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It sometimes seems to me that photography has been the forgotten child of Fluxus over the years. I suppose it is not hard to understand why... there has not been a lot of photographic work that has been identified as being explicitly "Fluxus". Unlike video, which lemds itself so readily to Fluxus interpretations, the lines between Intermedia and multimedia are ill-defined and lurry at best, static photographs find their place most often as either "documentation" or "fine art".

However, there are Fluxus practitioners that do integrate Fluxus very directly into their work. Perhaps the best example is the artist, Brad Brace. Brad has been working on a photo (and photocopier) based project for many, many years. His 12 hour ISBN Project began back in 1994 and continues online to this day. Brad describes the project as

Pointless Hypermodern Imagery... posted/mailed every 12 hours... a spectral, trajective alignment for the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of exclusive events...

Recently Brad has published a massive collection of "thousands of enlarged and enhanced photographs, mostly low-res cellphone-camera self-portraits, culled from dating websites...", a 2 gigabyte (plus) pdf book. It's available to collectors for $250 and can be purchasd directly from Brad Brace (bbrace@eskimo.com).

Photographs have also been used by Reid Wood (State of Being) who has been photographing street signs and and similar odd bits of street text and posting his work to the Fluxlist Blog. Also on the Fluxlist Blog are photographs by Litsa Spathi. Her partner Ruud Jansen, has many flux-like photograps on Flickr and on his Facebook page.

Another artist who has recently made direct use of photography is Allan Revich (yes, me) who incorporates reflected text from storefronts and street scenes into his Urban Reflections series of photographs. Found photographs are also a part of his visual poetry.

In fact, "found" photographs are the most common use of photography in the Fluxus milieu... being quite common in collage work. I'll address collage in another blog post though. Another realted upcoming post will cover photocopier and Xerox imaging, in which my friend and flux-colleague Reed Altemus has been especially active.

Fluxfest in New York!

While (not yet) “officially” a Fluxfest, the weekend beginning on Thursday, April 15, 2010 is shaping up to be another exciting Festival of Fluxus in New York City. Here, courtesy of my favorite Fluxus impresario, Keith Buchholz is the itinerary so far. Be there… or be somewhere else!

Thursday, April 15th - Gaglione opening at Stendhal / Dada machine Fluxus performance:
Performers are: Picasso Gaglione, Darlene Dormel, Joshua Rutherford, Jessica
Feinstein, Keith Buchholz, Reed Altemus, Melissa McCarthy, Ruud Janssen, Christine Tarantino, and Mark Bloch. His show opens at 7pm. Performance begins at perform at 8:32 PM, sharp.

Friday, April 16th - Inside / Outside Fluxfest at Printed Matter
Performers (so far) are:
Reed Altemus, Picasso Gaglione, Joshua Rutherford, Melissa McCarthy, Perry Garvin, Ruud Janssen, Christine Tarantino, Darlene Dormel, Warren Fry, Jennifer Zoellner, Jessica Feinstein, Mark Bloch, Keith A. Buchholz, Olchar F. Lindsann, Tomislav Butovic, and whoever else shows up to perform.
The performance is at 6 pm with the first 30 minutes inside Printed Matter.
At 6:30 the festivities move outside and a banner that says "FLUXUS STREET THEATRE" will be unfurled, and begin the second part of the performance.
Printed Matter will be featuring the release of a new series of Performance score pamphlets that evening, featuring the scores of new and established Fluxus artists.

Friday Night, Following the Performance - 8pm New York Correspondence School Dinner - at Katz's Deli
Spread the word!!! - a classic meeting reemerges at historic Katz's ….
Be sure to let your friends know - It would be great to have as many folks there as possible.

Saturday, April 17th  - Lectures at Stendhal - John Held Jr., Ruud Janssen,
and Geert De Decker ( Stuka Fabryka ) Lecture on Mail Art, Rubber Stamp, and
Fluxus. Tentatively scheduled for 1 PM..

Saturday Night - Please Mr. Postman! It's Sticker Dude's Birthday!
Joel Cohen (Stickerdude) hosts an evening of music and mayhem with mail artists at a coffeehouse in Brooklyn. …Details to follow in New York.

Sunday Morning - The Raid on Rutgers:
For those who wish to venture out on the train, the Post Neo Absurdists have put together an informal tour of HISTORIC FLUXUS SITES on the Campus of RUTGERS. See where the FLUXMASS really happened… And lots more! Hosts Olchar, Warren, and Tomislav have done all the footwork - this will be fun!

