This site constructed by
Richmond, VA 23235
and images on this
& music, unless
labeled ) are the
creations of and
therefore legal intellectual
art movement defined by
for more Fluxus examples)
It’s a set of questions as much as anything else.
Is it that difficult to be ‘An Artist’, does one have to be touched by a magic power to produce a work of art? No?
Can anyone do it then?
Is art only ‘art’ if it’s in a frame? In a gallery?
And is art ‘art’ if whoever’s looking at it doesn’t know that’s what it’s supposed to be? If the person looking at a thing doesn’t view herself as a person observing a work of art, then what does that make the object viewed? Is it still art if it’s happened upon?
If it’s ‘undisclosed’? Does it still remain a piece of art even when it’s got no sign, saying what it is, or who made it?
Then is everything art?
Surely not. Everything ‘beautiful’ then? Is everything beautiful ‘art’?
But what’s ‘beautiful’?
These kind of questions, repeated endlessly in the twentieth and twenty-first century by artists, art critics and other, normal people, need to be asked.
Unfortunately, they’re also the same questions that can lead to people disappearing up their own
In Early to Mid Sixties New York, The Fluxus Group created art that was accessible, affordable,and could be produced by anyone at all, with only the simplest of instructions.
What you see on these pages is a re-examination of one particular work – ‘Spacial Poem no. 1’ by Mieko
Shiomi, an attempt to understand the nature of the artwork by re-presenting it, using the tools available to us now.
Shiomi's original instruction;
'Write a word or words on the enclosed card
and place it somewhere. Please tell me the
word and the place, which will be edited on
the world map.'
was sent to family, colleagues and friends of the artist.
This, in the fluxiness project, has evolved into a downloadable card, with suggested words and space for creation, using volunteers from all over the world, spreading words, a movement of language in space, and presenting them through written documentation, digital photography scanned images and e-mail.
Originally a project for a course on Contemporary performance and live art, there is no reason that the project should stop.
(c) 2003 Anna Pickard and Lee Stewart
If you go to Pickard/Stewart site click on the word
"Where?" at the top of the page and click on the examples
of sample fluxus projects, here's one example from the pages:
Almost all of you have failed to recognize three obvious things about Fluxus--about the Fluxus you helped create!
Fluxus is more than Art. It's bigger than that. To confine it to being understood as being primarily a phenomenon in the realm of art is to let it die.
Fluxus can still be a vibrant and energetic force. By refusing or failing to recognize this for the last 20 years, you have been letting Fluxus die.
Fluxus is bigger than you. Fluxus is bigger than the initial group or Fluxers, it's bigger than Maciunas. You guys didn't finish off or "complete" the Fluxus project, you just got it started! Many others have come to Fluxus with new Fluxus ideas and projects, and many of you haven't even bothered to notice. By confining Fluxus to yourselves, you are letting it die.
George was creature of gastronomic
habit. He loved to eat thawed frozen
strawberries and cottage cheese.
He always purchased the same brand
and glued together the spent containers
to make huge wall like partitions.He
also couldn't resist a bargain. He once
spent several months eating goose liver
pate, three meals a day since he got
a case load for such a good price.
Tango Fluxus project
© Jimmy Warner, 2011
E Broad St.
of the month
1 thru 23
insult your very nature