Curating new media is just like curating any contemporary art, only different – Steve Dietz
I’ve chosen to frame my talk with this – for some of you perhaps familiar – quote by Steve Dietz from his article ‘Art after New Media’ because it expresses an understanding of new media art that is crucial to the argument and points I want to make – although I am reluctant to use the term ‘new media art’. I believe that the ‘double sided’ perspective – that new media art is both identical or connected to and different from any contemporary art – which Dietz presents is crucial for any involvement with new media art and all the ‘subgenres’ derived from that category. Thus, I would expand the scope of his statement and say that ‘criticizing’, ‘historicizing’ and ‘theorizing’ new media is just like ‘criticizing’, ‘historicizing’ and ‘theorizing’ any contemporary art, only different.
As I read it, the ‘just like’ part of the statement indicates that new media art is inseparable from an art historical continuum of the last fifty years or so, the on-going heterogeneous discourse of art after modernism; and I believe it’s important to recognize this partly in order to stay clear of neo-avantgardistic dead-ends as well as techno-formalistic isolation where ‘the ‘new’ media is the message’; partly in order to enrich the views on new media art, to broaden and diversify them. The ‘only different’ part on the other hand, indicates that new media art through this imbeddedness contributes something ‘other’ to the discourse of contemporary art that generates new aesthetic problematics and perspectives. Understood this way, the identities and connections between new media art and ‘any’ contemporary art do not exclude differences between them and vice versa; rather the identities and connections and the differences inform each other in a process of mutual exchange and not least of mutual benefit. To stimulate this process is, I believe, one of the most urgent challenges and significant possibilities for curators, historians and critics working with new media art.
Thus, what I want to present here is an outline of a line of interpretation – both historical and theoretical – that attempts to do that: To make a connection betweeen ‘any’ contemporary art and new media art in order to discuss a difference. I take my point of departure in the notion of immateriality. Immateriality – along with its derivative notions immaterial art and immaterial aesthetics – is a prevailing notion in current discussions on art in the context of new media art and information technology. The notion refers to the new conditions that the digitization of artistic and cultural practices in general has prompted. Today the computer is a common artistic medium both as a tool and as an artistic medium in itself. Software and digitized data are replacing the traditional physical dimensions of artworks. As such, immateriality is evidently a relevant notion as it quite accurately designates the significant and extensive changes in contemporary art that new media art has introduced.
However, it’s important to realize and emphasize that immateriality taken at face value is just a descriptive notion, a broad formal diagnosis of art in the age of digitization, just like materiality would be for art before this age. It’s not an aesthetic by deafult, in other words. To make meaningful use of this diagnosis in regard to the aforementioned process – to comprehend why immateriality makes new media art different – we need to comprehend its connections to ‘any’ contemporary art.
Thus, in this talk I want to establish one such possible connection between immateriality and the non-media specific aesthetics of conceptual art through a re-reading of the notion of dematerialization.
John Chandler and Lucy Lippard coined the notion of dematerialization in their seminal text “The Dematerialization of Art” from 1968. In the text they identified dematerialization with so-called ultra-conceptual art that “emphasizes the thinking process almost exclusively” and “may result in the object becoming wholly obsolete”. Chandler and Lippard did not mention any specific works of art, but as the works, events and texts listed in Lippard's follow-up anthology Six Years published 5 years later show – this act of identification was characterized by quite a lot of uncertainty. According to the comprehensive list, dematerialization refers to a wide and extremely diverse range of artistic practices, from Allan Kaprow, Richard Long and Eva Hesse to Lawrence Weiner, Sol LeWitt and Joseph Kosuth. From the very beginning the notion was informed by disparate meanings and this lack of consensus continued as the notion was taken up and discussed by other critics as well as artists.
Instead of trying to construct a general, non-contradictory, and ultimate definition I want to suggest a somewhat free and selective interpretation of dematerialization in relation to a specific strand of conceptual art, which paradoxically is extensively material; a strand that include artists such as Robert Morris and Walter de Maria.
To start this discussion I return to a phrase by Chandler and Lippard quoted above, namely that dematerialization ‘may result in the object becoming wholly obsolete’. I realize that this is just a phrase within a larger argument but nevertheless I take the freedom to take their focus on the object’s obsolescence – and not on the disappearance of materiality – to be emblematic of an essential transformation of art inherent in the notion of dematerialization: a transformation of art from being formally constituted as an object to be working conceptually with materiality. By this I mean that instead of understanding dematerialization as a negation or dismissal of materiality as such, it can be comprehended as an extensive and fundamental rethinking of the multiplicity of materiality beyond its connection to the entity of the object.
Following this line of thought, the ‘de’ in dematerialization refers to a conceptual – although not in the sense of transcendental ideas – approach to materiality. In opposition to the understanding that dematerialization implies an aesthetic according to which the conceptual is superior to, or over-determines, materiality I interpret dematerialization as an aesthetics in which the conceptual is always already material. This aesthetics suggests a new interdependent and open exchange between the conceptual and material dimension of art: In setting materiality free from the object – and the philosophical discourse, power structures and aesthetic paradigms of pure visuality surrounding it – the notion allows us to comprehend materiality as a potential predisposed for continuous conceptual coding, organization, distribution, contextualization and interpretation. Instead of attaching materiality to specific and finite forms, media or institutions conceptual art conceives materiality as virtuality and places it in a broad aesthetic – multi-, inter- and post-media – field of continuous abstract actualizations. ‘The abstract does not explain, it itself has to be explained’, as Gilles Deleuze said inspired by the empiric philosopher Whiteread; a role of explanation that he assigned to philosophy and critical theory. In the context of the aesthetics I refer to here the abstract plays a different role that calls for a rephrasing of Deleuze’s sentence: no, the abstract does not explain, it questions. In other words, conceptual art questions materiality – the material condition – by subjecting it to abstract actualizations in the mental and not the visual sense; questions in the sense of opening it to new expressions and meanings.
I would argue that this interpretation of dematerialization signifies art’s ‘return’ to, or engagement with, reality as a non-reducible multiplicity. At the same time as conceptual art sets materiality free from the object sphere it connects it to the realm of the real – in its broadest sense – with its different sets of problems and possibilities. Rather than attempting to sublate or transcend materiality through non-material principles – such as ideology, beauty and sign value – conceptual art exposes its social, economical and cultural aspects to continuous reconceptualizations; reconceptualizations guided by principles and values of heterogeneity, destabilization, irrationality, openness, and criticism – and opposed to principles of control, power and capitalistic exploitation. These reconceptualizations thus act as an imaginative and speculative mediator between the political codedness and aesthetic potency of materiality.
Let me give you a quick run through a few examples to specify and challenge this interpretation of dematerialization. In 1967 and1968 Richard Serra made an infinite list of transitive verbs for himself. The verbs indicate that Serra was not interested in the form and shaping of an object – the end result – but rather in different handlings of materiality – the process; an approach that is clearly at work in his lead splashings and castings made around the same time. Robert Smithson’s concurrent asphalt and glue pourings express a similar occupation with the interaction between a conceptual framework and the qualities of materiality. By displacing the industrial material from its usual functionalistic context he released new poetic and expressive meanings. As these works show, both Serra and Smithson were interested in processes – often open-ended – as opposed to the static objects that hard-core minimalism had championed. They worked with ‘softer’ materials or rather they ‘soften’ the materials through different kinds of processes – physical gestures, the film medium or both at the same time – that incorporated the dynamics of time. Instead of forming the materials into defined and stable objects – to ‘specific objects’ as Donald Judd would say – they created a close – physical as well as conceptual – connection between the materials and the surrounding environment.
A number of conceptual artists – including Smithson – working with ‘dematerialization beyond the object’ were involved with systems and cybernetics. Inspired by contemporary scientific theories and technological inventions they explored and conceptualized materiality through open systems working with questions of internal organization, real time, feedback and interaction. These systems transformed or rather translated materiality – whether it was ‘soft’ or ‘hard’ – into coded and interpreted data, into relational information: the opposite of the pure and autonomous object. Hans Haacke’s MoMA Poll from 1969 – an opinion poll of the museum visitors’ stance on Nixon’s Indochina policy – serves as an illustrative example. Not only did the work introduce a non-artistic format within the museum context, it also made the usually sealed off process of voting transparent. Through the contributions of the visitors the work itself became a system, at the same time as the visitors were encouraged to reflect on what role art and the art system played in the political system. Haacke’s Visitor’s Profile made the same year also included the visitors. A Teletype terminal with a monitor and a connection to a time-sharing computer was programmed to cross-tabulate demographic information about the museum audience with their opinions on a number of controversial subjects. The statistics were exhibited in real time as the individual visitors contributed and the work thus presented the art institution as a social system in constant transformation – not as a series of rooms filled with beautiful objects.
Haacke’s use of technology in Visitor’s Profile shows how technology was not applied as an aesthetic end in itself but as a new apt way of conceptualizing a reality under the impact of a diversity of systems, semiotic, informational and scientific. Through the adoption of technology ‘system art’ was able to deconstruct and reproduce such systems – their structures and motives – and generate a meta-consciousness of how they worked; and in doing that turning systems of control and over-determination into systems of engagement and empowerment.
Now, my argument is that the transformation of art from an autonomous object to a contextual materiality is developed further by a certain strand of contemporary artists working with immateriality in the context of new media art. I am thinking here of artists such as irational, Peter Luining, 01.org, and I/O/D. I suggest that the works of these and related artists represent part of the heir of Serra, Smithson and Haacke in that they through their conceptual takes on immateriality continue the aesthetics of dematerialization with new urgency, agency and creative energy.
Before I elaborate and go on to talk about the works of these artists let me clarify that immateriality is not another – technological – word for dematerialization. Although they might semantically mean more or less the same, I distinguish between dematerialization as an act, and immateriality as a condition. By that I mean that dematerialization designates a conceptual approach to materiality whereas immateriality designates the new material condition – or just the new materiality – that new media artists taking such an approach are dealing with.
To borrow a term from Jean-Francois Lyotard the ‘immaterials’ of new media art – the digitized data – are radically disconnected from notions of the enitiy of an object, in the sense that immaterials only exist through the streams and flows of computational processes and networks. They are relational and multiple by default. Although Lyotard’s term is not specifically or exclusively technological it is quite appropriate and useful here. It allows us to see immateriality as a kind of materiality that can be reconceptualized through abstract actualizations like the other materialities discussed earlier; and at the same time it allow us to comprehend it as a different kind of materiality in that it’s based on communicative relations and handling of information instead of physical properties.
The aesthetics of immateriality I suggest oppose the aesthetics of various kinds of techno cults and techno transcendentalisms where immateriality represents an otherworldly ideal created by the great computer God. A materialistic understanding of immateriality in new media art on the other hand, sees immateriality as an actual material and thus also politically charged reality predisposed to continuous reproduction – socially, culturally and economically.
I would like to mention a few of the works that I have inspired me to suggest this aesthetic. The first and earliest example is the alternative browser The Web Stalker by i/o/d from 1997. It’s an interesting example here in that it balances between the materialistic and mystic. Although the work was intended to demystify the well-known activity of web surfing, I know few people who have not felt just a little bit estranged by its cool and complex conceptualization. Nevertheless, I believe that The Web Stalker is a seminal work in this context as it so consequently and clearly shows an imaginative way for new media art to work conceptually with the information of the World Wide Web in its ‘raw materialistic state’ where it is not pre-formatted by seductive metaphors or neat designs but presented as open for ‘deconstructive’ or mutating actions of exploration.
A related work is the virus biennale.py by 01.org and [epidemiC] from 2001, a virus tht runs only on computers programmed in language Python. The work is of course an intended provocation – and a media stunt – but if we look beyond all the ‘virus connotations’ it’s also a forceful and clever expression of a conceptualization of digitized data that bypasses any notion of functionality, rationality and respect for the operating system. It spills and spoils the data to the point of complete useless but at the same time it liberates the data and places it an aesthetic field for alternative desires, affections, fantasies and ideas.
A third example is Peter Luining's formulas of 2003, a short video of the artist writing and compiling a variety of Photoshop filters and describing the action as he goes along step by step; simply showing and telling. He does not attempt to reach a specific effect or end result; rather the principle is that he just continues multiplying with x in the filters until the image goes either black or white. As such the filters represents figures of conceptualization that plays with and distorts the image, shifting the focus away from the visual result – the digital data object, i.e. the image – to the driving principles and working processes and the qualities of digitized data materiality, to the condition of immateriality.
What connects these three works is a conceptual approach to immateriality – a dematerialization of immateriality I would argue – that challenges the prevailing power structures and ideas surrounding digitized data. They discard this data as a pre-packaged product and present us instead with digitized data in a processible state, where we might discover aesthetic potentials, new strucutres and eventually new ideas.
Also, I see them as representatives of an anti-formalistic tradition within new media that counters a tendency to fetishize technology found in much new media art and theory. They show how the condition of immateriality – initially through the aesthetics of new media art – can and should be informed by human actions and values, not just the rationales of machines. The works of Heath Bunting in their explorations of border crossings of all kinds are exemplary in this context. As an anarchist, freedom fighter or ultra-democrat Bunting does not believe in authority, especially not of technology. He believes that instead of adapting our life to technology we should adapt technology to our life and his art of crossing, sharing and hacking presents us with the most inspiring ways of doing that.
In relation to the curatorial theme of this conference I believe that seeing immateriality in the tradition of dematerialization is one way to break down the technological focus and media exclusivity surrounding new media art; and by doing that realize a multitude of common aesthetic agendas with any contemporary art, regarding both subject matters, tactics, production and concepts of art; and for the benefit of contemporary art at large future exhibitions – whether new media or not – should not hesitate to explore these connections.
Jacob Lillemose, argos festival, October 16, 2005
Friday, January 4, 2008
FLUXUS AND POSTAL EPHEMERA , Michael Lumb
2.1. Introduction.
In USA, whilst Johnson continued to use the postal system to transport his orchestrations, Fluxus - a constantly changing, international loose group of geographically separated people,1 through Europe and North America - participated in mailart and began to widen the network of mailart through publishing and to explore the creative potential of the elements of the postal system with postcards, stamps and franking. This chapter examines the uses of these elements by Fluxus and mailartists.
Whilst much has been written on Fluxus, it has not been discussed in terms of its importance to the development of mailart. Writers on mailart on the other hand have acknowledged the importance of Fluxus to mailart. Significantly, Chuck Welch chooses to organise his book, Eternal Network: A Mail Art Anthology 2 with the first chapter, written by Fluxus man Ken Friedman, 'The Early Days of Mailart'3 including an account of Fluxus mailart work. It is not until the third chapter that Clive Phillpot's 'The Mailed Art of Ray Johnson' occurs, although Friedman does include writing about Johnson. (Chapter two is by John Held Jr., 'Networking: The Origin of Terminology.') Friedman perceives that it was through Fluxus that mailart:
"reached out to the public" ... "and began to make real, its potential for social change and for contributing new forms of communication to the world." 4
This is a view that I share, but note the importance of the word "began". Friedman also sees that it was Fluxus that encouraged people to find-out about each other through the mail, a means of broadening knowledge and understanding of other artists' work without having to travel and meet them.
Although Robert Atkins in his "guide" mentions mailart under Fluxus:
"Fluxus was not limited to live events. Mail (or correspondence) art - postcardlike collages or other small scale works that utilized the mail as a distribution system - were pioneered by Fluxus artists, especially Ray Johnson."5
the statement is misleading in that Johnson was never a "Fluxus artist" and given that, it was not Fluxus artists who pioneered mailart. Writing about Fluxus is frequently accompanied by reproductions of works that show Fluxus use of the mail but do not comment on them in terms of mailart, seeing them simply as Fluxus works6. John Hendrick's massive tome on Fluxus reproduces many works that used the mail, again without reference to mailart.7 In his introduction to this text, Robert Pincus-Witten describes Fluxus as an indictment of USA political and artistic (Abstract Expressionist) imperialism and a:
"campaign that subverted the inherited abstract value system - large, heroic, ambitious, and sexist - favouring an art that was intimate, ephemeral, and highly poetic."8
This is a view of Fluxus that is echoed by Hendricks in his foreword to the book and is not only applicable to Fluxus but also to my reading of mailart in the USA in the sixties and seventies.
