Sentences with phrase «fluxus happenings»

Most notably, John Cage, Merce Cunningham, Nam June Paik, Karlheinz Stockhausen and other avant - garde artists, musicians and dancers convened at the studio, partaking in many of the earliest Fluxus happenings and earning Bauermeister the title «mother of the Fluxus movement.»

Not exact matches

Known for his contributions to the Fluxus movement and his work across diverse media — from happening and performance to sculpture, installation, and graphic art — Beuys» expanded concept of

Known for his contributions to the Fluxus movement and his work across diverse media — from happening and performance to sculpture, installation, and graphic art — Beuys» expanded concept of the role of the artist places him in the middle of socially relevant discourses on media, community, and capitalism.

Happenings, Fluxus, Conceptual art, Performance art, Installation art and Earth Art — just to mention few.

Like the American Fluxus group, the Actionists sought to create art outside the usual gallery and market structure, often as free - form events or happenings that yielded abstract works of art and ritualistic, body - oriented performances.

As you keep traveling along the fifth floor into the Anti-Art movement, you see excerpts from a film about Marcel Duchamp, Silence, Sea and Marcel Duchamp, (1968 and 1994), paraphernalia from the Fluxus group, and an homage to Alan Kaprow, Nam June Paik and Happenings.

Its collective activities parallel not just painting, but Fluxus, Black Mountain, Yves Klein, and the happenings of the 1960s still to come.

His film production include The Misfits - 30 Years of Fluxus (1993), Something Wonderful May Happen - New York School of Poets and Beyond (2001) and Words of Advice - William S. Burroughs on the Road (2007).

With Genpei Akasagawa and Natsuyuki Nakanishi, the trio performed Fluxus style happenings across Tokyo which were challenging in both their politics and playfulness.

Fluxus and the Happenings in New York City in the 1960s drew miniscule crowds, fewer than ten people as often as not, but you'd be hard - pressed to find a student of contemporary art history who doesn't speak of the events with an almost religious fervor, something it seems Golia desires to emulate.

Taking its name from the inspirational 60's Fluxus movement that birthed artists including Joseph Beuys and Yoko Ono, it saw artists stage happenings across the world.

Cage's work was also a notable influence on artists affiliated with Fluxus and Happenings, who were similarly interested in chance and the everyday; among the students in Cage's «Experimental Composition» class at the New School for Social Research in the 1950s were artists such as Allan Kaprow, George Brecht, and Dick Higgins.

Szeemann, by contrast, curated a boxing match with Joseph Beuys and happenings with Oldenburg, Allan Kaprow, Nam June Paik, and a host of Fluxus artists.

In the spirit of Allan Kaprow's pioneering «happenings» of the 1960s and Joseph Beuys's Fluxus - inspired «action art,» CES blurs the line between art and everyday life.

We consider the current excitement around performance and process based art to be fresh, but as this younger generation emerges it is interesting to understand its relationship to the movements that Hansen was of, starting as Neo-Dadaism, then morphing into Happenings, Performance Art, and Fluxus.

His classes with John Cage provided the foundation for his Fluxus event scores, including The Hamlet of Gertrude Stein (1962) and Alice Denham in 48 Seconds (1958), as well as later Happenings such as Yoko Ono Piano Drop (1970), which calls for a «prepared» Piano to be pushed off the roof of a gallery or museum, and Elegy for the Fluxus Dead (1987), in which the artist wrapped his entire head in masking tape after reciting the names of deceased fellow Fluxus artists.

Though most people came to know him through his mid -»80s painting and installation work, John Armleder was in fact a founding member of Ecart, the late -»60s Fluxus - inspired artists» collective that staged happenings, published books, and created objet trouvé installations.

Block pioneered intermedia art, Fluxus, and happenings and in so doing played a key role in launching Berlin's embrace of contemporary art.

Sanders explains: «It was a special moment in SoHo, after the first generation of Fluxus and Happenings, when the innovation of the decade broke down the barriers between art and life, and started to dismantle older understandings of art.

Coined by art critic Barbara Rose, the term Neo-Dada encompassed several smaller movements, including Fluxus, Happenings, and Pop Art.

Famous Neo-Dadaists included Robert Rauschenberg (1925 - 2008), Jasper Johns (b. 1930), Larry Rivers (1923 - 2002), the modernist composer John Cage (1912 - 92), the metal sculptor John Chamberlain (b. 1927), the Performance artist Allan Kaprow (1927 - 2006), the «Happenings» pioneer Jim Dine (b. 1935), the Nouveau Realiste Yves Klein (1928 - 62), the Fluxus leader George Maciunas (1931 - 78), the Pop sculptor Claes Oldenburg (b. 1929), the collage artist and father of mail art Ray Johnson (1927 - 95), the Japanese concept artist Yoko Ono (b. 1933), the video artists Nam June Paik (1932 - 2011), and Wolf Vostell (1932 - 98), and the installation artist Joseph Beuys (1921 - 86).

