1.2 Happenings and Fluxus
9 min read•august 21, 2024
and revolutionized performance art in the late 1950s and early 1960s. These movements challenged traditional art forms by blurring boundaries between visual arts, theater, and everyday life, emphasizing and .
Key figures like and pioneered new approaches to artistic expression. Their work focused on process over product, incorporated , and used , leaving a lasting impact on contemporary art practices.
Origins of happenings
- Happenings emerged as a radical form of performance art in the late 1950s and early 1960s
- Challenged traditional notions of art by blurring boundaries between visual arts, theater, and everyday life
- Emphasized spontaneity, audience participation, and the fusion of multiple artistic disciplines
Influences from abstract expressionism
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- Action painting techniques inspired the physicality and spontaneity of happenings
- Emphasis on process over finished product aligned with abstract expressionist ideals
- Jackson Pollock's drip paintings influenced the use of chance and improvisation in happenings
- Gestural and expressive elements from abstract expressionism incorporated into performative actions
Allan Kaprow's contributions
- Coined the term "happenings" in 1957 to describe his experimental performances
- Organized the first official happening "18 Happenings in 6 Parts" in 1959
- Developed the concept of "environments" as immersive, participatory art installations
- Emphasized the importance of everyday life and non-art materials in artistic creation
- Wrote influential essays on happenings, including "The Legacy of Jackson Pollock" (1958)
Fluxus movement beginnings
- Emerged in the early 1960s as an international network of artists, composers, and designers
- Founded by Lithuanian-American artist George Maciunas in 1960
- Drew inspiration from Dada, John Cage's experimental music, and Zen Buddhism
- Aimed to break down barriers between art and life through interdisciplinary approaches
- Organized Fluxus festivals and concerts to showcase experimental works and performances
Key characteristics of happenings
- Happenings revolutionized performance art by introducing new forms of audience engagement
- Challenged traditional artistic hierarchies and the notion of the artist as sole creator
- Emphasized the importance of chance, spontaneity, and the present moment in artistic expression
Audience participation
- Viewers actively engaged in the creation and execution of the artwork
- Blurred lines between performers and spectators, creating a shared experience
- Participation ranged from simple tasks to complex interactions with the environment
- Aimed to break down the fourth wall and create a more democratic art form
- Challenged passive consumption of art by requiring active involvement
Improvisation vs scripted elements
- Incorporated both planned and spontaneous elements in performances
- Artists often provided loose guidelines or scores for participants to follow
- Allowed for unexpected outcomes and reactions within a structured framework
- Embraced chance occurrences and accidents as part of the artistic process
- Balance between control and chaos varied depending on the artist's approach
Emphasis on process
- Focused on the act of creation rather than the final product
- Valued the experience of making art over the creation of lasting objects
- Explored the relationship between time, space, and action in artistic expression
- Encouraged experimentation and risk-taking in artistic practices
- Challenged traditional notions of artistic skill and craftsmanship
Notable happenings artists
- Happenings artists pushed the boundaries of performance art and challenged artistic conventions
- Their work influenced subsequent generations of artists and shaped the development of conceptual art
- Many happenings artists worked across multiple disciplines, blending visual arts, theater, and music
Claes Oldenburg
- Created large-scale happenings that often involved oversized everyday objects
- "The Store" (1961) transformed a storefront into an immersive environment of sculptural objects
- "Snapshots from the City" (1960) incorporated found objects and audience participation
- Explored themes of consumerism and the relationship between art and commerce
- Later became known for monumental public sculptures of everyday items
Jim Dine
- Combined elements of painting, sculpture, and performance in his happenings
- "The Smiling Workman" (1960) featured Dine painting while wearing a painter's smock
- Incorporated autobiographical elements and personal symbolism into his performances
- Explored themes of identity, memory, and the creative process
- Later focused on painting and printmaking, but retained influences from happenings
Red Grooms
- Created elaborate, colorful environments and performances
- "The Burning Building" (1959) featured a cardboard cityscape with performers as firefighters
- Incorporated elements of vaudeville, folk art, and popular culture into his happenings
- Developed a unique style called "sculpto-pictoramas" combining sculpture and painting
- Explored themes of urban life, American culture, and social satire in his work
Fluxus philosophy and principles
- Fluxus emerged as an international network of artists challenging traditional art forms
- Emphasized the and the blurring of boundaries between art and life
- Influenced by Dada, Zen Buddhism, and the teachings of composer John Cage
Anti-art and anti-commercialism
- Rejected the notion of art as a commodity or precious object
- Challenged the authority of museums, galleries, and art institutions
- Embraced and disposable materials in art-making
- Promoted the idea that anyone could be an artist and anything could be art
- Critiqued the elitism and exclusivity of the art world
Intermedia approach
- Blended multiple artistic disciplines including visual art, music, poetry, and performance