2.2. The Conception of Fluxus.
Fluxus was conceived in 1961/1962 by George Maciunas (1931 - 1978), a Lithuanian architect and designer and part owner of the A/G gallery, 925 Madison Avenue.9 A/G got its name from the forenames of Maciunas and his partner Almus Salicus. The intention had been to exhibit abstract painting and sell ancient musical instruments but within the same year (1960) Maciunas met La Monte Young and others that were to be Fluxus artists and turned the gallery into a venue for their (including Johnson's) events that Maciunas sponsored. The gallery closed in 1961. Fluxus began outside Fine Art, with many of the people who joined Fluxus coming from non-art backgrounds working in the spaces between art forms and between art and life.10 In this way, they relate to mailartists with the participators not necessarily coming from an arts background and not signalling the importance of 'art'.
The first Fluxus manifestation was Maciunas' publication 'Fluxus' (1961) that grew out of the musical events of the people centred around John Cage. Many of those who were to become the mainstays of Fluxus11 had attended Cage's course in Musical Composition at The New School For Social Research, New York in the summer of 1958.12 In 1960, Maciunas also attended Maxfield Parish's classes in electronic music, and met La Monte Young at the same venue. La Monte Young, Fluxus man and composer organised performances at Yoko Ono's New York studio, (11 Chambers Street) from Dec. 18, 1960 to June 30th 1961 and Maciunas arranged performances in his gallery from March 14th to June 30th 1961. It was on an invitation card to three concerts in March of that year "Musica Antiqua et Nova" - "A 3 dollar contribution will help to publish Fluxus magazine." that Maciunas first used the word Fluxus.13 Johnson was one of the participants in these concerts, and so was involved in Fluxus right from the very start. La Monte Young and Maciunas were not simply connected by their involvement in Happenings14 but also their interest in publishing. Young had taken over Beatitude East magazine15 which developed, with Maciunas doing the layout and Mac Low assisting, into An Anthology (October 1961). The journal included experimental music and event scores; poetry and essays and the work of Nam June Paik; Dieter Rot; and Emmett Williams and was intended by Maciunas to be a serial publication under the banner of Fluxus but was interrupted by his moving to Germany to take-up a job with the U.S.A.F. in Germany as a freelance designer / architect. Although the move to Germany affected the intended production of the publication, it strengthened the idea of internationalism that is so clear from the nationalities of the artists involved in the Cage workshop, Fluxus in general and later in mailart. Nam June Paik (b.1932) was also in Germany at that time and Maciunas - taking advantage of his geographical location - planned an ambitious 18 months long tour of concerts, to include Paik, from Berlin in June 1961 to Tokyo in January 1964 via Moscow - a big city per month to be supported by Fluxus magazine. The reality of the locations was somewhat different to the plan - being limited to Europe - but still impressively ambitious.16 Fluxus performance and therefore Fluxus, was clearly launched.
At the start of 1963 Maciunas published the Fluxus, 'Purge Manifesto' which declared war on:"The world of bourgeois sickness, "intellectual", professional, and commercialized culture."17 Maciunas saw Fluxus as being free of confines and able to work in any way that it wished, without concern for tradition or the need for recognition by established art critics. Whilst the publication of Fluxus works and the opening of a Fluxus shop can be read as being a critical comment on commerce - given that the goods on offer were neither functional nor falling within accepted notions of Fine Art - there is also a danger of falling into the trap of becoming part of the very establishment that is being criticised. Maciunas' criticism of 'professional(ism)' is also problematic, given the professional role that he played as the highly committed organiser of Fluxus.18
Rejection of the notion of 'Authorship' and therefore the 'Artist as Hero' was central to Maciunas' concept of Fluxus: participators were expected to sign their work - if at all - 'Fluxus.' Fluxus signalled participation, inclusivity rather than exclusivity, experimentation and creativity as being paramount and individual identity, career building and ego-feeding as being of no importance whatsoever. However, the reality was that the participators in Fluxus frequently did sign their work with their own names. Equally, mailartists usually sign their work as a principle because the spread of contacts is important to its activity. Although within mailart there is a tradition among some networkers of working anonymously by adopting pseudonyms, or 'combat names' as discussed in Chapter one, this is not the same issue as signing a work 'Fluxus' because these are individually held names and also because cynically it could be suggested that Maciunas' motive in encouraging this signing was giving Fluxus itself a higher profile than that of the individual participating artists. Whilst combat names, may well make the individual more memorable, they do not serve to promote mailart as a whole and mailart, unlike Fluxus has no intention of producing a saleable product.
Multiple Names relate to Combat Names in as much as that they do not reveal the legal name of the networker but their origins lie in the Fluxus anti-elitist, anti-artist-as-hero stance. Whilst Duchamp used pseudonyms such as R.Mutt and Rrose Selavy, these were not used to suppress his career as an artist, arguably the opposite was the case. In 1920 however, Raoul Hausmann suggested that the Berlin Dadaists should all call themselves 'Jesus Christ'. This can be considered to be a typically provocative Dadaist idea rather than a serious proposition but nevertheless, it is a multiple name proposal. Maciunas had more success with suggesting to the Fluxus artists that they should simply sign their work 'Fluxus', in a move against the perception of art as elitist behaviour and careerism. The notion of an anonymous work of art has the effect of preventing the placing of value on a work of art because of its 'brand name.'
The issue of putting a name to a work of art was subsequently explored by mailartists and the first mailart Multiple Name was created in the mid 1970s by two British mailartists, Stefan Kukowski and Adam Czarnowski who tried to persuade other networkers to adopt the name 'Klaos Oldanburgh' (sic).19 The ideology of this concept is called into question by their use of Roman Numerals after the name to differentiate the different Klaos Oldanburghs, thereby in effect drawing attention to their being different people, with identities. One year before Maciunas' death, in 1977, David Zack a Los Angeles, USA. networker proposed what he described as an "Open pop-star" name that could be used by mailartists wishing to assume the identity of a pop-star. The name, Monty Cantsin became associated specifically with Neoism and in particular with a Canadian networker, Istvan Kantor (I discuss Neoism in Chapter 4). In 1985, Stuart Home, an English networker, became interested in Multiple Names but felt, because of the specific association of Cantsin with Kantor, that a new association-free name was needed and chose that of Karen Eliot. Documentation of mailart projects occurred where all the participators' names were listed as Karen Eliot or Monty Cantisn.20 Honouring the expectation of participants to receive the addresses of all participants in many respects defeated the principle of anonymity, the printing of the individuals' addresses making the identification of the participant possible.
2.3. Publications.
The importance to Fluxus of publishing was to be significant for mailart in that it was the start of mailartists extending their work beyond the impetus of Johnson's 'letters', to making editions and journal based work.
In 1965, the first mailart book (and what seems to be the first published accounts of mailart after Wilcock's article) was produced by Dick Higgins - a prominent member of Fluxus - with the publication of Johnson's book, The Paper Snake.21 This work consists entirely of mailart works by Johnson from 1960 to 1964 and almost entirely sent to Higgins. These are mostly text with, in many cases, some resemblance to the text works of Yoko Ono from the 1950s and 1960s, often with barbed references to specific individuals, many of them famous from all walks of life. Although Johnson's address does appear, there is neither invitation, nor indication of the possibility of participation. The work makes no attempt to reach out to the uninitiated and as such perhaps would be unapproachable to most people, but would undoubtedly have made Fluxus artists more aware of the way in which Johnson used the mail. There is a short introductory essay by the American art critic, William Wilson, sometimes described as Johnson's unofficial biographer, eulogising about the work but adding no information on Johnson or mailart (see the introduction to this thesis).
Of particular importance to the spread of mailart, Higgins also produced a newsletter in 1966, initially to present his essay on 'intermedia', it went on to disseminate mailart ideas and to be the inspiration for future network newsletters.22 Also in 1966, Ken Friedman of Fluxus West (San Diego) began to publish the annual compilations of Fluxus mailing lists which George Maciunas had produced since the early days of Fluxus as membership lists so that people could communicate directly with each other. These could seem to relate to Johnson's 'meeting' lists but differ in two important ways. Firstly, Fluxus lists were factual whereas Johnson's were, at least in part, fantasy. Secondly, Johnson did not reproduce lists of addresses with the names, to enable and encourage growing networks. Fluxus compilations grew until by 1972 the list was of more than 1400 names and addresses of people interested in communicating experimentally. The 1972 list was published in co-operation with 'Image Bank', a Toronto, Canada artists' collective which sent out bi-monthly requests to other participants, a kind of brokerage firm, based on Johnson's example of putting people in touch with each other.23 The Image Bank list, in turn, became the core of the artist's directory of File (see below) which was released in hundreds of free copies, distributed to artists, arts organisations and publishers around the world. The artist's directory published network information, addresses and project invitations, providing the first possibility of information rather than simply written versions of Chinese Whispers.
Although mailing lists per se do not appear anymore in mailart, documentation of mailart projects (discussed in Chapter 3) by tacit agreement, consists of the names and addresses of all the participants, so acting as a mailing list. Since Fluxus, there have been many mailart magazines which include name and address lists, notably Lo Straniero, the production of Neopolitan Ignazio Corsaro who refers to his list as 'The Strangers Directory', printing about 1,000 names and addresses, covering approximately five letters of the alphabet each issue.24 This magazine is published in the uniquely (for mailart) large edition of 10,000 copies, is professionally printed in Black and White and produced twice a year since 1985, initially in Broad Sheet format.25 Corsaro's magazine is a forum for discussion through letters sent to him and his reply to them, through the magazine. Other means of increasing contacts occur in some quite different journals, in England the commercially produced Artists Newsletter includes a column, compiled by London mailartist Michael Leigh, listing current mailart projects.26 Mailart newsletters vary from the highly efficient, professionally produced but visually bland Global Mail produced by Ashley Parker Owens of the U.S.A., to the visually enjoyable but slimmer, photocopied and more random quality of husband and wife Serbian Lawyers, Rorica and Dobrica Kamperlic's Open World. Global Mail developed from an initial single fold in 1992, to issue no.15, December 1996, consisting of 32 pages, stapled, with the listings under eleven categories and 2500 copies produced.27 In choosing to concentrate on the content of her visually functional journal rather than creating a very recognisable appearance, Ashley Parker Owens highlights the importance of simply being able to contact people and expand the network, over the nature of the contact, she remains impartial to how her information is used. Open World, has been published since 1985 and continued throughout the war in ex Yugoslavia, even though it was published in Beograd. The magazine consists of paste-ups of fliers for mailart projects and photographs of mailartists, with typewriter generated text. Whilst this makes it difficult to use as a reference work about current projects, unlike Global Mail, it is a much more visually seductive production, encouraging browsing and with a sense of ownership in that although Ashley Parker Owens prints entries sent, these are changed into the text, style and format of the magazine, whereas the Kamperlics simply photocopy whatever is sent. The Kamperlics also encourage the spread of the magazine by recipients photocopying it and sending copies to other mailartists. Ashley Parker Owens also uses mailartists to pass the magazine on, but by sending-on copies sent. In both cases they are using the potential of the network to distribute their magazines about the network beyond their immediate contacts. Both have their place in mailart and represent two extremes of mailart, Ashley Parker Owens being highly 'professional' (although at her own considerable expense28) and the Kamperlics enjoying the immediacy of hastily produced magazines that enabled them to produce and distribute 83 editions in the first ten years of production.
Fluxus production of magazines,29 developing from Maciunas' initial concept of a Fluxus magazine, was to become one of the mainstays of mailart, with magazines produced for a variety of reasons, from contacts and advertisers of mailart projects to publishers of visual and text based creative work. The word 'magazine' is often shortened to 'Zine', Stephen Perkins defines them as "self-produced, self-distributed, non-profit publications focusing on topics that are often ignored by the mainstream media." referring to self published, cheaply produced products with no commercial ambitions or outlets, he goes on to say that "the history of Zines can be traced back to the 1930s when science fiction fans started putting out their own slick science fiction magazines ... When those fans circulated their mimeographed writings amongst themselves, the zine was born".30
Life magazine, with the punning potential of its title, inspired a number of mailart magazines that in some cases had large print runs, received grants and reached out beyond the confines of the network.31 These magazines evolved organically in the change of title and passing of production from mailartist to mailartist. The first of these, and perhaps the first magazine to be generated through the mailart network, was produced by General Idea who began File magazine in 1971 with a grant from the Canada Council. File was printed in editions of 3-5,000 and was sold at news-stands in major USA cities, but by 1974 it had ceased to address mailart, choosing to concentrate on the general activities of General Idea, in preference to what they perceived as being the 'Quikkopy crap' that they were seeing in mailart as a response to the new availability of photocopying and the broadening out from the hand-crafted works that epitomised the early years of mailart. File was conceived as an anagram of Life and the first issue, April 15th, was a convincing imitation of a 1948 issue of Life magazine. In 1974 Anna Banana adopted File, renaming it Vile. Banana was no newcomer to self publishing having produced ten issues of her Banana Rag since 1971. Her particular ambition was to imitate Life magazine to such an extent that it could be taken for it and by 1977 she published the fourth issue which came close to her ambition. At that point she dropped the notion of imitating Life, not least because the producers of File had lost their battle with Time / Life over the use of the similar logo.32 By then the publication was jointly produced with Bill Gaglione, in a different format and with different designs and they continued publishing it until 1981. Although mailart based, Banana and Gaglione chose to seek funding for the publication and the third issue that had included poetry and fiction was given a grant by the Co-ordinating Council of Literary Magazines making it possible to print 1000 copies. The sixth issue also received a grant from the CCLM and entitled 'Fe-Mail-Art' explored women mailartists. By complete contrast, the seventh issue was a much smaller edition and hand produced.33
A further evolution of the name of the journal was adopted by Stewart Home who in February 1984 published his first issue of Smile, 'The official organ of the Generation Positive.' This journal was to express Home's ideas on 'Positive Plagiarism' which are explored in Chapter 4. Home also encouraged others to produce copies of Smile which several did though to Home's initial disappointment the first, continuing the established tradition of punning on the title, calling it Slime & Limes. Home had intended that all magazines should be called Smile and subsequent issues conformed to that request. Smile remains open as a possibility for any networker to use the title for a magazine and from time to time networkers do publish under that title, frequently with a political agenda. Jo Klaffki for example, a German mailartist who uses the name Joki Mail Art has published a number of editions of Smile sometimes with political undertones but always with a strong sense of humour.34
The concept of common ownership of journals was not Home's original idea, this can be traced back to Fluxus. Ken Friedman of Fluxus West published the first twelve issues of The New York Correspondence School Weekly Breeder, initially 81/2" X 11" single sheets, it was begun in 1971 and in 1972 began to be passed from networker to networker for subsequent issues, spawning the idea of magazines that were owned by the network as a whole and not the egotistical province of an individual or group, reflecting the belief in anti exclusivity of Fluxus. This publication became influential not only within the network but also in Bookarts. Since Fluxus, other people have worked with the concept of common ownership and in 1977, Polish mailartist, Pawel Petasz initiated the Commonpress periodical project which encouraged other networkers to publish editions, using his/her own theme and format, following the Fluxus lead. All contributors to any edition were expected to produce their own edition, in a print run of not less than 200.35 Petasz produced the first copy and a total of sixty were produced across thirteen countries between 1977 and 1981, all co-ordinated by Petasz. At that point the political climate in Poland made it inadvisable for him to continue and he handed over the co-ordination to a Canadian networker, Gerald Jupiter-Larsen.
The principle of magazines produced by individual participants sending their contributions as ready to print artwork, took the name 'assembling' from the title of a publication by New York writer and critic, Richard Kostelantz who, between 1970 and 1981, produced 11 editions of his magazine Assembling.36 This journal was unique amongst mailart magazines in being published in editions of 1000 copies, thanks to financial support from various sources. Kostelantz requested 8 1/2" X 11" artwork and sent each contributor three copies of the complete work.
Earlier, in 1968 Ken Friedman produced the one and only issue of Amazing Facts Magazine which established a cherished mailart principle of a journal produced from gathered material as an editorial principal.37 This was a collation assemblage of received mail which was dispatched to the participators. In Germany in the late 1960s, Thomas Niggl created Omnibus News which was the first accumulated magazine to be published in multiple editions.38 This notion was developed through the 1970s and is a very common aspect of networking today, founded on the general principle of a co-ordinator responsible for collating and distributing the finished product to the participants, the number of participants dictating the number of copies that each contributor is required to send to the co-ordinator. Typically, numbers have ranged from twelve, twenty, fifty and sometimes 100. Co-oridnator/originators also state the dimensions required although these have usually been given as a maximum so that the final assembled work is frequently a hotchpotch of work on different types of paper and other supports as well as varying in thickness and dimension this means that the visual appearance alone of assembling zines instantly separates them from commercial magazines. Central to this notion of publishing is the decision to exercise no editorial control, as in the practice of no juries for mailart shows. This inevitably has meant that the content and 'quality' in the critical sense have often been questionable because the importance of these zines lies in the inclusion of material, without editorial control, of work from a wide cultural and geographic background where the taking part is of supreme importance.
