For and Against Anti-Art

The following URLs link to various articles about anti-art. Some dispute the opinion that I offer in my previous posting.

Making art out of anti-art by Travis Hugh Culley

(a very well written article)

Anti-Art Is Not Art by Michelle Marder Kamhi

The “stuckist” argument against anti-art

(The “stuckists” are an interesting phenomenom of their own – a bit too proud of being stupid)

Dictionary definition from ArtLex

Create your own anti-art

A Bit About Anti-Art

What is anti-art anyway? Can anti-art even exist? Isn’t anti-art still art?

These are all good questions. Anti-art is obviously still art. It exists within the cultural context of the art world and it cannot exist without art. Before one is tempted to be smugly dismissive of the anti-art movement though, one needs to consider that just as anti-art exists within the world of art – art cannot exist within the broader context of culture without its own opposite – which is anti-art. So, anti-art must exist, even it it is a part of the art world. This is akin to the idea that post-modernism requires modernism to exist or there would be nothing for it to be “post”.

OK, so in a nutshell, anti-art is still art but anti-art does exist. So what is anti-art anyway? I like to think of anti-art not so much as being “against” art, but as being more of an “antidote” to the dominant culture of art. Anti-art is art at the margins. It is art that exists independently of the dominant commerce driven art world. It exists even independently of the dominant so-called anti-art of the academic world (even if many artists involved with anti-art are a part of that world). Anti-art is art that exists and is created purely at the desire of the artist, for the edification of the creator. It does not depend on approval from anybody else. It doesn’t even require the approval of other anti-artists. This does not mean that communities of like-minded creators cannot exist. Artists or anti-artists, or anti-art artists are still human – are still social beings. Why should they be excluded from broader communities?

Fluxlist Blog

On April 3rd of this year (2006) the members of Fluxlist established a collaborative community Blog. Incredibly, in less than two weeks the Fluxlist Blog has 36 members and has agathered more than 120 posts. All of these posts incorporate the Fluxus spirit of intermedia and collaboration. I recomend a visit by anybody interested in the new directions that Fluxus is taking while still maintaining the heart and soul of the original Fluxus movement.

Be sure to click on the “Archives” at lower right.
It is a busy blog with much to experience!

Fluxus: The Persistence of Flow

A great article about Fluxus and the Fluxlist by Kamen Nedev posted on his emit Blog.

[[image:flux-die.gif:Fluxus: The Persistence of Flow:left:0]]

Portable Hole 2006 by Allen Bukoff

This project by Allen Bukoff is absolutely fabulous!
I have included one graphic and a bit of text, but you need to visit the site to get the whole picture.

[[image:bukoff-hole.gif:Portable Hole by Allen Bukoff:left:0]]

The (w)hole story is can be found at:

Allan Kaprow; 1927-2006

[[image:kaprow1.jpg:Allan Kaprow 1927-2006:left:0]]
[[popup:kaprow.jpg:Memorial Picture:Allan Kaprow:left:1]]

Fluxus Podcast

Walter Cianciusi a Fluxlister and contemporary Fluxus artist has recently set up a Fluxus podcast which can be subscribed to using Apple iTunes.

To listen you just need to:
1. download iTunes 6 (free) for Mac or PC: ;
2. search for “Fluxus” in the Music Store page (podcast directory); 3. sign in “Fluxus” podcast.

The xml address for the Fluxus Podcast to feed in any podcast receiver (like Juice, Doppler, iTunes or whatever) is

Springtime for DaDa in NYC

Each spring dada is reborn in New York City

[[image:day_de_dada.gif:dad de dada:center:0]]
For more information about the day de dada visit

Ray Johnson Update

From a biography of Ray Johnson at

As his contemporaries became famous, Johnson receded from view, cultivating his role as outsider while maintaining his profile by communicating via mail art and the telephone. He parodied celebrity in performances, fake openings, photocopy-machine art, lists of famous names next to obscure names, and rubber-stamped signatures such as "Collage by Joseph Cornell," or "Collage by Sherrie Levine." Johnson, referring to himself as a "mysterious and secret organization," achieved legendary status as the conscience of artists. This underground reputation prospered well into the 1980’s, despite his general absence from the scene, and the gallery-going public’s sketchy notions of his output.

Johnson’s suicide became the first opportunity to examine his work of the previous fifty years. Stored in an eerie construction of boxes inside his house, the work was as precisely stacked as a large three-dimensional collage. With the help of Frances Beatty, Vice-President of Richard L. Feigen & Co., filmmakers Andrew Moore and John Walter spent the next six years probing the mysteries of Johnson’s life and art. Their collaboration yielded the award-winning documentary, How To Draw a Bunny, released in 2003. The film examines Johnson’s life, art, and ambivalent attitude toward fame.

Buy the film "How to Draw a Bunny"

Before the Beginning

The very first post on The Fluxus Blog said that Fluxus arrived in America in 1962. While 1962 may have been the year of the first Fluxus exhibition in America, Fluxus was happening in New York in the 1950s.

In the years 1957 to 1959 John Cage was teaching a music composition course which was attended by many of the early Fluxus activists, including Dick Higgins, George Brecht and Al Hansen. This was also where and when Allan Kaprow first conceived of, and exhibited his happenings, and other Fluxus artists were creating art and music events and were producuing the scores to performing the events.