Fluxus Forms

Scores, Multiples, and the Eternal Network

Natilee Harren

Fluxus Forms

Natilee Harren

304 pages | 12 color plates, 70 halftones | 7 x 10 | © 2020
Cloth $50.00 ISBN: 9780226354927 Will Publish February 2020
E-book $50.00 ISBN: 9780226355085 Will Publish February 2020
“PURGE the world of dead art, imitation, artificial art. . . . Promote living art, anti-art, promote NON ART REALITY to be grasped by all peoples,” writes artist George Maciunas in his Fluxus manifesto of 1963. Reacting against an elitist art world, Fluxus encouraged playfulness, chance, irreverence, and viewer involvement. The Fluxus collective—including George Brecht, Robert Filliou, Dick Higgins, Alison Knowles, George Maciunas, Yoko Ono, Nam June Paik, Benjamin Patterson, Takako Saito, Mieko Shiomi, Ben Vautier, and Robert Watts—embraced humble objects and everyday gestures, finding freedom and excitement beyond traditional forms of art-making. 

While today the Fluxus collective is recognized for its radical works of performance, publishing, relational art, and ephemeral practice, it was not seriously studied in its own time. With Fluxus Forms, Natilee Harren uncovers the history of Fluxus that emerges at the intersections of art history, performance studies, music history, and literary theory. The book offers insight into the nature of art in the ’60s and traces the international development of the collective’s unique intermedia works—including event scores and Fluxbox multiples—which radically expanded the boundaries of contemporary art. 
Contents
Prelude: The Artwork in Flux

One Diagramming Form, from Graphic Notation to the Fluxus Event Score

Two Of Drips, Diagrams, and Immanent Form: Fluxus in the Wake of Abstract Expressionist Painting

Three George Brecht and the Notational Object

Four George Maciunas, Fluxboxes, and the Transitional Commodity

Five Objects Without Object: Robert Filliou and the Unworking of Fluxus

Coda The Fluxus Virtual, Actually
 
Acknowledgments
Notes
Index
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