2.4. Postal Elements.
For Fluxus, unlike mailart, production of objects was for an intended sale. Central to the production of Fluxus material was the mail order warehouse and shop which Maciunas had opened, with the Flux-Hall for Performances, at 359 Canal Street, on his return to New York after the Fluxus tour. The warehouse advertised many items, mostly made by Maciunas though few existed in advance of orders. Although Fluxus was keen to sell its products, 70% of them were given away rather than sold.
The recognition by Fluxus of the postal system as a means of keeping in touch with each other, and as a system for selling their work, led to Fluxus people seeing it as a medium and vehicle for their work. Paik operated through the mail, although not using his own stamps. 'The Monthly Review of the University for Avant-Garde Hinduism.'(Plate 16), taking Johnson's fascination for bizarre names, was a series of works that Paik mailed out in 1963.
"To the subscriber of the Monthly Review of the University for Avant-Garde Hinduism sometimes comes something by mail. once, or twice, or thrice, you will find a tiny 1 cent coin in a white envelope. or ..."39
It is not clear how many Paik sent although there may be some clues given in his deliberately unlikely suggestions as to what he would send, including "arm-pit hair of a chicagoan negro prostitute". There is little interest shown in the appearance of the envelope although the use of his own rubber stamp should be noted.
Although mailart was not of primary importance to Fluxus, it is interesting to note how central a part it made of the postal system in a parody of marketing systems. Fluxus, taking the postal system seriously as a medium, (that is to say seriously from an often humorous point of view as was their wont) went so far as to produce a:
" Fluxus Postal Kit, prepared in 1966 complete with a Fluxpost cancellation mark, permitting an entire, Fluxus-controlled postal exchange to take place."... " By the end of the 1960s, a number of Fluxus people had begun to view mail art as a medium offering unique potentials and challenges. They saw beyond the basic issue of art through the mail, and began to explore the reaches and media of correspondence and mail themselves." 40
'Flux-post kit 7', 1968 (Plate 17) shows the range of postal ephemera that Fluxus was involved in but it also shows - with its box container - how these objects were very much seen - at least by Maciunas - as commodities rather than explorations of the mail. For Maciunas there was little difference between Flux Tattoos, as an artwork / commodity and Flux Postal ephemera, in that both were produced to be sold and collected.
Although these objects were to add to the correspondence aspect of mailart that Johnson had begun, for mailartists, it is the interaction through the mail that is important. It is not insignificant in the consideration of mailart that every communication received, and sent, will have the marks of the postal system (postage stamps and franking) of, at least, its country of origin. These in themselves can lead to, both a better understanding between two countries and the simple though not to be devalued pleasure of an appreciation of the aesthetic qualities and charm of stamps and frankings of other countries. It is therefore apparent that irrespective of the networker's contribution and intervention, any mailart communication, in order to comply with the postal system, has intrinsic interest. For Fluxus and mailartists, there was also the possibility of adding their own faux-stamps and faux-frankings.Faux-stamps were to become known as Artistamps.41
Historically, the first recorded non official stamps are understood to have been made long before Fluxus, by Karl Schwesig.42 As with the history of most things however, earlier examples come to light and this is no less the case with artistamps. Artistamp News, in 1991 (1/2) published a brief article on rubberstamp produced stamps by Michael V. Hitrovo from 1914. A subsequent article in Artistamp News 2/1 1992 describes an even earlier example from the last century.43 More recently, an American, Donald Evans, looked to stamps as a format for artwork, though not a mailartist, he made one-off stamps. Evans began making stamps in 1957 when he was twelve years old and continued making them until his untimely death in a fire in 1977. Evans' water-colour stamps from imaginary kingdoms were exhibited in galleries and sold by him, thereby distancing him from the practice of networkers. None of these historical precedents relate to mailart in that they were not part of an exchange within a network and serve only to demonstrate that unofficial stamps had been produced before networkers began to make them.
The earliest stamps made as part of mailart activity were those of the prolific Fluxus member Robert Watts who in 1962 printed 'Safe Post / K.U.K. Feldpost / Jokpost.' (Plate 18) These stamps were subversive in that whilst they imitated commercial stamps in their borders, the central images were taken from photographs of naked women. The 1963 'Yamflug/5 Post 5'44 (Plate 19) also suggest commercial stamps with their traditional borders but are confusing to the viewer because of their evident non-commercial heads. Watts continued to make artistamps, as part of his Fluxus activity, until his death in 1988. In a further parody of the postal system Watts in 1963 produced his own stamp dispenser, an altered readymade, taking his own stamps. Fluxus stamps, with the word 'Post', inclusion of numerical 'values' and frequent use of heads as subject matter, very clearly indicate a wish to produce something that relates very strongly to officially produced stamps. This is an imitation of a formal system which Watts, with references to Fluxus on his stamps, clearly situated in Fluxus production. It was an offshoot of the considerable structure that Maciunas attempted to set-up, in that with its own shop and publishing, stamps were a logical development. Maciunas, as well as producing finished artwork and producing many of the multiples designed by other Fluxus people, also designed his own stamps, for example, 'Fluxpost (Smiles)' (Plate20). These stamps relate to his Flux Smile Machine and as such situate them firmly within Fluxus products rather than for mailart usage.
By 1974 artiststamps had become well established as a mailart medium, with thirty-five networkers from nine countries participating in the first "Artists' Stamp and Stamp Images" exhibition, which was held in Canada.45 In 1984, Michael Bidner of Canada, held an exhibition in Ontario, combining his passions of art and stamp collecting.46 This show exhibited stamps by over 1000 networkers from almost 50 countries. Artistamps were totally to dominate Bidner's life with his mission to document the production of artistamps and to produce a catalogue.47 The documentation and entire collection of over 10,000 images was given to the 'Artpool' Archive of Julia and Gyorgy Galantai in Hungary, after Bidner anticipating his death, failed to persuade any Canadian Museum to take them.
As James Felter, a Canadian mailartist, recognised in an introductory essay to a Seattle Artistamp exhibition,48 that postage stamps give a universal message of authority, functioning in a manner that is instantly understood throughout the world.
"One symbol they (mailartists) have found is the postage stamp, or rather the postage stamp format. This is one of the few existing symbols of officialdom, of authority, and of low economic value that is recognised in every nook and cranny of the globe. It is a universal symbol of a means of communication and a carrier of an unlimited variety of 'authorized' messages in the form of words, numbers, and images (or any combination thereof). It is a symbol that is used everyday and collected throughout the world. The artists of the global village have adopted this symbol and named it 'Artistamp.'"The use of this old symbol as a carrier of new symbols, new visual messages and new aesthetic discoveries lends an aura of authenticity to the creative efforts of the artists of the global village and legitamizes their imagination with the international society." 49
Stamps are also a very low cost item carrying an endless variety of images and texts that can be seen as miniature, multiple artworks. The imitation of postage stamps by mailartists is a logical decision, giving their enormous potential for the use of text and image in miniature and relevance to the activity of postal art. In spite of this, only a small number of mailartists produce artistamps, presumably because they perceive them to be too difficult and /or expensive to produce. Some of those who do produce artistamps on the other hand, go to great lengths to create postal systems which at times even include fake countries, languages and even Royalty. Robert Rudine, a USA. mailartist, using the combat name, Dogfish or the King of Tui Tui produces Philatelic Bulletins to accompany every new issue of stamps for his 'country': these are accompanied by a glossary for those not familiar with the language of Tui Tui in which some of the text is written. Working with artistamps and systems can become a fantasy life in which the creator escapes to his/her land of his/her dreams that s/he can be in complete control of, a way of escaping from the mundanity of everyday life, which in a sense mailart is, every time the post deliverer arrives. Equally it ridicules the seriousness of officialdom, a comment on the artificiality of established systems, the ease with which they can be constructed and the shallowness that can be their underpinning.
There is an established precedent for non-postage stamp stamps, namely in what are called Cinderellas, that is to say the commercially produced stamps with no postal value, used as part of an advertising or promotional campaign.
"...the stamp format was widely used as an advertising medium throughout Europe and America from 1900 through 1940, as one of the only affordable means advertisers could use to circulate full colour reproductions of their products or facilities. After 1940 the medium died out quickly when technologies of colour and black and white printing were integrated, and colour advertising in the context of magazines, became available." 50
The design considerations for Cinderellas are the same as for most aspects of postage stamps and are also appropriate to artistamps. Whilst affordable to business, commercial printing is of course not affordable by the average networker and so whilst Cinderellas remain as a precedent, they do not indicate a standard method of production. Similarly, the production designing of postage stamps by artists is not related to mailart quite simply because postage stamps are the mark of authority. Whilst artistamps do not necessarily seek to subvert or mock the authority, they exist alongside it as a personal statement or mark.
In contrast to the hand produced works of Schwesig and Evans, the usual medium for artistamps has become the photocopier, hence the considerable increase in the production of artistamps since the widespread availability of photomechanical reproduction, especially the colour-copier. Other stamps are hand printed, silk screen for example and many are produced by rubber-stamping or designed and produced on computers. These images if hand produced may well be unique stamps and the printed stamps may be produced in editions of any number or unlimited.
Fluxus work whilst at times poking fun at and parodying the establishment, tended to achieve their aim through humour, some artistamp makers on the other hand have taken risks by subverting the official postage due. The simplest form is simply to send mail with no stamp, but that runs the risk of the recipient having to pay, which at least in the case of mailartists from countries where incomes are relatively low, is not an acceptable risk. Simply using an artistamp is another possibility. Famously (although not part of mailart networking) Yves Klein made his IKB stamps in 1958 to send out on the envelopes of his invitations to the exhibition Le Vide. Reputedly, these were the only stamps on the envelopes and successfully reached their destinations without surcharges being added.51 More provocatively, in 1970, USA. mailartist, William Farley's USXX stamp of a rear view of a head with a pony tail in an early US design, imitating a Lincoln stamp was used by a friend of his in place of an official stamp. The stamp was traced back to Farley and resulted in him being forced to surrender all the remaining stamps to the Secret Service. Totally undetected however was the production and use by an anonymous American artist of a facsimile of the '10c US. Air Mail' stamp.52 Subversive activity has not been limited to stamps but has included franking with the production of fake franking and specifically fake wartime "Utility" marks, producing a strange time-warp for any handler of the envelope recognising the franking.
The simplest form of artistamps is to work with the official stamps, this can be for aesthetic, subversive reasons or purely for fun. The more stamps that are placed on the envelope, the more possibilities there are of aesthetics, with choice of colour, placing and relative positioning. An example of this is to use the lowest denomination stamp and to totally cover the envelope with the stamps, thereby making a minimal work of art. This kind of 'game' is not unique to mailartists at all, and is often played by friends who have never heard of mailart. Subversively, inverting the Queen's head demonstrates disrespect, if not a treasonable offence and placing the stamp in an attempt to avoid franking so that it can be reused by the recipient are all strategies that mailartists use. Actually working on the stamps and altering them is another possibility that has been explored by an English mailartist who limits his introductions to his combat name of Red Herring who in 1988 over painted a stamp of Wellington, giving him a Donald Duck bill. Whilst this work is humorous and subversive, it is interesting to consider that it is so subtle that it could easily be sent to a mailartist who does not archive and so not noticing the altered stamp could have thrown away the envelope without ever being aware of Herring's labours. Requiring a similar amount of detailed effort is the attempt to remove any franking marks on the stamp, without damaging the original image so that it can be reused, the amount of time involved for what is a relatively small financial saving suggests that the importance to the perpetrator is in subverting the system rather than in saving money. In doing this as with Herring's stamp, the motivation is one that is primarily personal satisfaction and amusement at beating the system.
Rubber Stamps, or Rubberstamps as they have come to be known by mailartists, were invented by businessmen in the mid to late nineteenth century and by the late 50s and early 60s were widely used by both Fluxus and Nouveau Realists as a medium for producing artworks.
The combination of the mundanity and power of rubberstamps gives
"a symbol of power - their role is to validate or invalidate something. There are many symbols of power and we are frequently confronted by them. But none is as common and petty as the rubber-stamp. Their lack of sophistication and glamour seems to contradict the enormous power conveyed by them."53
This is particularly evident in oppressed countries where, as discussed later, received mail has usually born the mark of the censor. Rubberstamps fall into several categories, the official stamp is associated with authority and validation of, for example, licenses, certificates and passports: these actions and documents acknowledge and approve us. The very medium or carrier of mailart, the Royal Mail, validates our messages with rubber-stamps and officialdom in general uses them to number our documents. Fluxus used faux frankings, for example Ken Friedman's 'Fluxpost West 1964 - 1974' and many mailartists since have used their own versions of frankings. Similarly, mailartists have often used date stamps or numbering stamps, of for example their envelopes, partly to broadcast their prowess at having produced so much mailart but also to give spurious authority to their sending, in a play on officialdom. The reliving of childhood pleasures of 'playing Post Offices' with Post Office Sets, should not be underrated, the simple pleasure of using the paraphernalia and the sense of importance that accompanies the use of the stamp.
Domestically there is a formal but far less official use as a convenient method of producing letter heads and 'sender' address stamps for the back of envelopes. These were used by Fluxus and Johnson and are used by most mailartists today, partly for convenience. Name stamps have also been used for fake institutions, such as, as already stated, Paik's 'University of Avant-garde Hinduism' and often by Johnson for a wide variety of his fake institutions although he did not always use rubberstamps to validate them, often preferring to hand write or type the names. Johnson also used rubberstamps with text such as 'Ray Johnson Evaporations', 'Collage by Ray Johnson', or even 'Collage by Joseph Cornell.54
The use of rubberstamps as cheap movable type has long had an attraction for children with 'John Bull' printing sets, allowing them to play at typesetting. It is this element of play that many mailartists find attractive, with the hand-crafted appearance of something that is close to a commercial graphic process but with the visual attraction of its imperfections, so much loved by Warhol in his early 1960s photo silk-screen prints. Although most type for Fluxus work was generated by letterpress, (by Maciunas usually) Vautier for example enjoyed the use of rubber stamp type.
In 1974 Herve Fischer, a French artist, published rubber-stamp images55 and in 1978 the first Rubberstamp Album was produced in America by Joni Miller and Lowry Thompson who subsequently edited the massive bimonthly journal Rubberstampmadness begun in 1979 and still running commercially (currently 92 pages). The 1970s also saw a proliferation of companies, particularly in the USA., offering a wide range of ready made decorative rubberstamps and a bespoke service giving an enormous range of creative possibilities. This, coupled with mailartists beginning to carve their own rubberstamps led to a considerable increase in the use of rubberstamps in mailart.
The use of the rubberstamp by networkers varies considerably in intention and effect from networker to networker. For some, at times as humorous pastiche and at others to make critical comment: this impression can only be created with the blandness of commercially produced rubberstamps. Hand cut rubberstamps however, created usually with a scalpel from an eraser, inevitably present an entirely different image, lacking the authority of precision but with the visual attraction that goes with hand-crafted work. Equally, with Rubberstampmadness giving examples of how to create complete pictures in multi colours purely from rubberstamps, the creative possibilities are considerable. Whilst the latter suggests more of a craft-hobbyist approach, the experimental nature of mailartists has resulted in very imaginative rubberstamps and uses for them, whether commercially or hand produced. In an age in which for many networkers, making contact with people is more important than laboured hand produced creativity, the rubberstamp offers a very quick, accessible and immediate medium with considerable potential: expediency and pragmatism dominating ideology.
2.5. Postcards.
The beginnings of handmade and commercially produced picture postcards, in England, date from 1894: until that time postcards could only be made by the government. Hand decorated postcards are as old as postcards themselves and as an art form are not confined to the network, exhibitions of postcard art having been held since the late 1970s. For the networker, they provide a simple and direct medium with all the process (accumulated ephemera of postmarks etc.) of its transition, from sender to recipient, unavoidably evident. Whilst the importance of mailart lies in bringing people together, the postcard, having no protective packaging, is prey to the ravages of its journey through the post. The postcard, therefore, is the most pure form of mailart. Ideologically, it truly functions as mailart by being open to be 'read' by all the postal workers who handle it and any casual passers-by who may see it on the door mat before it is received by the 'intended' recipient as I go on to discuss in Chapter 5.
