Fluxus

The Fluxus art movement presents an interesting combination of philosophic-based scores, interwoven with potential risks. Fluxus, which encapsulates not only music, but performance art holistically, entails compositions that often feature Cage-like parameters with an emphasis on performance. Thus, scores are usually presented as a set of instructions rather than notated music, which could also initiate debate regarding the definition of music. The scores that will be philosophically analysed within

During our first module of Performance Cultures, we explored and researched into the counter cultures of the 1960’s; how those movements shaped not only the development of the performance world but also the culture of modern day life. A prominent factor in the culture of the 1960’s was the art of protest. We as class researched heavily into the different areas of protest during that time, as it really was an era in which the ‘people’ fought back against governments and elitist institutes. To begin

enjoyed the most was a sculpture called “Self-Portrait.” The culture this work represents is the Neo-Dadaist movement known as Fluxus. Fluxus was a very loosely organized group based mostly around New York City. Like Dadaism, Fluxus artists didn’t believe keeping art in museums. Unlike previous art movements, Fluxus was “anti-art”, according to George Maciunas, the founder . Fluxus was a means to break down the boundaries between art and life. The historical period Nam June’s art represents is the late

Beuys’ work revolved around an interaction with his audience in the pursuit of a social art. Beuys defined “social sculpture” as “how we mould and shape the world in which we live.” This is not too dissimilar from Lefebvre nations of social space. It is within this context which he makes his famous claim, “everyone is an artist.” Here he envisioned an art form, in which society could be regarded as one great work of art, (an interpretation of the Wagnerian Gesamtkunstwerk) to which each person can

Enter At Your Own Risk In this essay I will analyse performance works, particularly by female artists in the decades after minimalism. How they used both the literal body, and participatory art as a vehicle to communication contemporary art practice. Evaluating the affects these works have had on contemporary art practice. The role that minimalism played in the advent of performance art Minimalism’s greatest contribution to performance art was its dismantling of metaphor, the creation of a

During the 1960s, new ideas in art began to emerge. The art world was introducing new various types of art including, performance art, photography, videography, installation and conceptual ideas. This era of art also pushed the boundaries between the traditional disciplines of art. Three artist that have had a huge impact on art in the time period are, Andy Warhol, Yoko Ono, and Marina Abramovic. Each of these artists embraced the new types of art in several ways. Andy Warhol is an American artist

Intro: In Steven Connor’s ‘Ears Have Walls: On Hearing Art’ (2005) Connor presents us with the idea that sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes us aware of the continuing emphasis upon division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, because sound spreads and leaks, like odour. Unlike music, Sound Art usually does not require silence for its proper presentation. Containers

It is an inherent tendency of human beings to shy away from boundaries enforced upon us, while we still desire to push beyond the limit. Boundaries are, after all, set by humans. Therefore, do we not have the upmost right and ability to stretch those borders until they collide and unite in complex harmony? Creativity, which includes art, requires a certain amount of these collisions to grow and move forward. In the 1950’s and 1960’s, Paolozzi, Klein, and Cage blur the boundaries between art and life

effectively, especially with an experimental production where the subject can be allusive or a test to grapple with. When discussing the experimental treatment of conceptual relevance, a good artistic reference for this is The Fluxus movement but more specifically Yoko Ono’s Cut Piece. Fluxus was an avant-garde art movement that emerged in the late 1950s as a group of artists who had become disenchanted with the elitist attitude they perceived in the art world at the time. These artists looked to

space. It is one of the most memorable pieces of the Fluxus movement and a clear "prototype for feminist art.”  However, there is more to distinguish from Yoko Ono’s piece. The context of this piece had a darker underlying motif for the meaning of the naked body, and the tearing away of clothes. It was a direct response to the bombing in Hiroshima and the decade long artistic censorship of the Hibakusha (atomic survivors.) Ono’s