Ken Friedman wrote:
>
>
> Fluxus had its problems, too. One of greatest Fluxus virtues was also its
> worst problem: a rigorous, almost scientific program of inventing ways to
> approach art. These explorations were part of a broad intellectual project
> on which many contemporary art movements and manifestations could borrow.
> Given the problems associated with Fluxus, others borrowed Fluxus
> innovations and projects, adapting them to many purposes while failing to
> acknowledge Fluxus as the source.
>
> Fluxus artists had a second problem. In terms of the art market, ---
> Fluxus people also
> walked away from much of the credit that might have been theirs. The
> experimental sensibility of Fluxus people was so strong that these artists
> often lost interest in their own, earlier ideas and moved on.
>
> One often hears of artists whose work has arrived before its time. This is
> true enough in the art market. There is a worse problem yet. Nothing is
> less forgivable to the powers that move the art market than artists who
> fail to repeat their work to feed a market that demands art work after its
> time has come.
>
> Oddly enough, these are the Fluxus artists who have had the most profound
> impact on the art world, but even the more conservative, art-minded Fluxus
> artists crossed the boundaries of art forms, moving with ease between
> tactile, musical, theatrical, visual and literary forms.
>
>
Terrence writes;
Excellent info/ insite post! Thanks.
Fluxus, I think, holds the key to taking formalized art out of the meuseum and
actualizing by culturizizing their forms into PUBLIC ritual. Hatch that egg!
terrence kosick
artnatural buc buc! (have a nice easter/ passover)