Whilst the sending of Picture Postcards by mailartists to each other as mailart is probably usually because of a wish to share the image, because of its beauty, humour, personal relevance or any one of a number of reasons, it could be seen to indicate either a lack of concern for any attempt at considering the communication as art or on the contrary, possibly the consideration of the chosen postcard as a ready-made in the Duchampian sense. Fluxus members often sent messages to each other on postcards but it was Ben Vautier who used the postcard as a creative vehicle in itself. In 1965, he made what was probably the first pure conceptual mailart work - 'The Postman's Choice'56 (Plate 21) in which he produced a double-sided postcard, inviting the postman to decide which side s/he wished to select to determine the recipient. Whilst being an admirable work in terms of conceptual process, Ben's57 postcard lacks an interest in interchange and therefore remains outside mailart networking. Further, Maciunas' request, "can I reprint 1000 of them! and sell for 10 c each?"58 indicates very clearly that for Maciunas at least they were perceived as a commodity to be sold and used by others rather than as a conceptual usage of the post by the artist.
Artist's Postcards became so popular as a medium for mailart exchange that by 1971, two Canadian networkers, Michael Morris and Vincent Trasov in Vancouver, Canada, were able to stage a show devoted solely to networkers' postcards.59 This exhibition was documented with an album of postcards and greatly helped to promote the idea of working in this medium as well as furthering the concept of creating an exhibition from mailart material, discussed in the following chapter.
2.6. Conclusion.
Maciunas' need to control and organise Fluxus extended to thorough documentation of Fluxus activities and archiving Fluxus material. Whilst the habit of documenting and archiving work is one that has been adopted by many mailartists, unilateral control is both alien to mailart and not possible, given the vast numbers and disparity of its adherents. Although Johnson was a figurehead of mailart, at least in the late fifties and early sixties, he was nevertheless, keen to encourage exchange that went beyond his control. Maciunas' willingness to devote himself to the cause of Fluxus and his generosity in giving work away are however, very much a fundamental part of mailart attitudes.
Fluxus was highly influential on mailart with its, philosophies, attitudes and internationalism. Of particular importance was its usage of postal elements; stamps and postcards and especially with the publishing of address lists which greatly enlarged the number of participants. This was partly responsible for mailart taking on a much broader geographical and cultural spread than it had been possible to achieve simply with the efforts of one man - Johnson. Mailart became a union of two elements, the orchestration and interchange through the mail as practised by Johnson and the playing with the elements of the postal system which - whilst not generally used as mailart - were demonstrated by Fluxus.
Where Fluxus failed was in its attempt to rid itself of authorship by the simple tactic of requiring the participants to sign themselves 'Fluxus', had this happened, it would have changed the way in which the work has been commodified, particularly given the illustrious careers that many of the Fluxus artists went on to have - without names, the historian looses interest. The anonymity of mailart is something that was to become central to its operation and it is with the theories of authorship and art that Fluxus man Joseph Beuys - building on Fluxus ideas - was to propound, that mailart was to develop its rationale, as I debate in the final chapter.
It was natural with the anti-establishment idealism and optimism of the late sixties and early seventies that mailart should grow beyond the life and parameters of Fluxus and Johnson. The burgeoning of mailart reflected the tremendous interest that grew at the time in the seventies of exploring and setting-up new and alternative systems, which in mailart was to be centred on MAPs (Mail Art Projects), their exhibiting and documentation.
1 The seven original members, George Maciunas; Dick Higgins; Emmett Williams; Alison Knowles; Nam June Paik; Ben Patterson and Wolf Vostell were soon joined by George Brecht; Philip Corner; Toshi Ichijanagi; Ben Vautier; Jackson Mac Low; Yoko Ono; La Monte Young; Charlote Moorman; Daniel Spoerri; Josef Beuys and Robert Filliou, the last three being peripheral members.
above copied fromL http://www.fortunecity.com/victorian/palace/62/fluxus.html
This is part of a larger project by Lamb, MAIL ART 1955 to 1995 Democratic art as social sculpture, You can see the whole thesis at: http://www.fortunecity.com/victorian/palace/62/
In USA, whilst Johnson continued to use the postal system to transport his orchestrations, Fluxus - a constantly changing, international loose group of geographically separated people,1 through Europe and North America - participated in mailart and began to widen the network of mailart through publishing and to explore the creative potential of the elements of the postal system with postcards, stamps and franking. This chapter examines the uses of these elements by Fluxus and mailartists.
Whilst much has been written on Fluxus, it has not been discussed in terms of its importance to the development of mailart. Writers on mailart on the other hand have acknowledged the importance of Fluxus to mailart. Significantly, Chuck Welch chooses to organise his book, Eternal Network: A Mail Art Anthology 2 with the first chapter, written by Fluxus man Ken Friedman, 'The Early Days of Mailart'3 including an account of Fluxus mailart work. It is not until the third chapter that Clive Phillpot's 'The Mailed Art of Ray Johnson' occurs, although Friedman does include writing about Johnson. (Chapter two is by John Held Jr., 'Networking: The Origin of Terminology.') Friedman perceives that it was through Fluxus that mailart:
"reached out to the public" ... "and began to make real, its potential for social change and for contributing new forms of communication to the world." 4
This is a view that I share, but note the importance of the word "began". Friedman also sees that it was Fluxus that encouraged people to find-out about each other through the mail, a means of broadening knowledge and understanding of other artists' work without having to travel and meet them.
Although Robert Atkins in his "guide" mentions mailart under Fluxus:
"Fluxus was not limited to live events. Mail (or correspondence) art - postcardlike collages or other small scale works that utilized the mail as a distribution system - were pioneered by Fluxus artists, especially Ray Johnson."5
the statement is misleading in that Johnson was never a "Fluxus artist" and given that, it was not Fluxus artists who pioneered mailart. Writing about Fluxus is frequently accompanied by reproductions of works that show Fluxus use of the mail but do not comment on them in terms of mailart, seeing them simply as Fluxus works6. John Hendrick's massive tome on Fluxus reproduces many works that used the mail, again without reference to mailart.7 In his introduction to this text, Robert Pincus-Witten describes Fluxus as an indictment of USA political and artistic (Abstract Expressionist) imperialism and a:
"campaign that subverted the inherited abstract value system - large, heroic, ambitious, and sexist - favouring an art that was intimate, ephemeral, and highly poetic."8
This is a view of Fluxus that is echoed by Hendricks in his foreword to the book and is not only applicable to Fluxus but also to my reading of mailart in the USA in the sixties and seventies.
2.2. The Conception of Fluxus.
Fluxus was conceived in 1961/1962 by George Maciunas (1931 - 1978), a Lithuanian architect and designer and part owner of the A/G gallery, 925 Madison Avenue.9 A/G got its name from the forenames of Maciunas and his partner Almus Salicus. The intention had been to exhibit abstract painting and sell ancient musical instruments but within the same year (1960) Maciunas met La Monte Young and others that were to be Fluxus artists and turned the gallery into a venue for their (including Johnson's) events that Maciunas sponsored. The gallery closed in 1961. Fluxus began outside Fine Art, with many of the people who joined Fluxus coming from non-art backgrounds working in the spaces between art forms and between art and life.10 In this way, they relate to mailartists with the participators not necessarily coming from an arts background and not signalling the importance of 'art'.
The first Fluxus manifestation was Maciunas' publication 'Fluxus' (1961) that grew out of the musical events of the people centred around John Cage. Many of those who were to become the mainstays of Fluxus11 had attended Cage's course in Musical Composition at The New School For Social Research, New York in the summer of 1958.12 In 1960, Maciunas also attended Maxfield Parish's classes in electronic music, and met La Monte Young at the same venue. La Monte Young, Fluxus man and composer organised performances at Yoko Ono's New York studio, (11 Chambers Street) from Dec. 18, 1960 to June 30th 1961 and Maciunas arranged performances in his gallery from March 14th to June 30th 1961. It was on an invitation card to three concerts in March of that year "Musica Antiqua et Nova" - "A 3 dollar contribution will help to publish Fluxus magazine." that Maciunas first used the word Fluxus.13 Johnson was one of the participants in these concerts, and so was involved in Fluxus right from the very start. La Monte Young and Maciunas were not simply connected by their involvement in Happenings14 but also their interest in publishing. Young had taken over Beatitude East magazine15 which developed, with Maciunas doing the layout and Mac Low assisting, into An Anthology (October 1961). The journal included experimental music and event scores; poetry and essays and the work of Nam June Paik; Dieter Rot; and Emmett Williams and was intended by Maciunas to be a serial publication under the banner of Fluxus but was interrupted by his moving to Germany to take-up a job with the U.S.A.F. in Germany as a freelance designer / architect. Although the move to Germany affected the intended production of the publication, it strengthened the idea of internationalism that is so clear from the nationalities of the artists involved in the Cage workshop, Fluxus in general and later in mailart. Nam June Paik (b.1932) was also in Germany at that time and Maciunas - taking advantage of his geographical location - planned an ambitious 18 months long tour of concerts, to include Paik, from Berlin in June 1961 to Tokyo in January 1964 via Moscow - a big city per month to be supported by Fluxus magazine. The reality of the locations was somewhat different to the plan - being limited to Europe - but still impressively ambitious.16 Fluxus performance and therefore Fluxus, was clearly launched.
At the start of 1963 Maciunas published the Fluxus, 'Purge Manifesto' which declared war on:"The world of bourgeois sickness, "intellectual", professional, and commercialized culture."17 Maciunas saw Fluxus as being free of confines and able to work in any way that it wished, without concern for tradition or the need for recognition by established art critics. Whilst the publication of Fluxus works and the opening of a Fluxus shop can be read as being a critical comment on commerce - given that the goods on offer were neither functional nor falling within accepted notions of Fine Art - there is also a danger of falling into the trap of becoming part of the very establishment that is being criticised. Maciunas' criticism of 'professional(ism)' is also problematic, given the professional role that he played as the highly committed organiser of Fluxus.18
Rejection of the notion of 'Authorship' and therefore the 'Artist as Hero' was central to Maciunas' concept of Fluxus: participators were expected to sign their work - if at all - 'Fluxus.' Fluxus signalled participation, inclusivity rather than exclusivity, experimentation and creativity as being paramount and individual identity, career building and ego-feeding as being of no importance whatsoever. However, the reality was that the participators in Fluxus frequently did sign their work with their own names. Equally, mailartists usually sign their work as a principle because the spread of contacts is important to its activity. Although within mailart there is a tradition among some networkers of working anonymously by adopting pseudonyms, or 'combat names' as discussed in Chapter one, this is not the same issue as signing a work 'Fluxus' because these are individually held names and also because cynically it could be suggested that Maciunas' motive in encouraging this signing was giving Fluxus itself a higher profile than that of the individual participating artists. Whilst combat names, may well make the individual more memorable, they do not serve to promote mailart as a whole and mailart, unlike Fluxus has no intention of producing a saleable product.
Multiple Names relate to Combat Names in as much as that they do not reveal the legal name of the networker but their origins lie in the Fluxus anti-elitist, anti-artist-as-hero stance. Whilst Duchamp used pseudonyms such as R.Mutt and Rrose Selavy, these were not used to suppress his career as an artist, arguably the opposite was the case. In 1920 however, Raoul Hausmann suggested that the Berlin Dadaists should all call themselves 'Jesus Christ'. This can be considered to be a typically provocative Dadaist idea rather than a serious proposition but nevertheless, it is a multiple name proposal. Maciunas had more success with suggesting to the Fluxus artists that they should simply sign their work 'Fluxus', in a move against the perception of art as elitist behaviour and careerism. The notion of an anonymous work of art has the effect of preventing the placing of value on a work of art because of its 'brand name.'
The issue of putting a name to a work of art was subsequently explored by mailartists and the first mailart Multiple Name was created in the mid 1970s by two British mailartists, Stefan Kukowski and Adam Czarnowski who tried to persuade other networkers to adopt the name 'Klaos Oldanburgh' (sic).19 The ideology of this concept is called into question by their use of Roman Numerals after the name to differentiate the different Klaos Oldanburghs, thereby in effect drawing attention to their being different people, with identities. One year before Maciunas' death, in 1977, David Zack a Los Angeles, USA. networker proposed what he described as an "Open pop-star" name that could be used by mailartists wishing to assume the identity of a pop-star. The name, Monty Cantsin became associated specifically with Neoism and in particular with a Canadian networker, Istvan Kantor (I discuss Neoism in Chapter 4). In 1985, Stuart Home, an English networker, became interested in Multiple Names but felt, because of the specific association of Cantsin with Kantor, that a new association-free name was needed and chose that of Karen Eliot. Documentation of mailart projects occurred where all the participators' names were listed as Karen Eliot or Monty Cantisn.20 Honouring the expectation of participants to receive the addresses of all participants in many respects defeated the principle of anonymity, the printing of the individuals' addresses making the identification of the participant possible.
2.3. Publications.
The importance to Fluxus of publishing was to be significant for mailart in that it was the start of mailartists extending their work beyond the impetus of Johnson's 'letters', to making editions and journal based work.
In 1965, the first mailart book (and what seems to be the first published accounts of mailart after Wilcock's article) was produced by Dick Higgins - a prominent member of Fluxus - with the publication of Johnson's book, The Paper Snake.21 This work consists entirely of mailart works by Johnson from 1960 to 1964 and almost entirely sent to Higgins. These are mostly text with, in many cases, some resemblance to the text works of Yoko Ono from the 1950s and 1960s, often with barbed references to specific individuals, many of them famous from all walks of life. Although Johnson's address does appear, there is neither invitation, nor indication of the possibility of participation. The work makes no attempt to reach out to the uninitiated and as such perhaps would be unapproachable to most people, but would undoubtedly have made Fluxus artists more aware of the way in which Johnson used the mail. There is a short introductory essay by the American art critic, William Wilson, sometimes described as Johnson's unofficial biographer, eulogising about the work but adding no information on Johnson or mailart (see the introduction to this thesis).
Of particular importance to the spread of mailart, Higgins also produced a newsletter in 1966, initially to present his essay on 'intermedia', it went on to disseminate mailart ideas and to be the inspiration for future network newsletters.22 Also in 1966, Ken Friedman of Fluxus West (San Diego) began to publish the annual compilations of Fluxus mailing lists which George Maciunas had produced since the early days of Fluxus as membership lists so that people could communicate directly with each other. These could seem to relate to Johnson's 'meeting' lists but differ in two important ways. Firstly, Fluxus lists were factual whereas Johnson's were, at least in part, fantasy. Secondly, Johnson did not reproduce lists of addresses with the names, to enable and encourage growing networks. Fluxus compilations grew until by 1972 the list was of more than 1400 names and addresses of people interested in communicating experimentally. The 1972 list was published in co-operation with 'Image Bank', a Toronto, Canada artists' collective which sent out bi-monthly requests to other participants, a kind of brokerage firm, based on Johnson's example of putting people in touch with each other.23 The Image Bank list, in turn, became the core of the artist's directory of File (see below) which was released in hundreds of free copies, distributed to artists, arts organisations and publishers around the world. The artist's directory published network information, addresses and project invitations, providing the first possibility of information rather than simply written versions of Chinese Whispers.
