One idea I came across in the article Fluxus Experience by Higgins for which seems very interesting was the creation made from combining artwork from different artists entitled Fluxus 1. I learned that Fluxus 1 was essentially a yearbook because it contained unique contexts of art as it included texts and objects by various artists that were associated with the first Fluxfestival (moma.org). Some of the artists included were Ay-O, Brecht, Stanley Brown, Robert Filliou, Ken Friedman, Geoff Hendricks, Higgins, Takehisa Kosugi, Jackson MacLow, Takako Saito, Tomas Schmit and Ben and Emmett Williams (moma.org). Fluxus 1 was a book that consisted of a number of envelopes bound together by metal bolts as each contained a printed work or art form from one single artist. It is interesting that the whole book was contained in a wooden case which was used, in part, to facilitate sending the work of these artists by mail. Because of this, a number of copies have the actual recipient's address written directly on the cover (Fluxus 1). I find this very interesting because it ultimately shows the collaborative technique these different Fluxus artists used as they all came together and relied on mail in order to send in all of their own and unique forms of art. This collaborative technique essentially highlights the Fluxus "do-it-yourself" aesthetic for which valued individualism over cultural beliefs and simplicity over complexity. This simplicity over complexity concept is especially exemplified in this book of art as many of the different art forms that were created and included by individual Fluxus artists show the use of simple objects and items for which ultimately resulted in very different, unique and perhaps even strange forms of art.
In further exploring Fluxus 1, I learned that this unique publication of collections of object-based works by different Fluxus artists ultimately resulted from George Macinuas as he essentially created and designed it. Fluxus 1 or also called a Fluxkit, contains objects, visual work, and essays by thirty-nine artists all of whom were not necessarily defined by social integration or friendships with the group (Higgins 14). It is said that Fluxus 1 was “Maciunas' first attempt at creating a coherent collective voice, an attempt to erode the artist's status as heroic individual and his first attempt to communicate the concept of self-sufficiency to the audience, an art where anything can substitute for an art work and anyone can produce it” (Fluxus 1). This idea is completely depicted in Fluxus 1 through the use of various items and objects such as songs, a napkin, a medical examination glove, photo portraits and visual and sound poems for which all ultimately yield multisensory, primary information (Higgins 14). With having each of these unique and interesting items, it seems as if they only help to exemplify Maciunas’ idea that art comes in various forms in which anyone can create.
These unique objects essentially do portray many of the different forms of art that can be created as for example, having a song with words and melody involves sight, motility and hearing. Having a napkin which is meant to touch the hand and the mouth involves tactility and taste. Having a medical examination glove which has the smell and look of latex involves touch both in and through the glove as well as sight and smell. The photo portraits included ultimately appeal to the eye and involve all of the senses. Lastly, including visual and sound poems that are meant to be read, heard or performed involve the eye, the ear and the body (Higgins 14). From this, it is apparent that all of these simple objects actually portray different forms of art such as taste and sight for which one would normally assume is not art. As mentioned before, the Fluxus movement emphasized the use of simple objects which is apparent here as the unusual use of a napkin and a medical examination glove show new and creative forms of art. This use of simple objects essentially results from the beliefs of the Fluxus movement discussed earlier in that simplicity is more important than complexity. Overall, the Fluxus movement included a strong sense of anti-commercialism as well as an anti-art sensibility which caused it to focus on the artist-centered creative practice rather than the conventional market-driven art world (Fluxus). With this, it is apparent from all of the interesting and unusual objects that were used in Fluxus 1, that the intent of this movement was to essentially erode the cultural status of art as well as help eliminate the artist’s ego through exemplifying the idea that art can come in any form.
In learning what Fluxus 1 was, I think it is necessary to look at a specific example of one of the pieces of art included within it. I thought that the discussion of Finger Boxes by Fluxus artist Ay-O in the article was interesting as it specifically shows the idea of using simple objects as a means for creative art. Although none of the original boxes were included within the Fluxus 1 itself, an envelope version of this art form was included. The article discusses the original Finger Boxes as it says that these boxes contained various tactile elements ranging from nails to sponges, beads to cotton balls and bristle brushes to hair (Higgins 16). With this, the idea behind this particular piece of art was that because the boxes looked identical from the outside, the actual experience with these boxes could only occur from touching the objects inside. Therefore, one would have to insert their finger and explore the objects inside the box through touch as merely looking at them is only experiencing them partially (Higgins 16). It is interesting that this project emphasized the fact that the index fingertip is the most sensitive organs as it shows that one is essentially relying on only their finger to create the experience with the art. Furthermore, I find it interesting that when one puts their finger in the box, their curiosity overcomes their sense of fear for exploring the unknown. I believe that this is true as the human psyche tends to be lured into the unknown and the uncertainty with things. I believe that this uncertainty that comes with not knowing what is inside the box essentially helps to portray the intentions of the Fluxus movement even more as the objects themselves yield the information and the experience of the art. Also, it is interesting that the Finger Boxes project focuses on the fact that the unknown objects inside should affect the audience communicatively as they are a means to be explored socially (Higgins 16). With this, it says that these Finger Boxes are not meant to be explored in solitude as they are rather intended for multiple users so that the experience can be a social one (Higgins 16). This social experience ultimately goes back to the whole idea of collaboration seen within the Fluxus movement as its aims were centered on the idea that it is necessary to partake in collaborated creation processes that use whatever materials are at hand as this ultimately allows artists to focus on the creativity of art rather than just their own artistic abilities.
http://en.wikipedia.org/wiki/Fluxus (Fluxus)
http://en.wikipedia.org/wiki/Fluxus_1 (Fluxus 1)
Article: Fluxus Experience (Higgins)
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