 

The following is a brief excerpt from an excellent interview of the collage artist, Cecil Touchon, by Paris-based artist and curator, Matthew Rose. The full text of the interview can be read online at http://cecil.touchon.com/interview-matthewrose.html

Matthew Rose: Collage has a long and rich history in Modern Art, beginning formally with Picasso's and Braque's experimental canvases in the early 20th century, cutting newspapers and wall papers and adding them to their canvases.  The effects were to inject a sense of found realism into their tableaux and change forever the illusion of the picture plane. Since then, of course, collage has become a dominate form of artistic production.  Schwitters most well known works are collage pieces; the Dadaists brought collage into a new world not only with physical art works but with performances in a kind of audio and perceptual collage. Painting, as a result of all this early 20th century activity was forced to change, and one might say that all painting now is influenced by collage.

As an artist who has long worked the medium of collage in both cut paper and paint, how do you assess the state of the art of collage?

Cecil Touchon: I would have to say that the state of the art just now is very much alive and the number of artists working in the medium is growing. My efforts to understand and advance this constructive medium have, aside from my own art making, been in the area of developing an online community of collage artists around a central hub which is the International Museum of Collage, Assemblage and Construction (collagemuseum.com) that I founded in 1998.
The museum began as an online virtual museum and then, through various projects, has developed into a significant archive of actual collage and assemblage art.  The collection numbers in the thousands of actual works. My intention has been to create a focal point for collage art. I hope to draw artists together working in this medium so that we might all know each other’s work. Communicating together as colleagues, we discuss issues related to collage such as its history, techniques, materials, copyright and archival issues. We also share information about artists currently working in collage. I also wish as to inspire and promote exhibitions. Through this continuous banter it is possible to get a sense of what everyone is thinking about and what ideas are circulating...

I have excerpted only the very beginning of the interview. The full interview includes images, illustrations, and photographs, in addition to an exceptionally thoughful commentary on contemporary collage.

From the Walker Art Centre in Minneapolis, Minnesota:
Definition of Fluxus:

Fluxus is not: a movement, a moment in history, an organization. Fluxus is: an idea, a kind of work, a tendency, a way of life, a changing set of people who do Fluxworks.--Dick Higgins

Fluxus is a loosely affiliated international network of visual artists, new-music composers, writers, and performers who have been active since the early 1960s.

Beginning with a series of festivals featuring concerts of new experimental music and other avant-garde performance, Fluxus artists reacted against the commodity status of art, its commercialization in the gallery system, and its static presentation in traditional institutions. They often rejected the concept of artistic genius and single authorship in favor of a collective spirit and a collaborative practice.

Fluxus compositions or scores for performances and events involve simple actions, ideas, and objects from everyday life. Some scores, such as those in George Brecht's Water Yam (1972), were printed on cards and then packaged into plastic boxes and sold as inexpensive multiples. These scores call for open-ended actions and events that can be performed by anyone at any time in any place. Also on view is Yoko Ono's Invitation to Participate in a Water Event, in which she invited people to bring containers to her 1971 exhibition. These vessels were filled with water, displayed in the show, and labeled as collaborative works of art.

Sometimes a documentation or artifact from a Fluxus event became a work of art, a material presence that referred to an absent action or previous performance. Alison Knowles' Journal of the Identical Lunch (1971), documents her ritual noontime performances at a New York diner with various artists and friends. In Dick Higgins' ongoing series, The Thousand Symphonies, he composes musical scores with bullet holes and paint on sheet music. The result is both a documentation of the artist's action and a work of visual art.

Incorporating musical compositions, concrete poetry, visual art, and writing, Fluxus performances embody Higgins' idea of "intermedia"--a dialogue between two or more media to create a third, entirely new art form. Fluxus performance also incorporates actions and objects, artists and non-artists, art and everyday life in an attempt to find something "significant in the insignificant." The influence of this highly experimental, spontaneous, often humorous form of performance art prevailed through the 1970s and has been rediscovered by a younger generation of artists working today.

I really like this definition. It pays respectful homage to the historical aspects of Fluxus, while remaining completely open to the idea that Fluxus continued to the present day, and that many people continue to include themselves within the Fluxus meme.

September 10, 2009 marked the opening of an installation of staggering scope at The Emily Harvey Foundation Gallery in New York City. An American artist residing in Paris, Matthew Rose, invited hundreds of artists from around the globe to participate in the creation of an unbound book on the theme of "death". Appropriately enough, the exhibition and associated book, were titled, A Book About Death. Each participant was asked to submit an edition of 500 postcards, which were to be exhibited, and then freely distributed at the September 10th opening. The remaining postcards would remain availble for free distribution at the gallery until the show closed on September 22nd.

The opening was a spectacular affair that included performances by a troupe of international performance artists, many of whom were associated with Fluxus. The normally much quieter Emily Harvey Gallery space was overwhelmed (and almost overrun) by the hundreds of people that showed up for the opening. At one point there was a lineup that stretched down the street (Broadway) and around the corner, as the gallery space filled to capacity and a couple hundred people waited for their turn to enter. All in all Mr. Rose and the EHFG (with much help from Christian Xatrec) put together an exceptional production.