Although mailing lists per se do not appear anymore in mailart, documentation of mailart projects (discussed in Chapter 3) by tacit agreement, consists of the names and addresses of all the participants, so acting as a mailing list. Since Fluxus, there have been many mailart magazines which include name and address lists, notably Lo Straniero, the production of Neopolitan Ignazio Corsaro who refers to his list as 'The Strangers Directory', printing about 1,000 names and addresses, covering approximately five letters of the alphabet each issue.24 This magazine is published in the uniquely (for mailart) large edition of 10,000 copies, is professionally printed in Black and White and produced twice a year since 1985, initially in Broad Sheet format.25 Corsaro's magazine is a forum for discussion through letters sent to him and his reply to them, through the magazine. Other means of increasing contacts occur in some quite different journals, in England the commercially produced Artists Newsletter includes a column, compiled by London mailartist Michael Leigh, listing current mailart projects.26 Mailart newsletters vary from the highly efficient, professionally produced but visually bland Global Mail produced by Ashley Parker Owens of the U.S.A., to the visually enjoyable but slimmer, photocopied and more random quality of husband and wife Serbian Lawyers, Rorica and Dobrica Kamperlic's Open World. Global Mail developed from an initial single fold in 1992, to issue no.15, December 1996, consisting of 32 pages, stapled, with the listings under eleven categories and 2500 copies produced.27 In choosing to concentrate on the content of her visually functional journal rather than creating a very recognisable appearance, Ashley Parker Owens highlights the importance of simply being able to contact people and expand the network, over the nature of the contact, she remains impartial to how her information is used. Open World, has been published since 1985 and continued throughout the war in ex Yugoslavia, even though it was published in Beograd. The magazine consists of paste-ups of fliers for mailart projects and photographs of mailartists, with typewriter generated text. Whilst this makes it difficult to use as a reference work about current projects, unlike Global Mail, it is a much more visually seductive production, encouraging browsing and with a sense of ownership in that although Ashley Parker Owens prints entries sent, these are changed into the text, style and format of the magazine, whereas the Kamperlics simply photocopy whatever is sent. The Kamperlics also encourage the spread of the magazine by recipients photocopying it and sending copies to other mailartists. Ashley Parker Owens also uses mailartists to pass the magazine on, but by sending-on copies sent. In both cases they are using the potential of the network to distribute their magazines about the network beyond their immediate contacts. Both have their place in mailart and represent two extremes of mailart, Ashley Parker Owens being highly 'professional' (although at her own considerable expense28) and the Kamperlics enjoying the immediacy of hastily produced magazines that enabled them to produce and distribute 83 editions in the first ten years of production.
Fluxus production of magazines,29 developing from Maciunas' initial concept of a Fluxus magazine, was to become one of the mainstays of mailart, with magazines produced for a variety of reasons, from contacts and advertisers of mailart projects to publishers of visual and text based creative work. The word 'magazine' is often shortened to 'Zine', Stephen Perkins defines them as "self-produced, self-distributed, non-profit publications focusing on topics that are often ignored by the mainstream media." referring to self published, cheaply produced products with no commercial ambitions or outlets, he goes on to say that "the history of Zines can be traced back to the 1930s when science fiction fans started putting out their own slick science fiction magazines ... When those fans circulated their mimeographed writings amongst themselves, the zine was born".30
Life magazine, with the punning potential of its title, inspired a number of mailart magazines that in some cases had large print runs, received grants and reached out beyond the confines of the network.31 These magazines evolved organically in the change of title and passing of production from mailartist to mailartist. The first of these, and perhaps the first magazine to be generated through the mailart network, was produced by General Idea who began File magazine in 1971 with a grant from the Canada Council. File was printed in editions of 3-5,000 and was sold at news-stands in major USA cities, but by 1974 it had ceased to address mailart, choosing to concentrate on the general activities of General Idea, in preference to what they perceived as being the 'Quikkopy crap' that they were seeing in mailart as a response to the new availability of photocopying and the broadening out from the hand-crafted works that epitomised the early years of mailart. File was conceived as an anagram of Life and the first issue, April 15th, was a convincing imitation of a 1948 issue of Life magazine. In 1974 Anna Banana adopted File, renaming it Vile. Banana was no newcomer to self publishing having produced ten issues of her Banana Rag since 1971. Her particular ambition was to imitate Life magazine to such an extent that it could be taken for it and by 1977 she published the fourth issue which came close to her ambition. At that point she dropped the notion of imitating Life, not least because the producers of File had lost their battle with Time / Life over the use of the similar logo.32 By then the publication was jointly produced with Bill Gaglione, in a different format and with different designs and they continued publishing it until 1981. Although mailart based, Banana and Gaglione chose to seek funding for the publication and the third issue that had included poetry and fiction was given a grant by the Co-ordinating Council of Literary Magazines making it possible to print 1000 copies. The sixth issue also received a grant from the CCLM and entitled 'Fe-Mail-Art' explored women mailartists. By complete contrast, the seventh issue was a much smaller edition and hand produced.33
A further evolution of the name of the journal was adopted by Stewart Home who in February 1984 published his first issue of Smile, 'The official organ of the Generation Positive.' This journal was to express Home's ideas on 'Positive Plagiarism' which are explored in Chapter 4. Home also encouraged others to produce copies of Smile which several did though to Home's initial disappointment the first, continuing the established tradition of punning on the title, calling it Slime & Limes. Home had intended that all magazines should be called Smile and subsequent issues conformed to that request. Smile remains open as a possibility for any networker to use the title for a magazine and from time to time networkers do publish under that title, frequently with a political agenda. Jo Klaffki for example, a German mailartist who uses the name Joki Mail Art has published a number of editions of Smile sometimes with political undertones but always with a strong sense of humour.34
The concept of common ownership of journals was not Home's original idea, this can be traced back to Fluxus. Ken Friedman of Fluxus West published the first twelve issues of The New York Correspondence School Weekly Breeder, initially 81/2" X 11" single sheets, it was begun in 1971 and in 1972 began to be passed from networker to networker for subsequent issues, spawning the idea of magazines that were owned by the network as a whole and not the egotistical province of an individual or group, reflecting the belief in anti exclusivity of Fluxus. This publication became influential not only within the network but also in Bookarts. Since Fluxus, other people have worked with the concept of common ownership and in 1977, Polish mailartist, Pawel Petasz initiated the Commonpress periodical project which encouraged other networkers to publish editions, using his/her own theme and format, following the Fluxus lead. All contributors to any edition were expected to produce their own edition, in a print run of not less than 200.35 Petasz produced the first copy and a total of sixty were produced across thirteen countries between 1977 and 1981, all co-ordinated by Petasz. At that point the political climate in Poland made it inadvisable for him to continue and he handed over the co-ordination to a Canadian networker, Gerald Jupiter-Larsen.
The principle of magazines produced by individual participants sending their contributions as ready to print artwork, took the name 'assembling' from the title of a publication by New York writer and critic, Richard Kostelantz who, between 1970 and 1981, produced 11 editions of his magazine Assembling.36 This journal was unique amongst mailart magazines in being published in editions of 1000 copies, thanks to financial support from various sources. Kostelantz requested 8 1/2" X 11" artwork and sent each contributor three copies of the complete work.
Earlier, in 1968 Ken Friedman produced the one and only issue of Amazing Facts Magazine which established a cherished mailart principle of a journal produced from gathered material as an editorial principal.37 This was a collation assemblage of received mail which was dispatched to the participators. In Germany in the late 1960s, Thomas Niggl created Omnibus News which was the first accumulated magazine to be published in multiple editions.38 This notion was developed through the 1970s and is a very common aspect of networking today, founded on the general principle of a co-ordinator responsible for collating and distributing the finished product to the participants, the number of participants dictating the number of copies that each contributor is required to send to the co-ordinator. Typically, numbers have ranged from twelve, twenty, fifty and sometimes 100. Co-oridnator/originators also state the dimensions required although these have usually been given as a maximum so that the final assembled work is frequently a hotchpotch of work on different types of paper and other supports as well as varying in thickness and dimension this means that the visual appearance alone of assembling zines instantly separates them from commercial magazines. Central to this notion of publishing is the decision to exercise no editorial control, as in the practice of no juries for mailart shows. This inevitably has meant that the content and 'quality' in the critical sense have often been questionable because the importance of these zines lies in the inclusion of material, without editorial control, of work from a wide cultural and geographic background where the taking part is of supreme importance.
2.4. Postal Elements.
For Fluxus, unlike mailart, production of objects was for an intended sale. Central to the production of Fluxus material was the mail order warehouse and shop which Maciunas had opened, with the Flux-Hall for Performances, at 359 Canal Street, on his return to New York after the Fluxus tour. The warehouse advertised many items, mostly made by Maciunas though few existed in advance of orders. Although Fluxus was keen to sell its products, 70% of them were given away rather than sold.
The recognition by Fluxus of the postal system as a means of keeping in touch with each other, and as a system for selling their work, led to Fluxus people seeing it as a medium and vehicle for their work. Paik operated through the mail, although not using his own stamps. 'The Monthly Review of the University for Avant-Garde Hinduism.'(Plate 16), taking Johnson's fascination for bizarre names, was a series of works that Paik mailed out in 1963.
"To the subscriber of the Monthly Review of the University for Avant-Garde Hinduism sometimes comes something by mail. once, or twice, or thrice, you will find a tiny 1 cent coin in a white envelope. or ..."39
It is not clear how many Paik sent although there may be some clues given in his deliberately unlikely suggestions as to what he would send, including "arm-pit hair of a chicagoan negro prostitute". There is little interest shown in the appearance of the envelope although the use of his own rubber stamp should be noted.
Although mailart was not of primary importance to Fluxus, it is interesting to note how central a part it made of the postal system in a parody of marketing systems. Fluxus, taking the postal system seriously as a medium, (that is to say seriously from an often humorous point of view as was their wont) went so far as to produce a:
" Fluxus Postal Kit, prepared in 1966 complete with a Fluxpost cancellation mark, permitting an entire, Fluxus-controlled postal exchange to take place."... " By the end of the 1960s, a number of Fluxus people had begun to view mail art as a medium offering unique potentials and challenges. They saw beyond the basic issue of art through the mail, and began to explore the reaches and media of correspondence and mail themselves." 40
'Flux-post kit 7', 1968 (Plate 17) shows the range of postal ephemera that Fluxus was involved in but it also shows - with its box container - how these objects were very much seen - at least by Maciunas - as commodities rather than explorations of the mail. For Maciunas there was little difference between Flux Tattoos, as an artwork / commodity and Flux Postal ephemera, in that both were produced to be sold and collected.
Although these objects were to add to the correspondence aspect of mailart that Johnson had begun, for mailartists, it is the interaction through the mail that is important. It is not insignificant in the consideration of mailart that every communication received, and sent, will have the marks of the postal system (postage stamps and franking) of, at least, its country of origin. These in themselves can lead to, both a better understanding between two countries and the simple though not to be devalued pleasure of an appreciation of the aesthetic qualities and charm of stamps and frankings of other countries. It is therefore apparent that irrespective of the networker's contribution and intervention, any mailart communication, in order to comply with the postal system, has intrinsic interest. For Fluxus and mailartists, there was also the possibility of adding their own faux-stamps and faux-frankings.Faux-stamps were to become known as Artistamps.41
Historically, the first recorded non official stamps are understood to have been made long before Fluxus, by Karl Schwesig.42 As with the history of most things however, earlier examples come to light and this is no less the case with artistamps. Artistamp News, in 1991 (1/2) published a brief article on rubberstamp produced stamps by Michael V. Hitrovo from 1914. A subsequent article in Artistamp News 2/1 1992 describes an even earlier example from the last century.43 More recently, an American, Donald Evans, looked to stamps as a format for artwork, though not a mailartist, he made one-off stamps. Evans began making stamps in 1957 when he was twelve years old and continued making them until his untimely death in a fire in 1977. Evans' water-colour stamps from imaginary kingdoms were exhibited in galleries and sold by him, thereby distancing him from the practice of networkers. None of these historical precedents relate to mailart in that they were not part of an exchange within a network and serve only to demonstrate that unofficial stamps had been produced before networkers began to make them.
The earliest stamps made as part of mailart activity were those of the prolific Fluxus member Robert Watts who in 1962 printed 'Safe Post / K.U.K. Feldpost / Jokpost.' (Plate 18) These stamps were subversive in that whilst they imitated commercial stamps in their borders, the central images were taken from photographs of naked women. The 1963 'Yamflug/5 Post 5'44 (Plate 19) also suggest commercial stamps with their traditional borders but are confusing to the viewer because of their evident non-commercial heads. Watts continued to make artistamps, as part of his Fluxus activity, until his death in 1988. In a further parody of the postal system Watts in 1963 produced his own stamp dispenser, an altered readymade, taking his own stamps. Fluxus stamps, with the word 'Post', inclusion of numerical 'values' and frequent use of heads as subject matter, very clearly indicate a wish to produce something that relates very strongly to officially produced stamps. This is an imitation of a formal system which Watts, with references to Fluxus on his stamps, clearly situated in Fluxus production. It was an offshoot of the considerable structure that Maciunas attempted to set-up, in that with its own shop and publishing, stamps were a logical development. Maciunas, as well as producing finished artwork and producing many of the multiples designed by other Fluxus people, also designed his own stamps, for example, 'Fluxpost (Smiles)' (Plate20). These stamps relate to his Flux Smile Machine and as such situate them firmly within Fluxus products rather than for mailart usage.
By 1974 artiststamps had become well established as a mailart medium, with thirty-five networkers from nine countries participating in the first "Artists' Stamp and Stamp Images" exhibition, which was held in Canada.45 In 1984, Michael Bidner of Canada, held an exhibition in Ontario, combining his passions of art and stamp collecting.46 This show exhibited stamps by over 1000 networkers from almost 50 countries. Artistamps were totally to dominate Bidner's life with his mission to document the production of artistamps and to produce a catalogue.47 The documentation and entire collection of over 10,000 images was given to the 'Artpool' Archive of Julia and Gyorgy Galantai in Hungary, after Bidner anticipating his death, failed to persuade any Canadian Museum to take them.
As James Felter, a Canadian mailartist, recognised in an introductory essay to a Seattle Artistamp exhibition,48 that postage stamps give a universal message of authority, functioning in a manner that is instantly understood throughout the world.
"One symbol they (mailartists) have found is the postage stamp, or rather the postage stamp format. This is one of the few existing symbols of officialdom, of authority, and of low economic value that is recognised in every nook and cranny of the globe. It is a universal symbol of a means of communication and a carrier of an unlimited variety of 'authorized' messages in the form of words, numbers, and images (or any combination thereof). It is a symbol that is used everyday and collected throughout the world. The artists of the global village have adopted this symbol and named it 'Artistamp.'"The use of this old symbol as a carrier of new symbols, new visual messages and new aesthetic discoveries lends an aura of authenticity to the creative efforts of the artists of the global village and legitamizes their imagination with the international society." 49
Stamps are also a very low cost item carrying an endless variety of images and texts that can be seen as miniature, multiple artworks. The imitation of postage stamps by mailartists is a logical decision, giving their enormous potential for the use of text and image in miniature and relevance to the activity of postal art. In spite of this, only a small number of mailartists produce artistamps, presumably because they perceive them to be too difficult and /or expensive to produce. Some of those who do produce artistamps on the other hand, go to great lengths to create postal systems which at times even include fake countries, languages and even Royalty. Robert Rudine, a USA. mailartist, using the combat name, Dogfish or the King of Tui Tui produces Philatelic Bulletins to accompany every new issue of stamps for his 'country': these are accompanied by a glossary for those not familiar with the language of Tui Tui in which some of the text is written. Working with artistamps and systems can become a fantasy life in which the creator escapes to his/her land of his/her dreams that s/he can be in complete control of, a way of escaping from the mundanity of everyday life, which in a sense mailart is, every time the post deliverer arrives. Equally it ridicules the seriousness of officialdom, a comment on the artificiality of established systems, the ease with which they can be constructed and the shallowness that can be their underpinning.
There is an established precedent for non-postage stamp stamps, namely in what are called Cinderellas, that is to say the commercially produced stamps with no postal value, used as part of an advertising or promotional campaign.
"...the stamp format was widely used as an advertising medium throughout Europe and America from 1900 through 1940, as one of the only affordable means advertisers could use to circulate full colour reproductions of their products or facilities. After 1940 the medium died out quickly when technologies of colour and black and white printing were integrated, and colour advertising in the context of magazines, became available." 50
The design considerations for Cinderellas are the same as for most aspects of postage stamps and are also appropriate to artistamps. Whilst affordable to business, commercial printing is of course not affordable by the average networker and so whilst Cinderellas remain as a precedent, they do not indicate a standard method of production. Similarly, the production designing of postage stamps by artists is not related to mailart quite simply because postage stamps are the mark of authority. Whilst artistamps do not necessarily seek to subvert or mock the authority, they exist alongside it as a personal statement or mark.
In contrast to the hand produced works of Schwesig and Evans, the usual medium for artistamps has become the photocopier, hence the considerable increase in the production of artistamps since the widespread availability of photomechanical reproduction, especially the colour-copier. Other stamps are hand printed, silk screen for example and many are produced by rubber-stamping or designed and produced on computers. These images if hand produced may well be unique stamps and the printed stamps may be produced in editions of any number or unlimited.