- Encouraged collaboration between artists from different backgrounds
- Explored the spaces between traditional art forms to create new hybrid practices
- Emphasized the interconnectedness of different modes of expression
- Influenced the development of multimedia and interdisciplinary art practices
Simplicity and humor
- Valued directness and clarity in artistic expression
- Used humor and playfulness as tools for social critique and artistic exploration
- Embraced absurdity and nonsense as valid artistic strategies
- Aimed to make art accessible and enjoyable for a wide audience
- Challenged the seriousness and pretentiousness often associated with high art
Fluxus performance techniques
- Fluxus artists developed innovative approaches to performance that challenged traditional notions of art
- Emphasized audience engagement, chance operations, and the use of everyday materials
- Influenced the development of conceptual art and experimental music
Event scores
- Concise written instructions for performances or actions
- Ranged from simple tasks to complex, open-ended prompts
- Allowed for multiple interpretations and realizations of the same score
- Often published in collections or distributed as mail art
- George Brecht's "Water Yam" (1963) contained over 100 on small cards
Chance operations
- Incorporated randomness and indeterminacy into artistic processes
- Inspired by John Cage's use of the I Ching in musical composition
- Used dice rolls, coin flips, or other random methods to determine artistic outcomes
- Challenged the idea of artistic control and intentionality
- Dick Higgins's "Danger Music" series used chance to create potentially hazardous performances
Everyday objects as art
- Elevated mundane items to the status of art through context and intention
- Challenged the distinction between art objects and functional objects
- Used found materials and readymades in performances and installations
- Explored the poetic and aesthetic potential of ordinary things
- Ben Vautier's "Total Art Match-Box" (1965) transformed a matchbox into a miniature art gallery
Influential Fluxus artists
- Fluxus artists came from diverse backgrounds and worked across multiple disciplines
- Their work challenged traditional artistic hierarchies and expanded the definition of art
- Many Fluxus artists continued to influence contemporary art practices long after the movement's peak
George Maciunas
- Founder and primary organizer of the Fluxus movement
- Designed the iconic Fluxus logo and created numerous Fluxus publications
- Organized Fluxus festivals and concerts in Europe and the United States
- Developed the concept of "Fluxkits" containing small-scale works by multiple artists
- Promoted collective authorship and the democratization of art production
Yoko Ono
- Created conceptual works that often involved audience participation
- "Cut Piece" (1964) invited viewers to cut pieces of her clothing while she sat motionless
- Wrote poetic event scores collected in "Grapefruit" (1964)
- Explored themes of peace, feminism, and human connection in her work
- Collaborated with John Lennon on various art projects and performances
Nam June Paik
- Pioneered the use of video and television as artistic media
- Created "prepared televisions" by manipulating TV sets to produce abstract images
- Collaborated with cellist Charlotte Moorman on performances combining music and technology
- Explored the relationship between technology, culture, and human experience
- Influenced the development of video art and media installations
Happenings vs traditional theater
- Happenings challenged conventional theatrical practices and expanded the boundaries of performance
- Emphasized experimentation, spontaneity, and audience engagement
- Influenced the development of experimental theater and performance art
Non-linear narrative structure
- Rejected traditional plot development and character arcs
- Embraced fragmentation, simultaneity, and multiple perspectives
- Used collage-like techniques to juxtapose disparate elements
- Allowed for open-ended interpretations and meanings
- Challenged audiences to create their own narratives and connections
Unconventional performance spaces
- Moved performances out of traditional theaters into galleries, streets, and found spaces
- Explored works that responded to unique environments
- Blurred boundaries between performance space and everyday life
- Challenged the separation between performers and audience
- Utilized the entire space, including walls, ceilings, and unconventional surfaces
Blurring of art and life
- Incorporated everyday actions and objects into performances
- Challenged the distinction between rehearsed and spontaneous behaviors
- Explored the artistic potential of mundane experiences and routines
- Aimed to heighten awareness of the present moment and lived experience
- Questioned the need for a clear separation between art and non-art activities
Legacy and influence
- Happenings and Fluxus had a lasting impact on the development of contemporary art
- Their emphasis on participation, process, and interdisciplinary approaches continues to resonate
- Influenced the emergence of new art forms and practices in the late 20th and early 21st centuries
Impact on contemporary performance art
- Expanded the vocabulary of performance to include everyday actions and materials
- Influenced the development of body art, endurance performances, and relational aesthetics
- Encouraged artists to explore the boundaries between different artistic disciplines
- Promoted the idea of art as a participatory and immersive experience
- Inspired contemporary artists like Marina Abramović and Tino Sehgal
Relationship to conceptual art
- Emphasized the importance of ideas and concepts over physical objects
- Influenced the development of instruction-based and text-based artworks
- Encouraged the use of documentation and language as primary artistic media
- Explored the role of the artist as facilitator rather than sole creator