...But all of that is not really what this particular blog post is about. A Book About Death was promptly reborn into an active afterlife within only a few days of the gallery closing the show. The first twinge of this afterlife came about upon the acceptance of a complete copy of ABAD into the collection of New York's Museum of Modern Art (MoMA). For the many contemporary Fluxus artists that participated, this assumes added significance as it provides a contemporary counterbalance to the acquistion of the Gilbert and Lila Silverman Collection of Fluxus Art in February 2009. The Silvermans ammassed one the largest collections of early Fluxus works, but its scope was mostly limted to Fluxus prior to 1978.

Aside from the activity in New York City, editions of A Book About Death are beginning to be exhibited elsewhere. The first major exhibition is opening in Los Angeles at Otis College of Art and Design. This exhibition is special because it will be a reprise of the original exhibition since an attendee at the original opening, Mara Thompson (with a little help from her friends), was able to collect enough cards to organize a second free distribution event. Another re-exhibition is pending for Montreal, Canada.

Social networks like Facebook are also buzzing with more plans for more exhibitions everywhere. Welcome to the Afterlife!

In this chapter we learn that Fluxus is actually dead. We will also learn that Fluxus is alive and well and living in... everywhere.

I don't think many Living Fluxus artists really believe that they (we) are part of a magical posthumous George Maciunas Fluxus Group. From what I have heard and read, George was fond of including and excluding people in "his" Fluxus as he saw fit... so who knows what he would have done with us? Maybe he would have loved us, and maybe he would have decided that we were not worth caring about. I believe that many artists, writers, historians, etc. have worked around this issue by accepting the two-part or three-part (Part 1 = GM; Part 2 = Worked with GM and kept working; Part 3 = Working today within the Fluxus meme) idea that I proposed in the first note I posted. It is an attempt to be respectful of the Fluxus One era, and of George Maciunas, who was unarguably the keystone to that era -- while acknowledging (what to me is an equally inarguable reality) that Fluxus continued on/continues on unabated after he died.

The label "Fluxus" is the label that works. It is descriptive, and I think it is accurate. Today's Fluxus work represents a continuation of the work that began in the 60s (the 50s if you include the pre-fluxus era of John Cage and Black Mountain College alumni).The passing of George Maciunas represents the end of a single chapter - not the end of the book. It was a really important chapter. The whole bool depends on it... but still, it was only one chapter.

1

Fluxus is alive and well. Reports of its death have been greatly exaggerated. Fluxus is also dead.

How can Fluxus be alive and well, and dead, at the same time? Well, that goes to the essence of this blog post. Artists die. Ideas don't. People die, "movements" end, but ideas are not constrained by the limitations of the single human lifespan. Fluxus has always been more than an art movement. In fact it has been argued that Fluxus was never an art movement.

So, while the circle of artists who surrounded George Maciunas dispersed after his death in 1978, the Fluxus attitude persisted, and continues to persist today. The passing of Maciunas may indeed mark the death of the first Fluxus circle, but while Maciunas can be credited with both coining the term, and with building the first Fluxus circle of artists - the idea of Fluxus was not (and never was) dependent on him. Dick Higgins, a co-founder of Fluxus was still active until his death in 1998 - long enough (although sadly missed) to bring Fluxus into the Internet age. Higgins co-founded the Fluxlist, which has been instrumental in bringing new generations of creators into the Fluxus Attitude.

Chronologically, I would divide Fluxus into three main epochs:

  1. Original Fluxus: The cohort of artists who worked with Maciunas.
  2. Transitional Fluxus: The artists associated with Original Fluxus, who continued working within the Fluxus Attitude. These would include Dick Higgins, Alison Knowles, Ken Friedman, Al Hansen, and Nam Jun Paik (among others).
  3. Continuing Fluxus: This is contemporary Fluxus. The artists active in contemporary Fluxus are as infected by the Fluxus Attitude as the artists of Original Fluxus. They are no "less" Fluxus than Maciunas and his circle, even though most of them never met Maciuanas. While many of the know/knew/met the artists of Transitional Fluxus, this is by no means a pre-requisite to being a Fluxus Artist. Artists active in Continuing Fluxus include, Keith Buchholz, John M. Bennett, Allan Revich, Cecil Touchon, Reed Altemus, Ruud Jansen & Litsa Spathi and many others. The Venice based British artist, Alan Bowman, also continues to be active not only as an artist, but also as a bridge, binding together artists from all three epochs.

Fluxus is an idea. It is an attitude. It lives, and will continue to live for as long as there are people interested in living and working with it.