Fluxus work whilst at times poking fun at and parodying the establishment, tended to achieve their aim through humour, some artistamp makers on the other hand have taken risks by subverting the official postage due. The simplest form is simply to send mail with no stamp, but that runs the risk of the recipient having to pay, which at least in the case of mailartists from countries where incomes are relatively low, is not an acceptable risk. Simply using an artistamp is another possibility. Famously (although not part of mailart networking) Yves Klein made his IKB stamps in 1958 to send out on the envelopes of his invitations to the exhibition Le Vide. Reputedly, these were the only stamps on the envelopes and successfully reached their destinations without surcharges being added.51 More provocatively, in 1970, USA. mailartist, William Farley's USXX stamp of a rear view of a head with a pony tail in an early US design, imitating a Lincoln stamp was used by a friend of his in place of an official stamp. The stamp was traced back to Farley and resulted in him being forced to surrender all the remaining stamps to the Secret Service. Totally undetected however was the production and use by an anonymous American artist of a facsimile of the '10c US. Air Mail' stamp.52 Subversive activity has not been limited to stamps but has included franking with the production of fake franking and specifically fake wartime "Utility" marks, producing a strange time-warp for any handler of the envelope recognising the franking.
The simplest form of artistamps is to work with the official stamps, this can be for aesthetic, subversive reasons or purely for fun. The more stamps that are placed on the envelope, the more possibilities there are of aesthetics, with choice of colour, placing and relative positioning. An example of this is to use the lowest denomination stamp and to totally cover the envelope with the stamps, thereby making a minimal work of art. This kind of 'game' is not unique to mailartists at all, and is often played by friends who have never heard of mailart. Subversively, inverting the Queen's head demonstrates disrespect, if not a treasonable offence and placing the stamp in an attempt to avoid franking so that it can be reused by the recipient are all strategies that mailartists use. Actually working on the stamps and altering them is another possibility that has been explored by an English mailartist who limits his introductions to his combat name of Red Herring who in 1988 over painted a stamp of Wellington, giving him a Donald Duck bill. Whilst this work is humorous and subversive, it is interesting to consider that it is so subtle that it could easily be sent to a mailartist who does not archive and so not noticing the altered stamp could have thrown away the envelope without ever being aware of Herring's labours. Requiring a similar amount of detailed effort is the attempt to remove any franking marks on the stamp, without damaging the original image so that it can be reused, the amount of time involved for what is a relatively small financial saving suggests that the importance to the perpetrator is in subverting the system rather than in saving money. In doing this as with Herring's stamp, the motivation is one that is primarily personal satisfaction and amusement at beating the system.
Rubber Stamps, or Rubberstamps as they have come to be known by mailartists, were invented by businessmen in the mid to late nineteenth century and by the late 50s and early 60s were widely used by both Fluxus and Nouveau Realists as a medium for producing artworks.
The combination of the mundanity and power of rubberstamps gives
"a symbol of power - their role is to validate or invalidate something. There are many symbols of power and we are frequently confronted by them. But none is as common and petty as the rubber-stamp. Their lack of sophistication and glamour seems to contradict the enormous power conveyed by them."53
This is particularly evident in oppressed countries where, as discussed later, received mail has usually born the mark of the censor. Rubberstamps fall into several categories, the official stamp is associated with authority and validation of, for example, licenses, certificates and passports: these actions and documents acknowledge and approve us. The very medium or carrier of mailart, the Royal Mail, validates our messages with rubber-stamps and officialdom in general uses them to number our documents. Fluxus used faux frankings, for example Ken Friedman's 'Fluxpost West 1964 - 1974' and many mailartists since have used their own versions of frankings. Similarly, mailartists have often used date stamps or numbering stamps, of for example their envelopes, partly to broadcast their prowess at having produced so much mailart but also to give spurious authority to their sending, in a play on officialdom. The reliving of childhood pleasures of 'playing Post Offices' with Post Office Sets, should not be underrated, the simple pleasure of using the paraphernalia and the sense of importance that accompanies the use of the stamp.
Domestically there is a formal but far less official use as a convenient method of producing letter heads and 'sender' address stamps for the back of envelopes. These were used by Fluxus and Johnson and are used by most mailartists today, partly for convenience. Name stamps have also been used for fake institutions, such as, as already stated, Paik's 'University of Avant-garde Hinduism' and often by Johnson for a wide variety of his fake institutions although he did not always use rubberstamps to validate them, often preferring to hand write or type the names. Johnson also used rubberstamps with text such as 'Ray Johnson Evaporations', 'Collage by Ray Johnson', or even 'Collage by Joseph Cornell.54
The use of rubberstamps as cheap movable type has long had an attraction for children with 'John Bull' printing sets, allowing them to play at typesetting. It is this element of play that many mailartists find attractive, with the hand-crafted appearance of something that is close to a commercial graphic process but with the visual attraction of its imperfections, so much loved by Warhol in his early 1960s photo silk-screen prints. Although most type for Fluxus work was generated by letterpress, (by Maciunas usually) Vautier for example enjoyed the use of rubber stamp type.
In 1974 Herve Fischer, a French artist, published rubber-stamp images55 and in 1978 the first Rubberstamp Album was produced in America by Joni Miller and Lowry Thompson who subsequently edited the massive bimonthly journal Rubberstampmadness begun in 1979 and still running commercially (currently 92 pages). The 1970s also saw a proliferation of companies, particularly in the USA., offering a wide range of ready made decorative rubberstamps and a bespoke service giving an enormous range of creative possibilities. This, coupled with mailartists beginning to carve their own rubberstamps led to a considerable increase in the use of rubberstamps in mailart.
The use of the rubberstamp by networkers varies considerably in intention and effect from networker to networker. For some, at times as humorous pastiche and at others to make critical comment: this impression can only be created with the blandness of commercially produced rubberstamps. Hand cut rubberstamps however, created usually with a scalpel from an eraser, inevitably present an entirely different image, lacking the authority of precision but with the visual attraction that goes with hand-crafted work. Equally, with Rubberstampmadness giving examples of how to create complete pictures in multi colours purely from rubberstamps, the creative possibilities are considerable. Whilst the latter suggests more of a craft-hobbyist approach, the experimental nature of mailartists has resulted in very imaginative rubberstamps and uses for them, whether commercially or hand produced. In an age in which for many networkers, making contact with people is more important than laboured hand produced creativity, the rubberstamp offers a very quick, accessible and immediate medium with considerable potential: expediency and pragmatism dominating ideology.
2.5. Postcards.
The beginnings of handmade and commercially produced picture postcards, in England, date from 1894: until that time postcards could only be made by the government. Hand decorated postcards are as old as postcards themselves and as an art form are not confined to the network, exhibitions of postcard art having been held since the late 1970s. For the networker, they provide a simple and direct medium with all the process (accumulated ephemera of postmarks etc.) of its transition, from sender to recipient, unavoidably evident. Whilst the importance of mailart lies in bringing people together, the postcard, having no protective packaging, is prey to the ravages of its journey through the post. The postcard, therefore, is the most pure form of mailart. Ideologically, it truly functions as mailart by being open to be 'read' by all the postal workers who handle it and any casual passers-by who may see it on the door mat before it is received by the 'intended' recipient as I go on to discuss in Chapter 5.
Whilst the sending of Picture Postcards by mailartists to each other as mailart is probably usually because of a wish to share the image, because of its beauty, humour, personal relevance or any one of a number of reasons, it could be seen to indicate either a lack of concern for any attempt at considering the communication as art or on the contrary, possibly the consideration of the chosen postcard as a ready-made in the Duchampian sense. Fluxus members often sent messages to each other on postcards but it was Ben Vautier who used the postcard as a creative vehicle in itself. In 1965, he made what was probably the first pure conceptual mailart work - 'The Postman's Choice'56 (Plate 21) in which he produced a double-sided postcard, inviting the postman to decide which side s/he wished to select to determine the recipient. Whilst being an admirable work in terms of conceptual process, Ben's57 postcard lacks an interest in interchange and therefore remains outside mailart networking. Further, Maciunas' request, "can I reprint 1000 of them! and sell for 10 c each?"58 indicates very clearly that for Maciunas at least they were perceived as a commodity to be sold and used by others rather than as a conceptual usage of the post by the artist.
Artist's Postcards became so popular as a medium for mailart exchange that by 1971, two Canadian networkers, Michael Morris and Vincent Trasov in Vancouver, Canada, were able to stage a show devoted solely to networkers' postcards.59 This exhibition was documented with an album of postcards and greatly helped to promote the idea of working in this medium as well as furthering the concept of creating an exhibition from mailart material, discussed in the following chapter.
2.6. Conclusion.
Maciunas' need to control and organise Fluxus extended to thorough documentation of Fluxus activities and archiving Fluxus material. Whilst the habit of documenting and archiving work is one that has been adopted by many mailartists, unilateral control is both alien to mailart and not possible, given the vast numbers and disparity of its adherents. Although Johnson was a figurehead of mailart, at least in the late fifties and early sixties, he was nevertheless, keen to encourage exchange that went beyond his control. Maciunas' willingness to devote himself to the cause of Fluxus and his generosity in giving work away are however, very much a fundamental part of mailart attitudes.
Fluxus was highly influential on mailart with its, philosophies, attitudes and internationalism. Of particular importance was its usage of postal elements; stamps and postcards and especially with the publishing of address lists which greatly enlarged the number of participants. This was partly responsible for mailart taking on a much broader geographical and cultural spread than it had been possible to achieve simply with the efforts of one man - Johnson. Mailart became a union of two elements, the orchestration and interchange through the mail as practised by Johnson and the playing with the elements of the postal system which - whilst not generally used as mailart - were demonstrated by Fluxus.
Where Fluxus failed was in its attempt to rid itself of authorship by the simple tactic of requiring the participants to sign themselves 'Fluxus', had this happened, it would have changed the way in which the work has been commodified, particularly given the illustrious careers that many of the Fluxus artists went on to have - without names, the historian looses interest. The anonymity of mailart is something that was to become central to its operation and it is with the theories of authorship and art that Fluxus man Joseph Beuys - building on Fluxus ideas - was to propound, that mailart was to develop its rationale, as I debate in the final chapter.
It was natural with the anti-establishment idealism and optimism of the late sixties and early seventies that mailart should grow beyond the life and parameters of Fluxus and Johnson. The burgeoning of mailart reflected the tremendous interest that grew at the time in the seventies of exploring and setting-up new and alternative systems, which in mailart was to be centred on MAPs (Mail Art Projects), their exhibiting and documentation.
1 The seven original members, George Maciunas; Dick Higgins; Emmett Williams; Alison Knowles; Nam June Paik; Ben Patterson and Wolf Vostell were soon joined by George Brecht; Philip Corner; Toshi Ichijanagi; Ben Vautier; Jackson Mac Low; Yoko Ono; La Monte Young; Charlote Moorman; Daniel Spoerri; Josef Beuys and Robert Filliou, the last three being peripheral members.
above copied fromL http://www.fortunecity.com/victorian/palace/62/fluxus.html
This is part of a larger project by Lamb, MAIL ART 1955 to 1995 Democratic art as social sculpture, You can see the whole thesis at: http://www.fortunecity.com/victorian/palace/62/
Thursday, January 3, 2008
A Fluxus Bibliography, Ken Friedman and Owen Smith
About this Bibliography
There are several ways to present a bibliography of information on Fluxus. Every presentation requires a different organizing principle and the lists grow all the time. For this reason, the most flexible way to present a general bibliography is to organize it chronologically by year, and to present entries alphabetically within each year.
To the degree that it is possible, the format style is consistent. There are always matters of judgment, such as deciding when to list an exhibition catalogue as a book by the name of the editor or author, and when to treat it as a document cited by title. Others might choose to organize the data in a different way.
Any complete bibliography on Fluxus and Fluxus artists would run to hundreds of pages of small print. This means that any selection will always fall short. We have tried to include a broad overview of articles, books, and catalogues. Because it is easier for readers to locate recent publications than those from the past, the bibliography becomes more comprehensive as it moves toward the present.
We avoid abbreviations that are common in one culture and not clear in others. We also try to make dates clear and use written abbreviations for volume (vol.) and number (no.) rather than introducing the ambiguity of short systems.
Special thanks to Hoseon Cheon, Dick Higgins, Matthew Hogan, James Lewes and Jean Sellem for their contributions earlier editions of this bibliography.
A Bibliography of Bibliographies
ARTbibliographies Modern. [Bibliographic reference book published twice each year.]
Baerwaldt, Wayne. “A Very Selective Bibliography of Fluxus.” Under the Influence of Fluxus. Winnipeg, Canada: Plug In Inc., 1991, 62-63.
Bercht, Fatima and Paula Baxter. “References and Bibliographic Information.” Hendricks, Jon. Fluxus Codex. New York: Harry N. Abrams, Inc. 1989, 592-601.
Blom, Ina. “Selected Bibliography” The Intermedia Dynamic: An Aspect of Fluxus. Oslo, Norway: Institutt for Arkeologi, Kunsthistorie og Numismatikk, Universitet i Oslo, 1993, 214-222.
Doris, David. “Works Consulted.” Zen Vaudeville: A Medi(t)ation in the Margins of Fluxus. New York, New York: Department of Art History, Hunter College, 1993, 107-116.
Held, John Jr. Mail Art: an Annotated Bibliography. Metuchen, New Jersey and London: The Scarecrow Press, Inc., 1991.
Higgins, Dick. “A Very Selective Bibliography of Fluxus.” Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 47-50.
Higgins, Dick, Jean Sellem, Ken Friedman and Hoseon Cheon. “A Fluxus Bibliography” in The S(e)oul of Fluxus. Edited by Hong Hee Kim-Cheon. Seoul, Korea: A. International, Ltd., 1993, 128-131.
Hogan, Matthew. A Friedman Bibliography (Preliminary Compilation). New York: Franklin Furnace Archive, 1986.
Lewes, James. “Bibliographie” in Fluxus Virus, 1962-1992. Edited by Ken Friedman. Köln: Verlag Schüppenhauer, 1992, 356-383.
Martin, Henry. “Fluxers - Blibliographie.” in Fluxers. Bolzano, Italy: Museion - Museum of Modern Art, 1992, 158-160.
Moss, Karen and Joan Rothfuss. “Selected Bibliography” in In the Spirit of Fluxus. Edited by Janet Jenkins. Minneapolis, Minnesota: Walker Art Center, 1993, 185-188.
Smith, Owen. “Selected Bibliography” George Maciunas and a History of Fluxus (or) the Art Movement that Never Was. Seattle: University of Washington, 1991, 553-580.
Smith, Owen. Bibiography The Fluxus Reader. Chicester, West Sussex; New York: Academy Editions, 1998.
Smith, Owen. “Selected Bibliography” in Fluxus: The History of an Attitude. San Diego, CA: San Diego State University Press, 1998.
A Selected Bibliography of Fluxus
1961
Cage, John. Silence. Middletown, Connecticut: Wesleyan University Press.
Maciunas, George. Bread & AG. New York: AG Gallery, 1961.
Maciunas, George. Music Antiqua et Nova. New York: A G Gallery, 1961.
1962
Maciunas, George. News-Policy-Letter No. 1. Wiesbaden: Fluxus, 1962.
Maciunas, George. News-Policy-Letter No. 2. Wiesbaden: Fluxus, 1962.
Maciunas, George. News-Policy-Letter No. 3. Wiesbaden: Fluxus, 1962.
Maciunas, George. Fluxus Newsletter No. 4, Wiesbaden, Fluxus 1962.
1963
Maciunas, George. Fluxus News Letter No. 5, Ehlhalten: Fluxus, 1963.
Maciunas, George. Fluxus News-Policy Letter No. 6, Ehlhalten: Fluxus, 1963.
Maciunas, George. Fluxus News Letter No. 7, Ehlhalten: Fluxus, 1963.
Maciunas, George, ed. Fluxus Review Preview. Wiesbaden: Fluxus, 1963.
Poesie Etcetera Americaine. Emmett Williams, ed. Paris: Centre Americain, 1963.
Young, La Monte, ed. An Anthology. New York: Jackson Mac Low and La Monte Young, 1963.
1964
Brecht, George. Water Yam. New York: Fluxus, 1964.
Higgins, Dick. Jefferson’s Birthday/Postface. New York: Something Else Press, 1964.