- Challenged traditional notions of artistic skill and craftsmanship
Critique of consumer culture
- Used everyday objects and images to comment on mass production and consumption
- Challenged the commodification of art through ephemeral and participatory works
- Explored themes of waste, excess, and environmental concerns
- Influenced the development of institutional critique and socially engaged art practices
- Inspired artists to create works that resist easy commodification or collection
Documentation and preservation
- The ephemeral nature of happenings and Fluxus works presents unique challenges for preservation
- Documentation plays a crucial role in understanding and studying these art forms
- Raises questions about the relationship between the live event and its recorded traces
Challenges of ephemeral art
- Many happenings and Fluxus works were designed to be temporary or one-time events
- Physical remnants or artifacts may not fully capture the essence of the performance
- Recreating or restaging historical works raises issues of authenticity and interpretation
- Balancing preservation efforts with the artists' intentions for impermanence
- Difficulty in capturing the full sensory and participatory aspects of live events
Photographs and film records
- Visual documentation provides valuable insights into the appearance and structure of performances
- Allows for analysis of spatial arrangements, costumes, and audience interactions
- May not fully capture the temporal and experiential aspects of the work
- Raises questions about the photographer's role in framing and interpreting the event
- Important source for reconstructing and studying historical happenings and Fluxus works
Oral histories and artist accounts
- Firsthand accounts from artists and participants offer crucial context and details
- Provide insights into the conceptual and philosophical underpinnings of the works
- Help reconstruct the atmosphere and energy of live events
- May be subject to the limitations of memory and personal interpretation
- Valuable resource for understanding the intentions and processes behind the artworks
Key Terms to Review (21)
1960s avant-garde: The 1960s avant-garde refers to a diverse movement in art, music, and performance that challenged traditional norms and embraced experimental forms of expression. This period was characterized by a break from established artistic conventions, encouraging artists to engage with new ideas and interdisciplinary practices, fostering innovation and collaboration across various artistic domains.
Allan Kaprow: Allan Kaprow was an influential American artist best known for developing the concept of 'Happenings,' which blurred the boundaries between art and life through participatory and spontaneous performances. His work is significant in the evolution of performance art, linking it to movements like Fluxus, and he played a vital role in the global expansion of performance art by encouraging artists to engage with their surroundings and audiences in innovative ways.
Anti-art: Anti-art is a movement that challenges and rejects traditional artistic values, norms, and conventions, often emphasizing the absurd, the unexpected, and the non-aesthetic. It aims to provoke thought and inspire critical reflection on the nature of art itself, questioning what qualifies as art and who has the authority to define it. This concept is closely linked to movements that emerged in the early 20th century, which sought to disrupt societal expectations and promote innovative forms of expression.
Audience participation: Audience participation refers to the active involvement of viewers or spectators in a performance, breaking the traditional barrier between performers and the audience. This interaction can take many forms, such as inviting spectators on stage, encouraging them to engage with the work in various ways, or making them an integral part of the performance itself. This concept has evolved through different movements and styles, reshaping the dynamics of how art is experienced and interpreted.
Chance operations: Chance operations refer to techniques used in art and performance that involve randomness and unpredictability, allowing the outcome of the work to be determined by chance rather than by the artist's intentions. This concept encourages spontaneity, embracing uncertainty and transforming art into a dynamic process that often engages with the audience in unexpected ways. The incorporation of chance challenges traditional notions of authorship and control within artistic practices.
Democratization of Art: Democratization of art refers to the process by which artistic expression becomes accessible to a broader audience, moving away from elite cultural institutions and allowing everyday people to engage with, create, and participate in art. This shift emphasizes inclusivity and challenges traditional hierarchies within the art world, promoting the idea that art is not just for a select few but for everyone. By fostering collaboration and interaction, this movement redefines the relationship between the artist and the audience, breaking down barriers and creating a space for diverse voices.
Ephemeral: Ephemeral refers to something that is short-lived or transient, often emphasizing the fleeting nature of experiences or art forms. This concept highlights the importance of immediacy and the unique moment, which is particularly relevant in the realm of performance art, where the experience exists only for a brief period and cannot be replicated.
Event scores: Event scores are written instructions or prompts used in performance art to guide the actions of performers or participants. They often emphasize spontaneity, audience interaction, and the fluidity of performance, allowing for varied interpretations and experiences in each execution. These scores reflect the principles of Happenings and Fluxus, which aim to break down barriers between art and life, making art accessible and participatory.