Reconciling elements of Dada, Happenings, Fluxus, and European Actionism, his artistic practice can be understood through the tripartite lens of lectures, installation environments, and audience participation.

Whitney to Bring Downtown Uptown — Performance curator Jay Sanders is gathering together a historic collection of ephemera, sets, and documentation from the performances that occurred in New York's alternative spaces between 1970 and 1980, a period that has not yet been as fully treated as the era of Fluxus and the Happenings.

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic art.

[5] A. Michael Noll, and multimedia performances of E.A.T., Fluxus and Happening.

Though art historians often cite Futurists and Dadaists among the first performance art practitioners, performance art first came into being as a discrete movement in the late 1950s and early 1960s, with early practitioners including artist - shaman Joseph Beuys, Fluxus artist Yoko Ono and «Happenings» creator Alan Kaprow.

Those works generally took place in performance halls connected to the museums, but now, we are seeing a resurgence toward a more «Fluxus» type of performance, like the Happenings that I am referencing in my own work.

In the 1960s he took part in Happenings and Fluxus events.

Inspired by Dada and Fluxus, a Happening is a theatrical artistic event.

During his early career of the early 1960s, Richter was introduced to American and British Pop art, a style which was just becoming known in Europe, and also to the Dadaist Fluxus movement and its Happenings, founded by the Lithuanian - born American art theorist George Maciunas (1931 - 78).

Allan Kaprow had a huge influence in the next movements: «Kaprow's happenings paved the way for the international Fluxus groups» actions and the general performance art movement in the late 1960s and 1970s, and also set a standard of interactivity, multimedia, and an art of everyday life that was a huge influence for later contemporary art.»

More powerful during the 1960s, were the events and happenings staged by the Fluxus movement, founded by the Lithuanian - American art theorist George Maciunas (1931 - 78), which began in Germany, before spreading across Europe and establishing itself in New York.

Originally a term coined by New York artists in the mid-century art scene, Fluxus, «Happenings» were pop - up parties with art, live music, and installations.

The process - based approach of Filliou, united with his pursuit for an anti-individualistic art that could happen at any time and place, brought him close to George Maciunas and the other members of Fluxus.

These Fluxus activities were already leading him in the experimental direction of Dada, but it wasn't until about 1959, after his essay on Pollock, that he started to create the «Happenings» and «Environments» for which he became famous.

Thus, instead of focusing on individual creative disciplines (such as painting, printmaking, sculpture, photography), and attaching overriding importance to individual works of art, Fluxus artists worked together in order to blend different artistic genres (visual, literary and musical) into a number of «events», involving installation art, conceptualism, happenings and photography as well as various types of performance art.

In its denial of traditional disciplinary boundaries, this influential event set a pattern for Happenings and Fluxus activities and provided an impetus for much of the live art of the following decade.

Some critics like to trace Sehgal's work back to the influence of the 1960s Happenings or Fluxus movements or to the Relational Aesthetics work of the 1990s.

Happenings were also a part of the international avant - garde group Fluxus.

Kaprow, Dick Higgins, and Al Hansen — all students at John Cage's composition class at the New School for Social Research in New York City — performed Happenings and were associated with Fluxus, as were other artists, such as Wolf Vostell and Carolee Schneemann.

Prolific in his lifetime he is known as a Fluxus, Happening, performance, and installation artist, along with being a sculptor, art theorist, graphic artist and tutor of art: always working towards the idea of the gesamtkunstwerk (an ideal, universal, all - embracing artwork).

In addition to Performance, one direct outgrowth of Happening art was the German - born Fluxus Movement (named after the Latin word for «a flowing»), which was launched in 1962 by the Lithuanian born American theorist and art philosopher George Maciunas (1931 - 78).

Fluxus artists collaborated to blend different media (visual, literary, musical) into a number of «events», involving installations, happenings, photography and film.

The Zero Group (Heinz Mack, Otto Piene and Günther Uecker) was founded in Düsseldorf, and it was making monochrome paintings and kinetic sculptures, while Fluxus artists staged the first Happenings.

Fluxus performances often had a pithy character, especially in contrast to Kaprow's «Happenings,» though both sought to blur the line between artist and audience.

Fluxus works shared similarities with the «Happenings» of Allan Kaprow, particularly in the way they blurred distinctions between art and life.