Johnson, Jill. “Fluxus Fluxus.” Village Voice, July 2, 1964, 7.
1965
Corner, Philip, Alison Knowles, Benjamin Patterson and Tomas Schmit. The Four Suits. New York: Something Else Press, 1965.
Filliou, Robert. Ample Food for Stupid Thought. New York: Something Else Press, 1965.
Flynt, Henry. Communists Must Give Revolutionary Leadership in Culture. New York: World View Publisher, 1965.
Hansen, Al. A Primer of Happenings and Time/Space Art. New York: Something Else Press, 1965.
Johnson, Ray. The Paper Snake. New York: Something Else Press, 1965.
Knowles, Alison. By Alison Knowles. A Great Bear Pamphlet. New York: Something Else Press, 1965.
Maciunas, George, ed. Fluxus Vacuum TRapEzoid. New York: Fluxus, 1965.
Maciunas, George, ed. Fluxus Vaudeville TouRnamEnt. New York: Fluxus, 1965.
TDR 10 (Winter 1965). [special magazine issue devoted to happenings and intermedia-related performance, including Fluxus]
1966
Berner, Jeff, ed. Astronauts of Inner Space. San Francisco: Stolen Paper Editions, 1966.
Brecht, George. Chance Imagery. A Great Bear Pamphlet. New York: Something Else Press, 1966.
Higgins, Dick and Emmett Williams, eds. Manifestos. A Great Bear Pamphlet. New York: Something Else Press, 1966.
Klintberg, Bengt af. Stockholmsspelet. Stockholm: Norstedt & Söner, 1966.
Mac Low. Jackson. The Twin Plays. Great Bear Pamphlets. New York: Something Else Press, 1966.
Maciunas, Geoge, ed. Film Culture, no. 43. (Expanded Arts issue) [special magazine issue devoted to intermedia and Fluxus]
Maciunas, George. Fluxfest Sale Sheet. New York: Fluxus, 1966.
Maciunas, George, ed. Fluxus Three Newspaper EVenTs for the PRicE of $1. New York: Fluxus, 1966.
Maciunas, George, ed. Fluxus Vaseline STReEt. New York: Fluxus, 1966.
Spoerri, Daniel. An Anecdoted Topography of Chance. Edited with annotations by Emmett Williams. New York: Something Else Press, 1966.
Vostell, Wolf. Berlin and Phenomena. Great Bear Pamphlet. New York: Something Else Press, 1966.
1967
Aktual Art International. Jeff Berner, ed. Stanford Art Book 8. Palo Alto, California: Department of Art and Architecture, Stanford University, 1967.
Brecht, George and Robert Filliou. Games at the Cedille, or the Cedille Takes Off. New York: Something Else Press, 1967.
Filliou, Robert. A Filliou Sampler. A Great Bear Pamphlet. New York: Something Else Press, 1967.
Hidalgo, Juan. A Zaj Sampler. A Great Bear Pamphlet. New York: Something Else Press, 1967.
Klintberg, Bengt af. The Cursive Scandinavian Salve. A Great Bear Pamphlet. New York: Something Else Press, 1967.
Maciunas, George. Fluxnewsletter, March 8, 1967. New York: Fluxus, 1967.
Manifestos. Great Bear Pamphlets. New York: Something Else Press, 1967.
Williams, Emmett, ed. An Anthology of Concrete Poetry. New York: Something Else Press, 1967.
1968
Becker, Jürgen and Wolf Vostell, eds. Happenings - Fluxus, Pop Art, Nouveau Réalisme. Hamburg: Rowohlt, 1968.
Bory, J.F., ed. Once Again. New York: New Directions, 1968.
Flynt, Henry. Down with Art. New York: Fluxus, 1968.
Higgins, Dick. Foew&ombwhnw: a grammar of the mind and a phenomenology of love and a science of the arts as seen by a stalker of the wild mushroom. New York: Something Else Press, 1968.
Kostelanetz, Richard. The Theater of Mixed Means. New York: The Dial Press, 1968.
Maciunas, George. Fluxnewsletter, January 31, 1968. New York: Fluxus, 1968.
Maciunas, George. Fluxnewsletter, December 2, 1968. New York: Fluxus, 1968.
Pedersen, Knud. Kampen mod borgermusikken. København (Denmark): Kunstbibliothekets Forlag, 1968.
Young, La Monte, ed. An Anthology. New York: Galerie Heiner Friedrich, 1968. [2nd edition]
1969
Cage, John, ed. Notations. New York: Something Else Press, 1969.
Partitury. Jiri Valoch. Brno, Czechoslovakia: Dum Umeni Mesta Brna, 1969.
Goetze, Jochen, Klaus Staeck and Friedrich Gerling, eds. Intermedia 1969. Heidelberg: Edition Tangente, 1969.
Higgins, Dick. Foew&ombwhnw. New York: Something Else Press, 1969.
Vautier, Ben, ed. Festival of Art, Non-Art and Anti-Art. Nice, France: Galerie Ben, 1969.
1970
Clair, Jean. Happening et Fluxus.” Chroniques de l’art vivant (Paris) 16 (December 1970-January 1971): 4-5.
Gribling, F. “Happenings -- Fluxus.” Museumjournaal (The Netherlands) no. 6 (15 December, 1970): 288-290.
Happening & Fluxus. Harald Szeemann and Hanns Sohm, eds. Köln: Kölner Kunstverein, 1970. [exhibition catalogue]
Kostelanetz, Richard, ed. John Cage. New York: Praeger Books, 1970.
“Happening et Fluxus.” Chroniques de l’art vivant (16 December, 1970).
Maciunas, George. Fluxnewsletter, january 8, 1970. New York: Fluxus, 1970.
Maciunas, George, ed. JOHN & YOKO FLUX. New York: Fluxus, 1970.
Ono, Yoko. Grapefruit. With an introduction by John Lennon. New York: Simon and Schuster, 1970.
Sammlung Feelisch. Wolfgang Feelisch, ed. Dortmund, West Germany:
Museum am Ostwall, 1970. [exhibition catalogue]
Vostell, Wolf. Happening & Leben. Neuwied, Germany: Leuchterhand, 1970.
1971
Art and Artists. (England) vol. 7, no. 7 (1971) “Free Fluxus Now.” [special magazine issue devoted to Fluxus]
Arte de Sistemas. Jorge Glusberg. Buenos Aires: Museo de Arte Moderno, 1971. [exhibition catalogue]
Bell, Michael, et al. “The House of Dust by Alison Knowles.” Experiments in Art and Technology: Los Angeles Survey no. 7 (January 1971): 8-11.
Filliou, Robert. “Research at the Stedelijk,” Art and Artists (London), vol. 6, no. 7 (November 1971), 32-33.
Friedman, Ken, ed. Art Folio. Boston: Religious Arts Guild, 1971.
[Religious Arts Guild “Circular/Packet: 2.”]
Friedman, Ken. Some Investigations. San Diego, 1971: self-published. [contains “Notes on Concept Art” and several other discussions that were xeroxed and widely circulated. Most of these discussions were later reprinted in The Aesthetics]
Knowles, Alison. Journal of the Identical Lunch. San Francisco: Nova Broadcast Press, 1971.
Mac Low, Jackson. Stanzas for Iris Lezak. Barton, Vermont: Something Else Press, 1971.
Poinsot, Jean-Marc, ed. Mail Art Communication: A Distance Concept. Paris: Editions CEDIC, 1971.
Septième Biennale de Paris. Georges Boudaille, et al., eds. Paris: Manifestation et Biennale Internationale des Jeunes Artistes, 1971. [exhibition catalogue]
1972
Albright, Thomas. “Correspondence.” Rolling Stone 107 (April 27, 1972): 28-29.
Albright, Thomas. “New Art School: Correspondence.” Rolling Stone 106 (April 13, 1972): 32.
B., Mats. Fluxus, Concept and Buren. Lund, Sweden: Art History Institute, University of Lund, 1972. [master’s thesis]
Beuys, Joseph. Joseph Beuys: Multiples. Munich: Edition Jörg Schellmann, 1972.
Fluxshoe. David Mayor, ed. Cullompton, England: Beau Geste Press, 1972. [exhibition catalogue]
“Free Fluxus Now.” Art and Artists (London), (Oct. 1972). [special magazine issue devoted to Fluxus]
Friedman, Ken. The Aesthetics. Regina, Sasketchewan, Canada: University of Saskatchewan, 1972.
Friedman, Ken, ed. An International Contact List of the Arts. Regina, Saskatchewan, Canada: Fluxus West and Image Bank, 1972.
Hören sehen: Texte, Bilder, Environments. Bremen: Kunsthalle Bremen, 1972. [exhibition catalogue]
I denti del drago: transformazioni della pagina e del libro. Daniela Palazolli. Milan: Edizione L’Uomo e L’Arte, 1972. [exhibition catalogue]
Kostelanetz, Richard, ed. Breakthrough Fictioneers. Barton, Vermont and Berlin, West Germany: Something Else Press, 1972.
Tot, Endre. Incomplete Information. Oldenburg, West Germany: I.A.C. Editions, 1972.
1973
De Gruson, F. “Allez, France!” Cles pour les Arts (Belgium), vol. 7, no. 11 (November 1975), 22-3.
“Fluxshoe England West.” Spanner, no. 3 (June 1975): 28-39.
Fluxshoe Add End A . David Mayor and Felipe Ehrenberg, eds. Cullompton, England: Beau Geste Press, 1973. [exhibition catalogue]
Friedman, Ken. The Aesthetics. Devon, England: Beau Geste Press, 1973.
Friedman, Ken. Events. Introduced by Jay Belloli. Davis, California: Nelson I.C. Gallery, University of California at Davis, 1973.
Friedman, Ken. “Flowing in Omaha.” Art and Artists (London), vol. 8, no. 9 (Issue no 89, Aug 1973): 6-9.
Friedman, Ken. “Fluxus.” Flash Art, no. 40 (Mar-May 1973): 3.
Glossary of Art, Architecture and Design since 1945. John A. Walker, ed. London and Hamden, Connecticut: Clive Bingley and Linnet Books, 1973.
Groh, Klaus, guest editor. Visuell-Konkrett International. (Und, issue 11/12) Gersthofen, West Germany: Maro Verlag, 1973. [special magazine issue devoted to concretism and intermedia]
Hendricks, Geoff. Ring Piece. Barton, Vermont: Something Else Press, 1973.
An International Cyclopedia of Plans and Occurrences. Davi Det Hompson. Richmond: Anderson Gallery, Virginia Commonwealth University, 1973. [exhibition catalogue]
Kocman, J.H., ed. Stamp Activity. Brno, Czechoslovakia: J.H. Kocman, 1973.
Lebeer, Irmelin. “George Brecht” Chroniques de l’Art Vivant, no. 39 (May 1973), 16-19. [interview]
Lippard, Lucy. Six Years: The Dematerialization of Art. New York: Praeger Publications, 1973.
Mottram, Eric. “Call It ‘Something Else.’ Dick Higgins in conversation with Eric Mottram.” Spanner, no. 9 (1973): 157-81.
Palazzoli, Daniela. “L’Avventura Fluxus.” Domus (Milan), no. 522 (May 1973), 49-51.
Pedersen, Knud. Der Kampf gegen die Burgermusik, tr. Ludwig Gosewitz. Köln: Michael Werner, 1973.
Robertson, Clive and Paul Woodrow. A Conceptographic Reading of Our World Thermometer. Calgary, Alberta: W.O.R.K.S., 1973.
Vautier, Ben. “George Brecht: conversation sur autre chose.” Art Press (France), No. 2 (February 1973), 26-29. [interview]
Zack, David. “An Authentik and Historical Discourse on the Phenomenon of Mail Art.” Art in America, vol. 66, no. 1 (Jan-Feb 1973): cover, 46-53.
1974
Alloway, Lawrence. “Seine trügerische Stille bedroht jeden, der von ihm nür die Uhrzeit wissen will.” Magazine Kunst, vol. 14, no. 3 (1974), 98-9.
Artists’ Stamps and Stamp Images. James W. Felter. Burnaby, British Columbia: Simon Fraser Gallery, Simon Fraser University, 1974. [exhibition catalogue]
Block, René, ed. Multiples: Ein Versuch die Entwicklung des Auflagenobjektes darzustellen/ An Attempt to Present the Development of the Object Edition. Berlin, Neuer Berliner Kunstverein, 1974. [exhibition catalogue]
“Der Löwe” Flash Art 48-49 (October-November 1974): 27.
Dictionary of Contemporary Music. John Vinton, ed. New York: E. Dutton, 1974. [biographical reference book]
Dreyfus, Charles. Fluxus: Elements d’information. Paris: Documents de l’art contemporain, Musee d’art moderne de la ville de Paris, 1974.
Fischer, Hervé, ed. Art et Communication Marginale. Paris: Editions Balland, 1974.
Focke, Walter, ed. Open Notices. Oldenburg, West Germany: I.A.C./Focke Editions, 1974.
Friedman, Ken and Stanley Lunetta, eds. International Sources (Source Magazine, vol. 6, no. 1, issue 11) Sacramento, California: Composer/Performer Editions, 1974. [special issue devoted to Fluxus and intermedia, also the cataliogue of the exhibition International Sources]
Groh, Klaus, ed. Baum. Oldenburg, West Germany: I.A.C./Focke Editions, 1974.
Henri, Adrian. Total Art: Happenings and Performance. new York: Praeger, 1974.
Lambert, J.C. Depassement de l’Art? Paris: Anthropos, 1974.
Marck, Jan van der. “George Brecht: an art of multiple implications.” Art in America, vol. 62, no. 4 (July-August 1974), 48-57.
Nam June Paik: Video and Videology. Syracuse, New York: Everson Museum of Art, 1974. [exhibition catalogue]
Nyman, Michael. Experimental Music: Cage and Beyond. London: Studio Vista, 1974.
Ohff, H. “Dick Higgins.” Kunstwerk, vol. 27, no. 1 (January 1974), 52.
Poinsot, Jean-Marc. Fluxus: un art de l’événement. Art Press (France) no. 15 (December 1974-January 1975), 14-17.
Ravicz, Marilyn Ekdahl. Aesthetic Anthropology: Theory and Analysis of Pop and Conceptual Art in America. Los Angeles: Department of Anthropology, University of California, 1974. [doctoral dissertation]
Theorie/Informatie/Praktijk. Roger D’Hondt. Ghent: Proka-Akademie, 1974. [exhibition catalogue]
Tousley, N. “Artists’ Books.” Print Collector’s Newsletter, vol. 4, no. 6 (January-February 1974), 131-4.
1975
Albright, Thomas. “Correspond’art.” La Honduras (Madrid) , vol. 1, no. 1 (Spring 1975): 1.
van Beveren, Peter and Jan Brand, eds. Stempelboek. Middelburg, Holland: Brummense Uitgeverij Van Luxe Wekjes, 1975.
Brindle, Reginald Smith. The New Music: the Avant-Garde since 1945. London: Oxford University Press, 1975.
Brown, Anthony. “The Composer’s Influence: Personality and Music Composition.” The Composer (Hamilton, Ohio), vol. 4, no. 16 (Winter 1975-1976): 39-41.
Crozier, Robin. Portrait of Robin Crozier. Sunderland, England: Ceolfrith Arts Centre, 1975.
Dunham, Judith. “All Xerox.” Artweek, vol. 7, no. 7 (14 February 1976), 3.
Focke, Walter, ed. Open Notices. Oldenburg, Germany: I.A.C./Focke Editions, 1975.
“Geoffrey Hendricks.” Flash Art, no. 60-61 (December 1975-February 1976), 48-49. [artist project]
Groh, Klaus. Art Impressions USA and Canada. Devon, England: Beau Geste Press, 1975.
Gugelberger, Georg M. “Ein interview mit Fluxus-West Direktor Ken Friedman.” Kunstforum International, 13 (February-April 1975): 176-188. [Interview]
Ken Friedman at the Slocumb Gallery. Marilyn Ekdahl Ravicz. Johnson City: Department of Art, East Tennessee State University, 1975. [exhibition monograph]
Kostelanetz, Richard, ed. Language and Structure in North America. Toronto: Kensingtion Arts Association, 1975.
Maciunas, George. Fluxnewsletter, April 1975. New York: Fluxus, 1975.
Maciunas, George. Fluxnewsletter, May 3, 1975. New York: Fluxus, 1975.
