Fluxus was an international and interdisciplinary community of artists, composers, designers, and poets during the 1960s and 1970s. More than a specific art style, Fluxus was a shared mindset and a loose network of collaborators who challenged the definitions of art and the role of the artist in society. Known for its experimental performances, “event scores,” and mass-produced art objects, Fluxus was driven by a spirit of humor, simplicity, and an anti-commercial, anti-art sensibility. Its name, chosen by founder George Maciunas, is a Latin word meaning “to flow,” signifying a desire to merge art with everyday life.
The Core Philosophy of Fluxus
Fluxus was not a formal movement with a manifesto, but its participants were united by a set of shared ideals that grew out of the experimental composition classes of John Cage and were heavily influenced by Dadaism and Marcel Duchamp. The core philosophy was a radical rejection of the conventions of the traditional art world.
- Anti-Art and Anti-Commercialism: Fluxus artists were opposed to the elitist, museum-centric art world. They believed art had become a commodity for the rich and sought to create art that was accessible, affordable, and could not be easily bought or sold.
- The Blurring of Art and Life: The central goal of Fluxus was to dissolve the boundaries between art and everyday life. They believed that any object, sound, or action—no matter how mundane—could be a work of art.
- Simplicity and Minimalism: Fluxus works are often characterized by their simplicity and focus on a single, concise idea. This was a direct challenge to the heroic, complex, and emotionally overwrought art of Abstract Expressionism, which was dominant at the time.
- Humor and Playfulness: Unlike the often-serious protest of Dada, Fluxus was imbued with a sense of play, humor, and whimsy. Laughter was used as a tool to undermine the pomposity of the art establishment.
- Process Over Product: The focus was often on the creative process, the action, or the event, rather than on creating a finished, polished object for display.
Key Forms of Fluxus Art
Fluxus artists expressed these ideas through several innovative formats.
Event Scores
Perhaps the most defining feature of Fluxus, an event score is a short, simple instruction for an action that can be performed by anyone, anywhere. These scores, often just a few words on a card, are like musical compositions for everyday actions. Examples include:
- Yoko Ono’s “Lighting Piece” (1955): “Light a match and watch till it goes out.”
- George Brecht’s “Drip Music” (1962): “A source of dripping water and a vessel, empty. Second version: dripping.”
- La Monte Young’s “Composition 1960 #10”: “Draw a straight line and follow it.”
These scores transformed the audience from passive viewers into active participants and creators of the artwork.
Fluxkits and Multiples
To circumvent the gallery system, George Maciunas packaged small, mass-produced art objects, scores, and prints into “Fluxkits.” These were portable, briefcase-like collections of works by various Fluxus artists. Sold cheaply through mail order, they were designed to be affordable and to bring art directly to the people. These “multiples”—artworks produced in editions—were a direct assault on the idea of the unique, priceless art object.
Performance Art and Happenings
Fluxus artists were pioneers of performance art. Fluxus concerts and festivals were often chaotic and humorous events that combined music, action, and theater. Nam June Paik, a key figure, famously smashed violins and used television sets as an artistic medium. Joseph Beuys performed symbolic, ritualistic actions, while Charlotte Moorman, “the topless cellist,” combined classical music with radical performance.
Key Figures in the Fluxus Community
Fluxus was a truly global and collaborative network, but several individuals were central to its development.
| Artist | Key Contribution |
|---|---|
| George Maciunas | The Lithuanian-American artist who named, organized, and promoted Fluxus. He was the movement’s impassioned, if sometimes dictatorial, ringleader. |
| Yoko Ono | A pioneering member whose poetic and conceptual event scores are quintessential examples of Fluxus thought. |
| Nam June Paik | A Korean-American artist considered the father of video art. He brought technology and media into the Fluxus sphere. |
| Joseph Beuys | A German artist whose concept of “social sculpture” and charismatic performances expanded the definition of art into the political and social realms. |
| George Brecht | An American chemist and artist whose minimal and profound event scores captured the essence of finding art in the everyday. |
| Alison Knowles | An American artist known for her event scores and large-scale participatory installations, such as “Make a Salad.” |
The Legacy of Fluxus
Though it was never a commercially successful movement, the influence of Fluxus on contemporary art is immense and undeniable. Its ideas have become so ingrained in the art world that they are often taken for granted. The legacy of Fluxus can be seen in:
- Conceptual Art: Fluxus’s emphasis on the idea behind the artwork over its physical form was a direct precursor to Conceptual Art.
- Performance Art: The movement was fundamental to the development of performance art as a legitimate artistic medium.
- Video Art and New Media: Nam June Paik’s experiments opened the door for generations of artists working with video and technology.
- Participatory Art: The idea that the audience can be the co-creator of an artwork is a direct legacy of Fluxus event scores and happenings.
Fluxus was a radical, playful, and profoundly democratic movement. It demystified the creative process and proposed that art was not something to be revered in a museum, but a way of experiencing the world with curiosity and attention. It challenged the world to find the extraordinary in the ordinary, a revolutionary idea that continues to resonate today. Collections at institutions like the Walker Art Center and the Getty Research Institute hold significant archives that document the movement’s history and impact.