36 Facts About Fluxus

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.

Fluxus played an important role in the broadening of what is considered art.

Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed.

Fluxus wrote a number of letters to Raoul Hausmann, an original dadaist, outlining his ideas.

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Since most of the composers already had publishing deals, Fluxus quickly moved away from music toward performance and visual art.

Fluxus was somehow able to carry the whole thing off, without my having to go 57 miles to find a printer.

People in Fluxus had understood, as Brecht explained, that "concert halls, theaters, and art galleries" were "mummifying".

Some people say that Fluxus died that day—I once thought so myself—but it turned out I was wrong.

Such perceived insurrections in the coherence of Maciunas' leadership of Fluxus provided an opening for Fluxus to become increasingly influenced by Japanese members of the group.

Fluxus created there an installation in the window so that anyone could press numerous door buttons to play the noise music machines displayed there.

Women working within Fluxus were often simultaneously critiquing their position within a male dominated society while exposing the inequalities within an art collective that claimed to be open and diverse.

Fluxus said we are fond of youYou are charmingBut don't ask usTo look at your filmsWe cannotThere are certain filmsWe cannot look atThe personal clutterThe persistence of feelingThe hand-touch sensibility.

Fluxus was open to anyone who shared similar thoughts about art and life.

In 1971, after Mr Brown's death, Mrs Brown moved to Tyringham, and expanded into areas adjacent to Fluxus, including artists' books, concrete poetry, happenings, mail art and performance art.

Fluxus is therefore referred to variously in the past or the present tense.

Some have argued that the unique control that curator Jon Hendricks holds over a major historical Fluxus collection has enabled him to influence, through the numerous books and catalogues subsidized by the collection, the view that Fluxus died with Maciunas.

However, the influence of Fluxus continues today in multi-media digital art performances.

In 2018 the Los Angeles Philharmonic in its Fluxus Festival presented a fluxus performance incorporating John Cage's "Europeras 1 and 2" directed by Yuval Sharon.

Fluxus artists continue to perform today on a smaller scale.

An immediate predecessor of Fluxus, according to Maciunas, was the Gutai group which promoted art as an anti-academic, psychophysical experience, an "art of matter as it is" as explained by Shiraga Kazuo in 1956.

Fluxus encouraged a "do-it-yourself" aesthetic, and valued simplicity over complexity.

Fluxus has been compared to Dada and aspects of Pop Art and is seen as the starting point of mail art and no wave artists.

In terms of an artistic approach, Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues.

Fluxus boxes originated with George Maciunas who would gather collections of printed cards, games, and ideas, organizing them in small plastic or wooden boxes.

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Fluxus artists believed that shock not only makes the viewer question their own reasoning, but is a means to awaken the viewer, ".

Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and taking jabs at the seriousness of modern art.

Fluxus artists used their minimal performances to highlight their perceived connections between everyday objects and art, similarly to Duchamp in pieces such as Fountain.

Fluxus art was often presented in "events", which Fluxus member George Brecht defined as "the smallest unit of a situation.

The resistance to being pigeonholed, and with the absence of a stable identity, Fluxus opened up to wide participation but, from what would appear in history, closed off that possibility.

Kristine Stiles argues in one of her essays that the essence of Fluxus is "performative", while recently she feels that essence has been "eroded or threatened".

Fluxus instead moved towards favoring the objects of publication, Stiles asserts: "Care must be taken that Fluxus is not transformed historically from a radical process and presentational art into a tradition static and representational art.

Fluxus therefore is nearly always a discourse on the failure of discourse.

Fluxus artists shared several characteristics including wit and "childlikeness", though they lacked a consistent identity as an artistic community.

The possibility that Fluxus had more female members than any Western art group up to that point in history is particularly significant because Fluxus came on the heels of the white male-dominated abstract expressionism movement.

However, despite the designed open-endedness of Fluxus, Maciunas insisted on maintaining unity in the collective.