Everyday objects as art: Everyday objects as art refers to the practice of transforming mundane, common items into artistic expressions, challenging traditional boundaries between art and life. This concept encourages viewers to reconsider the value and meaning of ordinary objects by placing them in an artistic context, often emphasizing the experiential aspect of art and its relationship to daily existence. This approach was particularly significant during movements that embraced performance and participatory experiences, highlighting how art can emerge from the everyday.
Fluxus: Fluxus is an international art movement that emerged in the 1960s, characterized by its emphasis on the process of art-making, the blending of different artistic disciplines, and the idea of art as an experience rather than a finished product. The movement is known for its radical approach to art and performance, drawing on ideas from Dada and Futurism, while challenging traditional notions of art through participatory events and conceptual practices.
Fluxus Manifesto: The Fluxus Manifesto is a pivotal document that outlines the principles and goals of the Fluxus movement, which emerged in the 1960s as a response to traditional forms of art. It emphasizes the importance of intermedia, performance, and collaboration, encouraging artists to break down barriers between different artistic disciplines. The manifesto serves as a call to action for artists to engage with everyday life and foster a sense of playfulness and experimentation in their work.
George Maciunas: George Maciunas was a Lithuanian-American artist, architect, and the founder of the Fluxus movement, which aimed to merge different artistic disciplines and blur the lines between art and life. Maciunas played a pivotal role in organizing events, performances, and exhibitions that defined Happenings and Fluxus, focusing on spontaneity, collaboration, and audience engagement as essential elements of art.
Happening: a conceptual art: A happening is a live art event or performance that emphasizes the experience of the audience and the interplay between art and life. This form of conceptual art emerged in the late 1950s and often blurs the lines between various art disciplines, such as theater, visual arts, and music, making the audience an integral part of the experience. Happenings are typically spontaneous, unstructured, and focus on the process rather than a fixed outcome, reflecting a shift towards participatory art practices.
Happenings: Happenings are spontaneous, often interactive events that blur the boundaries between art and life, created primarily in the 1960s. These performances emphasize experience over traditional artistic objects, aiming to engage audiences in a more immersive and participatory manner.
Intermedia: Intermedia refers to the blending of different art forms and media to create innovative and multidimensional experiences. This concept is essential in understanding how artists can transcend traditional boundaries, incorporating elements like performance, visual art, music, and technology to engage audiences in new ways. It highlights the collaborative nature of contemporary art practices, where the lines between disciplines become increasingly blurred.
Kaprow's 18 Happenings in 6 Parts: Kaprow's 18 Happenings in 6 Parts is a groundbreaking performance art piece created by Allan Kaprow in 1959 that consists of six sections, each featuring a series of improvised actions and interactions. This work is significant for its role in the development of happenings, a form of art that emphasizes spontaneity, audience participation, and the blurring of boundaries between art and life. Kaprow's piece highlights the Fluxus movement's ethos of merging art with everyday experiences, challenging traditional notions of performance and audience engagement.
Postmodernism: Postmodernism is an artistic and cultural movement that emerged in the mid-20th century, characterized by a questioning of traditional narratives, conventions, and ideologies. It often embraces fragmentation, parody, and the blending of different styles and media, reflecting the complexities of contemporary society. This movement is significant in various art forms, challenging established norms and emphasizing individual experience.
Score-based performance: Score-based performance refers to a structured framework for artistic expression, where specific instructions or scores guide the actions and interactions of performers. This concept emphasizes the role of predetermined elements in live performance, allowing for spontaneity within a set structure. Score-based performance often intersects with experimental movements that challenge traditional notions of art and audience engagement.
Site-specific: Site-specific refers to art or performances that are created for a particular location, taking into account the unique characteristics of that environment. This concept emphasizes the relationship between the artwork and its context, often transforming the perception of both the space and the piece itself. Artists use site-specificity to engage with the physical, cultural, and historical aspects of a location, making the site an integral part of the experience.
Spontaneity: Spontaneity refers to the quality of being impulsive or unplanned, often resulting in a natural and immediate response to a situation. This characteristic is crucial in performance art, where artists aim to break free from traditional structures and engage authentically with their surroundings. Spontaneity allows for real-time interaction with audiences and environments, fostering a sense of immediacy and genuine expression in various forms of art.
Yoko Ono's Cut Piece: Yoko Ono's Cut Piece is a pivotal performance art piece first presented in 1964, where the artist invited the audience to cut away pieces of her clothing with scissors. This work challenges traditional notions of the viewer's role and explores themes of vulnerability, consent, and the relationship between artist and audience, connecting deeply with the principles of Happenings and Fluxus, which emphasized interactivity and spontaneity in art.