Discuss the work of three Fluxus artists explored in week 6 lecture, think of their ideas and

influences, the use of chance operations, play, intermedia, event scores and the world flowing
into their art.
Crossing the boundaries of conventional art Fluxus performances have not always been widely
accepted, In the words of Ben Vautier since fluxus artist never seem to agree on anything, Fluxus
has become a pain in art's ass. (Higgins, 2002, p. 13) This shows the radical change that Fluxus
was inflicting on some people and perhaps the sporadic and free nature of the term.
In the late 1950's a select few individuals introduced the notion of fluxus which explored a new
approach to performance art by compressing different artistic styles in order to flux into new
movements and challenge current sensibilities within the social, economical and political climate;
blossoming in the 1960's assisted by the induction of 'flower power'. With an intermediate approach
and having widely accessible philosophies to work, the term 'Fluxus' has great longevity and
arguable is an undying movement, ranging from the late 1950's until the modern age. As Maciunas
states in a radio interview Well, there's a lot, too much high art, in fact, that's why we're doing
fluxus (as cited in Kellein, 1995) Therefore Fluxus is integrating accessibility to art by appealing
to wider demographic through low art.
John Cage was undoubtedly one of the most influential and renowned names in Fluxus and thought
of very highly by some critics for example "when Harvard University Press called him, in a 1990
book advertisement, "without a doubt the most influential composer of the last half-century,"
amazingly, that was too modest." (Leonard, 1995, p.120) This just shows the level of appreciation
people are have for this new, initiative, experimental composer. He believed that all sound was
music and that there was never a true silence because the world always makes noise, shown in his
piece 4'33; a piece in three movements where the performer is still and totally quiet on stage,
enabling the audience to absorb the music/sounds around them, this includes coughing, chairs
creaking, sniffing and even laughing. Many people have since recreated the piece and John Cage's
legacy holds strong in modern day music.
Strongly influenced by John Cage, Allan Kaprow (1927-2006) was one of the first people to assist
in the development of the term happenings, coining it in 1957. Happenings are not a composite
or total art, as Wagneran opera wished it to be; nor are they even a synthesis of the arts. Unlike
most of the standard arts, their source of energy is not art. (Kaprow, & Kelly, 2003, p. 62) A
happening is a type of performance art, a collage in time for example involving words, objects,
sounds, projection and dance; which can take place anywhere, at any time and focuses on
spontaneity and relying heavily on the audiences potential participation, giving them instructions to
perform during the performances.
Yoko ono is a highly renowned Japanese artist, activist and widower of John Lennon. Famous for
her many different and obscurer pieces, she has made a carer in avant-garde film making, art, music
and theatrical performances. By creating Grapefruit; a book containing only scores, to be
performed by anyone, all over the world. She was then able connect with people in many different
environments and relate them to her politics and ethical messages.
There are many different scores in Grapefruit, some could clearly be relating to love or freedom
although electively could evolve the meaning or one could also ask themselves if there is not a set
idea that is meant to be conveyed.
Shadow Piece - Put your Shadows together until they become one.
Fly Piece - Fly
Beat Piece - Listen to Heart beat

Each Fluxus performer indeed seems to bring their own ideologies and inspirations within their
work, all seem to divulge in the smaller details of the political, cultural world and therefore can
work on very refined details of the physical world.
Bibliography
Ono, Y. (2000). Grapefruit. USA: Simon & Schuster .
Higgins, H. (2002). Fluxus Experience. California: University of California Press.
Kaprow, A., Kelly, J., 2003. Essays on the blurring art and life. California: University of California
Press.
Kellein, T. (1995). Fluxus. London: Thames and Hudson.
Leonard, G, J. (1995) Into the light of things: the art of the commonplace from Wordsworth to John
Cage. Chicago: University of Chicago Press.
Ono, Y. (2000). Grapefruit. USA: Simon & Schuster .