Fluxfest at Pierogi's The Boiler
(on Sept. 11, with not a mention of 9/11)

...had the genuine Fluxus offhandedness and the historically correct disregard for ceremony or performance-niceties such as a printed program. The latter would have allowed the patient audience -- outnumbered by the performers, as is also traditionally Fluxian -- to ascertain authorship, date of creation, and performer. Thus, 13 or so friendly Fluxians from here and abroad, most of whom had not met before, presented an hour-and-a-half of Fluxus pieces, old and new.

For the record, they were listed in WAGMAG, the Brooklyn Art Guide (which I had picked up at 111 High Street) in anti-alphabetical order: Allan Revich, Reid Wood, Mark Bloch, Christine Tarantino, Carol Starr, Reed Altemus, Tamara Wyndham, Don E. Boyd, Melissa McCarthy, Keith A. Buchholz, Bibiana Padilla Maltos, Bradstifter, Mary Campbell, Pronoblem and more!!

Balloons were inflated, water poured from one plastic cup into another in a circle of plastic cups, jellybeans dispersed, toy instruments given out -- as were miniature versions of U.S. tender. Various classic Dada texts were read, including a poem by Louis Aragon called Suicide, which consisted of reciting the alphabet. (It is one of my all-time favorites.) But in another rather anti-Fluxian demonstration, a woman asked if anyone could love her as much as she loved herself. Obviously not. So shopping bag in hand, she stormed out, never to return.

The best was saved for last. The interlocutor, one of five participants wearing black hats, tacked a piece of paper on the wall behind him, then left. Other Fluxians got up, read what was on the piece of paper, and also left. Then members of the audience, myself included, did likewise. I copied what was on the piece of paper: "Word Event/Exit/ George Brecht, 1961."

 Critic John Perreault in Artopia 9/20/09

Copy Art has been closely associated with Fluxus over the years. While it is not inherently or definitively Fluxus (what is, really?), Copy Art is certainly consistent with the Fluxus ethos, and has been created by many artists who have been associated with Fluxus. One of those artists is my friend Reed Altemus, who wrote this short piece in 2003:

What Is Copy Art?
by Reed Altemus, 2003

Of all the myriad individual ways of describing and defining photocopier art, there are two, in particular, which seem to me the most useful. The first is very broad: photocopier art consists of any instance in which an artist, cultural worker or any individual uses a photocopier as an important step, whatever that may be, in the process of producing creative work. Its set includes very definitelycopy-arts-and-crafts, flypostering, micropress, mail art, and zines. The second useful definition is more mediumistic and specific and says that copy art consists of an artistic and paradoxical reversal of the purpose of the technology, using a copying device to produce an original one-of-a-kind photocopy through an interference with or intervention in the usual functions and operation of the copy machine. The premise of this second take is that copy art is defined as work where the artist purposely uses a copying device to produce something which is not a copy and can therefore only be called an original by using certain more or less well-known techniques to divert the photocopier from its normal function. From this arose the epithet “original copy”. For copy artists, copy art is never a copy of art, but rather the goal is to produce an original work achieved through a process of exploration and experimental intervention. One might call the difference between the two areas as photocopy as a means to an end and photocopy as an end in itself – the ostensible difference being between using the technology as a machine i.e. duplication and using it as a tool i.e. creation. There are also certainly plenty of overlaps between the two, for instance, the production of editions and artists’ book to mention just two. The first catagory is probably more useful in describing the medium in general terms as it is most known, taking into view all the functions photocopiers play in cultural activities, and probably accounts for 99% of the cultural use of photocopier technology while the second is more an experimental and limited domain of specifically copy art praxis limited to the technical aspects of the medium and based on an artistically adopted paradox. The latter amounts to a very small segment of artists who consider use of the photocopier as an art medium in itself.

You can learn more about Copy Art on Reed's TONERWORKS blog, and more about Reed Altemus here.

Reed has also posted a comprehensive Copy Art Bibliography to http://leonardo.info/isast/spec.projects/electrobib.html

As an artist, I like to play with, test, and explore the limits and boundaries around reason. Intermedia is concerned with the spaces in which media intersect, which is one of the reasons that I am so attracted to Fluxus. For example visual poetry is poetry for the eye; falling into the space where visual art and literature intersect. Sound art is art for the ear, falling into the space where audio (music/sound) and visual art intersect. Reason tells us that visual art is not something that is meant to be appreciated with the ears, and that audio cannot be appreciated as visual art.

But when audio is approached from a sculptural perspective, it stands to reason that sound consists of air molecules in  motion --- it occupies space physically just as a sculpture does. Visual poetry also follows a reasoned path to a logical ending... Poetry starts as language expressed with rhythm, rhyme, and meter - is transcribed into text, and is then read silently or aloud to be expressed again. Rather than permit the text to remain on the page solely as a semiotic marker for language, visual poets use it as raw material for visual expressions. The result cannot reasonably called either visual art or poetry, but is clearly some hybrid, intermedia iteration of BOTH text and visual art.

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