Fluxus and after

The radical attitudes and iconoclastic aesthetic of Marcel Duchamp have had a profound Fluxus attracted many people and the issue of key participation has always been a subject of influence on the development of twentieth-century art. Believing that art should be accessible dispute. Certain artists were initiated into its ideals as participants in John Cage's legendary to all and, consequently, that it could be made of the most mundane and ephemeral of class in experimental composition during the late 1950s at the New School of Social Research materials, Duchamp's 'readymades' (c.1914-21) represented the first major step towards the in New York. A festival of New Music, organised by George Maciunas at Wiesbaden, Germany demystification of in 1962 is generally accepted as the event when Fluxus was recognised, and artists included the artist and his/ £ z : c x x x•IWX30 w ft. I%T 3 13 0 are now acknowledged a her work. . x . . . ZEJCI the loosely knit movement. The Transforming mass- -v- Wiesbaden group included Dick 3 E x m x 4 m x z _ J r w x z , r produced objects Higgins, Alison Knowles, George Brecht, Eric Andersen, Tomas Schmit, Wolf Vostell, Nam June such as wooden stools and bicycle wheels into creative statements, these readymades Palk, Emmett Williams, Maciunas himself and several others. Other members came into Fluxus expanded definitions of art to an unprecedented extent. Duchamp's vast creative and on the basis of working in a similar vein. They included Ben Vautier, Joseph Beuys, Bengt af ideological legacy has been particularly influential for Fluxists from the 1960s onwards. Klintberg, Robert Filliou, Jackson MacLow and La Monte Young. The group kept growing. Fluxus artists began to influence others through friendship and collaboration. 'IT BEtAME, I WOULD SAY, NOT A GROUP, BUT MORE LIKE A WAY OF LIFE...' , Q : ( ( 3 e o r g e Maciunas) 64W ~I.Nlft -IV 7 . .. An Anthology 2nd edition. Edited by La Monte Young 1 " Published by Heiner Friedrich New York 1970 Designed by George Maciunas ME 0 . - Collection: Queensland Art Gallery _* " - H E L E T T E r MON7 IF CARLO 5 11 21 With graphic directness George Maciunas described the contents of this anthology 11%,f qUiRZf M11t py,cc "g ' 'ibJ NATURAL DISASTERS CHANCE OPERATIONS CONCEPT ART K ' ' INDETERMINACY IMPROVISATION r y - . r y 0 , n 7 . k0Muc;fs/' 71 ESSAYS 00 STORIES sO op- 12 MUSIC C~ - ANTIART X 0 N T r, C A It U 0 ccDIAGRAMS • e - n , e a W ; v 4 . MEANINGLESS WORK 11 . . .5 r - . ))' . r', MATHEMATICS L., r - - ' . - - - COMPOSITIONS DANCE CONSTRUCTIONS PLANS OF ACTION POETRY $ , - - - ,.-,- . ' - , y, Including contributions from various artists active in the 1950s who became associated with UJ Cr Fluxus, this publication served most importantly as a model and catalyst for Fluxus anthologies co / 1 - per se. This volume was preceded by an earlier edition, published by La Monte Young and Marcel Duchamp (France 1887-1968) Jackson MacLow in 1963 from materials collected in 1960. Obligation Monte Carlo. Monte Carlo bond 1924-38 Colour lithograph George Maciunas (Lithuania/United States 1931-78) 318o23 2cm Diagram of Historical Development of Fluxus and Other 4 Dimensional, Aural, Optic, Olfactory, Collection. Queensland Art Galery Epithelial and Tactile Art Forms. Compiled by George Maciunas Published by Kalejdoskop, Ahus, Sweden, 1981 The original bond was issued in an edition of 30 in 1924. This impression is from the only edition Collection Queensland Art Gallery issued by XXe Siècle, Paris in 1938.