in H. Higgins, & D. Kahn (eds), Mainframe experimentalism: Early digital computing in the experimental arts, p. 283.
- ↑ Friedman, Ken 2018. "Thinking About Dick Higgins", Fluxus, Intermedia, and the Something Else Press. Selected Writings by Dick Higgins. Steve Clay & Ken Friedman, eds., pp. 13-14.
- ↑ "John Brockman | Edge.org". www.edge.org. Retrieved 2020-11-19.
- ↑ Jonas Mekas, “On the Plastic Inevitables and the Strobe Light (May 26, 1966),” in Movie Journal: The Rise of the New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 249–250.
- ↑ Classic Haiku ed. Tom Lowenstein, London: Duncan Baird Publishers, 2007, ISBN 9781844834860.
- ↑ Higgins, Dick (1967). "Statement on Intermedia". Artpool. New York: Something Else Press.
- ↑ Coleridge, Samuel 'Lecture 111 : On Spenser'
- ↑ "Programs".
- ↑ Intermedia
- ↑ Master of Music in Intermedia Music Technology
- ↑ "Pacific Northwest College of Art".
- ↑ "Fine Art - BA (Hons) | Edinburgh College of Art".
- ↑ "Art in Context".
- ↑ "Intermedia Department | MKE".
