Mr Fluxus Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Mr Fluxus book. This book definitely worth reading, it is an incredibly well-written.
George Maciunas was the founder and leader of a radical and experimental art movement of the 1960s known as Fluxus--which rejected traditional high art to practice an extraordinary form of anti-art. Maciunas attempted to rule Fluxus in totalitarian fashion, yet he laughed at himself and called forth laughter in others. This biography reveals the story of an unorthodox, contradictory, and elusive genius. 107 illustrations.
"George Maciunas is typically associated with the famous art collective Fluxus, of which he is often thought to have been the leader. In this book, critic and art historian Colby Chamberlain wants us to question two things: first, the idea that Fluxus was a "group" in any conventional sense, and second, that Maciunas was its "leader." Instead, Chamberlain shows us how Maciunas used the paper materials of bureaucracy in his art-cards, certificates, charts, files, and plans, among others-to subvert his own status as a "figurehead" of this collective and even as a biographical entity. Each of the book's chapters situates Maciunas's artistic practice in relation to a different domain: education, communication, production, housing, and health. We learn about his use of the postal service to make Fluxus into an international network; his manipulation of US copyright law to pursue a "Soviet" ideal of collective authorship; his intervention in Manhattan's zoning restrictions as founder and manager of the "Fluxhouse" artists' lofts in SoHo; and his performances protesting against normative ideals of health and family, focusing on his own, ultimately failed medical self-management. Fluxus Administration is not a biography, but it does delve more deeply than any other book into Maciunas's life and work, showing the lengths to which the artist himself went to disrupt any easy account of himself"--
A tongue-in-cheek tale loosely inspired by the 1960s Fluxus art movement finds Martin and his neighbors confronting their fears about change when an eccentric newcomer demonstrates how change can be big or little or even small enough to fit in a not-so-scary box.
Focusing on the most definition-resistant art movement in history and departing from its two chief characteristics: intermediality and interactivity, this book develops an original theory of practice, the experiential philosophy of non-duality, which is the philosophy of dynamic co-constitutivity. This is done by tracing the performativity of intermedial works – works that fall conceptually between the art and the life media, such as Bengt af Klintbergs’s event score: “Eat an orange as if it were an apple” – in five key areas of human experience: language, temporality, the sensorium, social rites and rituals, and systems of economic exchange. The main argument, woven with the aid of the Derridian blind tactics, the Gramscian production of social life and the Zen-derived interexpression of Kitaro Nishida, is that the practical philosophy of co-constitutivity arises from the logic of the intermedium. In pursuing this argument, the book does three things: (1) it theorises an oeuvre that has remained under-theorised due to its fundamentally non-discursive nature and in doing so reinstates Fluxus as an influential cultural, rather than a “merely” artistic paradigm; (2) it serves as a companion to thinking by doing since most Fluxus intermedia are ready-mades, and, as such, readily available in the everyday environment; and (3) it establishes the counter-hegemonic logic of fluxing while tracing its legacy in contemporary practices as diverse as the culture-jamming activism of The Yes Men, the paradoxical performance work of Song Dong and the pervasive game worlds of Blast Theory. Natasha Lushetich is an artist, researcher and Lecturer in Performance at the University of Exeter, UK. Her specialist areas include intermedia, live art, performance and philosophy, and questions of identity and ideology. Her recent writings have appeared in Babilonia, Performance Research, TDR, Theatre Journal, Total Art Journal as well as in a number of edited collections.
Hannah Higgins explores the influential art movement Fluxus. Daring, disparate and 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 as affirming transactions between the self and the world.
"A history of the understudied but highly inventive Fluxus collective founded in NYC in the late 1950s/early 1960s. Fluxus was an unruly, endlessly shifting gang of performers, conceptual writers, musicians, and installation artists who wanted to integrate life into art using found and ordinary objects and processes (like cooking and shaving). Fluxus first arose in the United States under the leadership of George Maciunas and quickly spread to Europe. Artists from Claus Oldenberg to Allan Kaprow to Dick Higgins to Allison Knowles to Joseph Beuys to Gerhard Richter to Nam June Paik to Yoko Ono to Robert Filliou all participated in Fluxus at some point. Unlike other books about Fluxus, this one explores not just the movement itself but also how it figures the transition from modernism to postmodernism, and the historical origins of experimental art practices of the present"--
This double volume includes: The value of forgery, Jonathan Hay; Affective operations of art and literature, Ernst van Alphen; Betty’s Turn, Stephen Melville; Richard Serra in Germany, Magdalena Nieslony; Beheadings and massacres, Federico Navarrete; Pliny the Elder and the identity of Roman art, Francesco de Angelis; Between nature and artifice, Francesca Dell’Acqua; Narrative cartographies, Gerald Guest; The artist and the icon, Alexander Nagel; Preliminary thoughts on Piranesi and Vico, Erika Naginski; Portable ruins, Alina Payne; Istanbul: The palimpsest city in search of its archi-text, Nebahat Avcioglu; The iconicity of Islamic calligraphy in Turkey, Irvin Cemil Schick; The Buddha’s house, Kazi Khalid Ashraf; A flash of recognition into how not to be governed, Natasha Eaton; Hasegawa’s fairy tales, Christine Guth; The paradox of the ethnographic-superaltern, Anna Brzyski, and contributions to “Lectures, Documents and Discussions” by Karen Kurczyncki, Mary Dumett, Emmanuel Alloa, Francesco Pellizzi, and Boris Groys.