Open Drawers. Terry Reid and Graham Kerr, eds. Mildura, Australia: Mildura Art Centre, 1975. [exhibition catalogue]
Poinsot, Jean-Marc. “Fluxus: un art de l’événement.” Art Press (Paris), no. 15 (December-January 1975), 14-17.
Reid, Terry and G. Kerr, eds. Inch Art Issue. Auckland, New Zealand: Auckland University Student Association, 1975.
Robertson, Clive and Paul Woodrow. W.O.R.S.C.O.R.E.O.R.T. Devon, England: Beau Geste Press, 1975.
Sarenco, ed. Factotumbook I: Lotta Poetica 1971-1975. Brescia, Italy: Tipolito Maghina, 1975.
Spiralen und Progressionen. Lucerne, Switzerland: Kunstmuseum Luzern, 1975. [exhibition catalogue]
Sterckx, “Douze moins un ... ou onze plus un.” Cles pour les Arts (Belgium), vol. 7, no. 12 (December 1975), 41.
“The Top 100 e i Musei Ideali.” Flash Art 50-51 (December 1974-January 1975): 13.
Vautier, Ben. Textes Theoriques Tractes 1960 - 1975. Milano: Editore Giancarlo Politi.
1976
Allen, Jim and Wystan Curnow, eds. New Art: Some Recent New Zealand Sculpture and Post-Object Art. Auckland, New Zealand: Heinemann Educational Books, Ltd., 1976.
Art in the Mail. Nicholas Spill, ed. Palmerston North, New Zealand: Manawatu Art Gallery, 1976.
Artists’ Stamps and Stamp Images. 2nd edition, revised. James W. Felter. Burnaby, British Columbia: Simon Fraser Gallery, Simon Fraser University, 1976. [exhibition catalogue]
Block, René, ed. New York - Downtown Manhattan: SoHo. Berlin: Akadmie der Künste and Berliner Festwochen, 1976.
Boites. Jean-Marc Poinsot. Paris: Museum of Modern Art, 1976. [exhibition catalogue]
Crozier, Robin. Portraits. Sunderland, England: Sunderland Polytechnic, 1976.
Frank, Peter. “New York Fluxus.” New York - Downtown Manhattan: Soho. Berlin: Akademie der Kunst Festwochen, 1976: 151-179.
Friedman, Kenneth S. James Edwards . El Cajon, California: Grossmont College Art Gallery; La Mamelle Art Center (San Francisco); and the Everson Museum (Syracuse, New York), 1976. [exhibition catalogue]
Friedman, Kenneth Scott. Sociology of Art: An Aspect of the Social Reality of the Art World. Ph.D. Dissertation. Graduate School of Human Behavior,United States International University, San Diego, California, 1976. (Published by University Microfilms, Ann Arbor, Michigan, 1977. Abstract, Dissertation Abstracts International, vol. 38, no. 3, 1977)
Friedman, Ken and Georg M. Gugelberger. “The Stamp and Stamp Art.” International Rubber Stamp Exhibition. Carl Loeffler, ed. San Francisco: La Mamelle Arts Center, May 1976. [exhibition catalog]
Graevenitz, Antje van. “Then and Now: Performance Art in Holland.” Studio 192 (July 1976): 49-53.
Jappe, G “Performance in Germany: an Introduction.” Studio no. 192 (July 1976): 59-61.
Marcellis, B. “Europalia France 12 x 1.” Heute Kunst, no. 13 (February-April 1976), 13.
Shiomi, Mieko. Spatial Poem. Osaka, Japan: private publication, 1976.
Tot, Endre, ed. TOTal Questions by Tot. Berlin, West Germany: Edition Hundertmark, 1976.
1977
Contemporary Artists. Colin Naylor and Genesis Orridge, eds. London and New York: St. James Press and St. Martin’s Press, 1977. [biographical reference book]
Danzker, JoAnne Birnie. “Robert Filliou in conversation with Allan Kaprow.” Vanguard (Canada), vol. 6, no. 9 (December 1977-January 1978). [interview]
Dick Higgins Issue. (West Coast Poetry Review, vol. 5, no. 2, Issue 15, 1977). [special issue devoted to Dick Higgins]
Dimitijevic, Nena. “Berlin: New York in Europe and Downtown Manhattan: SoHo.” Studio International, vol. 193, no. 985 (January 1977), 25-26.
Friedman, Ken. “Notes on the History of the Alternative Press.” Lightworks, no. 8-9 (Winter 1977): 41-47.
Glossary of Art, Architecture and Design since 1945. John A. Walker, ed. London and Hamden, Connecticut: Clive Bingley and Linnet Books, 1977.
Groh, Klaus. Untersuchungen uber Erscheinungsformen und Communicationsverfahren des “Neuen Dadismus” in Nordamerika
und sein Padagogische Bedeutung. Oldenburg, Germany: Universitat Oldenburg, Fachberich II, 1977. [doctoral dissertation].
Herzogenrath, Wulf, ed. Nam June Paik: Werke 1946-1976 Musik Fluxus Video. Cologne: Kölnischer Kunstverein, 1977. [exhibition catalogue]
Higgins, Dick. “Ett exemplativistisk manifest.” Kalejdoskop (Sweden), no. 3-4, 1977, 53-59.
Klintberg, Bengt af. “Dick Higgins, intermediakonstnär.” Kalejdoskop (Sweden), no. 3-4, 1977, 51-52.
Lomholt, Niels. “Questionnaires.” North (Denmark), no. 3, 1977.
Pindell, Howardena. “Artist’s Periodicals - An Alternate Space.” Print Collector’s Newsletter, vol. 8, no. 4 (September-October 1977): 96-109, 120-121.
Somogyi, Gyorgi. “Ken Friedman es a ‘konceptmuveszet’ elmelete.” Muveszet (Budapest), 1977: 34-36.
Space Window. Tom Ockerse. Providence, Rhode Island: Tom Ockerse Editions and Rhode Island School of Design, 1977. [exhibition catalogue]
Würz, Hervé, ed. How We Met: or a Microdemystification. (AQ 16). Nice: Arrocaria Editions, 1977. [special magazine issue devoted to Fluxus]
Young, La Monte, ed. An Anthology. New York: Galerie Heiner Friedrich, 1977. [reprint of 2nd edition]
1978
Adlers, Bengt. Interviews of Internews. Åhus, Sweden: Kalejdoskop, 1978.
Anderson, Alexandra. “Artist’s Books Come of Age.” Art News, vol. 77, no. 3 (March 1978): 68.74.
Artists’ Books USA. Peter Frank and Martha Wilson. Washington, D.C. and New York, New York: Independent Curators Incorporated, 1978. [exhibition catalogue]
Baker’s Biographical Dictionary. Nicholas Slonimsky, ed. 6th edition. New York and London: G. Schirmer & Sons and Collier/Macmillan, 1978.
Canal [France], 21 (1978), “Special Fluxus.” [special magazine issue devoted to Fluxus]
Filliou, Robert. “The Propositions and Principles of Robert Filliou (Part One),” Humanistic Perspectives in Contemporary Art, no. 9 (September 1978), 6-8.
Filliou, Robert. “Transcript: The ‘Gong Show’ Tape,” Centerfold (April 1978), 27-30.
Flash Art. (Italy) 84-5 (1978) “Fluxus.” [special magazine issue devoted to Fluxus]
Herzogenrath, Wulf, ed. Tomas Schmit. Cologne: Kölnischer Kunstverein, 1978. [exhibition catalogue]
Higgins, Dick. A Dialectic of Centuries: Notes Towards a Theory of the New Arts. 2nd Edition. New York and Barton, Vermont: Printed Editions, 1978.
Hosier, Tom. “Dadazines.” Cascade (Colorado Springs, Colorado), vol. 1, no. 1 (March 1978): 6-7.
Kostelanetz, Richard. Esthetics Contemporary. New York: Prometheus Books, 1978.
Køpcke. Bent Petersen, ed. North 7-8 (1978). [special magazine issue devoted to Arthur Køpcke]
Mantua Mail 78. Romano Peli and Michaela Versari. Mantua, Italy: Assessorato Cultura: Comune di Mantova, 1978. [exhibition catalogue]
Martin, Henry. An Introduction to George Brecht’s Book of the Tumbler on Fire. Milan: Mult(h)ipla Edizione, 1978.
Miller, Joni K. and Lowry Thompson, eds. The Rubber Stamp Album. New York: Workman Publishing 1978.
Schilling, Jürgen. Aktionskunst: Identität von kunst und Leben? Lucern & Frankfurt: J.C. Bucher, 1978.
1979
Adriani, Gotz, Winfried Konnertz and Karin Thomas. Joseph Beuys Life and Works. Woodbury, New York: Barron’s, 1979. (tr. by Patricia Lech)
Aktie, werkelijkheid en fictie in de Kunst van de jaren 60 in Nederland. The Hague, Netherlands, and Rotterdam: Staatsuitgeverij and Museum Boymans-van Beuningen, 1979.
Beeren, Wim. Aktie, Werkelijkheid en Fictie in de Kunst Van Jaren ‘60 in Nederland. Rotterdam: Museum Boymans-van Beuningen, 1979.
Beeren, Wim. “Aktie, werkelijkheid en fictie in de Kunst van de jaren 60 in Nederland.” Museumjournaal (Amsterdam), vol. 24, no. 6 (November 1979), 257-260.
Cavaliere, B. “Flux-concert: The Kitchen, New York.” Flash Art/Heute Kunst 90-91 (June-July 1979): 49.
Fluxus International & Co. Gino DiMaggio and Ben Vautier, eds. Lyon: and Nice: Elac and Galerie d’Art Contemporain, 1979. [exhibition catalogue]
Frank, Peter. “Fluxus in New York.” Lightworks, Fall 1979: 29-36. [article in special issue devoted to Fluxus]
Friedman, Ken. “Fluxus.” Performance Art Magazine, vol. 1, no. 1 (1979): 16-20.
Goldberg, Roselee. Performance Live Art 1909 to the Present. New York: Harry N. Abrams, Inc., 1979.
Higgins, E.F., III. “Artist’s Stamps.” The Print Collector’s Newsletter, vol. 10, mo. 5 (November-December 1979): 154-155.
Johnson, Tom. “Paper Airplanes and Shattered Violins.” The Village Voice, April 9, 1979: 71-72.
Knowles, Alison. More by Alison Knowles. New York: Printed Editions, 1979.
Lightworks, vol. 11, no. 12 (Fall 1979). Burch, Charlton, ed. [special magazine issue devoted to Fluxus]
Mac Low, Jackson. The Pronouns - a Collection of 40 Dances - for the Dancers. Barrytown, New York: Station Hill Press, 1979.
“Pied Piper of a Moveable Feast.” ArtNews, vol. 78, no. 3 (March 1979), 14, 19-20.
Restany, Pierre. “George Maciunas: l’archiviste et le catalyseur d’une situation, celle des années ‘60.” Domus (Milan) no. 590 (Januar7 1979), 51-54.
Ruhé, Harry. Fluxus: the most radical and experimental art movement of the sixties. Amsterdam: ‘A,’ 1979.
Ruhé, Harry. “Muziek voor piano en hartige apjes: Fluxus in Nederland.” Museumjournaal (Amsterdam), vol. 24, no. 3 (May 1979), 106-110.
Sociology, Anthropology and Art. (The Dumb Ox, no. 8, 1979). Ken Friedman, guest editor. Los Angeles: Intermedia Press, 1979. [special magazine issue]
von Spreckelson, Elin. “Zen Vaudeville.” The Soho News, April 5, 1979: 6.
A V-TRE EXTRA. Geoffrey Hendricks, ed. no. 11 (March 24, 1979), New York: Fluxus. [special issue of the Fluxus V-Tre magazine devoted to George Maciunas]
1980
Auslander, Phili A History of Fluxus Performance. New York: Hunter College, 1980. [master’s thesis.]
Breder, Hans and Stephen C. Foster, eds. Intermedia. Iowa City: Corroboree, Gallery of New Concepts, University of Iowa, 1980.
Carrion, Ulises. Second Thoughts. Amsterdam: VOID Distributors, 1980.
Di Felice, Attanasio. “From Bernini to Beuys: Historical Sources of Performance and Time-Space Art.” National Arts Guide, vol. 2, no. 4 (July-August 1980): 24-32.
Friedman, Ken. “Eighties Dada.” Impressions, no. 26 (Fall 1980): 29-30.
Friedman, Ken. “Live.” Impressions, no. 24/25 (Spring 1980): 4-5.
Für Augen und Ohren: Von der Spieluhr zum akustischen Environment: Objekte Ionstallationen Performances. René Block, ed. Berlin: Akademie der Kunst, 1980. [exhibition catalogue]
Herzogenrath, Wulf. “Monuments, Memorials.” Kunstforum International, no. 1 (1980), 159-91.
Hughes, Patrick and George Brecht. Vicious Cirecles and Infinity: an Anthology of Paradoxes. Middlesex, England: Penguin Books, 1980.
Kostelanetz, Richard, ed. Scenarios: Scripts to Perform. Brooklyn, New York: Assembling Press, 1980.
Stuttgen, Johannes. “Fluxus und der ‘Erweiterte Kunstbegriff’.” Kunstmagazin, vol. 20, no. 2 (Aug 1980): 53-63.
Todorovic, Miroljub, guest editor. Delo: Mail Art, Mail Poetry (Belgrade, Yugoslavia), vol 26, no 2 (Feb 1980). [special issue]
1981
Artzien [Netherlands], 23-4 (1981) “AKI Fluxfest.” [special magazine issue devoted to Fluxus]
Battcock, Gregory, ed. Breaking the Sound Barrier: a Critical Anthology of the New Music. New York: E. Dutton, 1981.
Cohen, Ronny. “Art and Letters: Please Mr. Postman, Look and See... Is there a work of art in your bag for me?” Art News, vol. 80+, no. 10 (December 1981): 68-73.
A Contemporary Artists’ Book Exhibition. Peter Frank. Philadelphia, Pennsylvania: The Art Alliance, 1981. [exhibition catalogue]
Continuous Creation. London: Serpentine Gallery, 1981. [exhibition catalogue]
Fluxus: Aspekte eines Phänomens. Ursula Peters, ed. Wuppertal: Von der Heydt Museum, 1981. [exhibition catalogue]
Frank, Peter. “Postal Modernism: Artists’ Stamps and Stamp Images.” Art Express, vol. 1, no. 1 (May-June 1981): 18-25.
Friedman, Ken. “George Maciunas: In Memoriam.” High Performance, vol. 4, no. 1 (Issue 13, Spring 1981): 20. (Reprinted from Umbrella).
Maciunas, George. Diagram of Historical Development of Fluxus and Other 4 Dimensional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms. Åhus, Sweden: Kalejdoskop, 1981.
Mapped Art: Charts, Routes, Regions. Peter Frank. Washington, D.C.: Independent Curators Incorporated and Boulder: University of Colorado, 1981. [exhibition catalogue]
Portfluxus. (Factotumbook 28). Verona, Italy: Edizioni Factotum-art. 1981.
Truck, Fred. “Fred Truck.” High Performance, vol. 4, no. 2 (Summer 1981), 82.
Vostell Fluxus Zug. Frankfurt, Germany: Deutsche Bundesbahn (and seven other German organizations, 1981.
Young Fluxus. Edited by Ken Friedman and Peter Frank with Elizabeth Brown. New York: Artists Space, Inc., 1981 [exhibition catalogue]
1982
Aktionen, Vernissagen, Personen: Die Rheinische Kunstszene der 50er und 60er Jahre. Eine Fotodokumentation von Manfred Leve. Cologne: Rheinland-Verlag. [exhibition catalogue]
Anderson, Alexandra. “Who’s Afraid of Fluxus.” Portfolio, vol. 4, no. 1 (January-February 1982): 8.
Artists’ Books: A Survey 1960-1981. Inserted as an issue of Artery, vol. 5, no. 4 (Apr 1982): 2. Carol Heubner. [exhibition catalogue published in special magazine issue]
Black and White and Red All Over: Contemporary Eastern European Artists’ Books. Diana Augaitis. New York: Franklin Furnace, 1982. [exhibition catalogue]
Boyd, Don. Fifty Characteristics of Fluxus. New York: Fluxus West, 1982.
Fluxus, etc.: The Gilbert and Lila Silverman Collection. Jon Hendricks, ed. Bloomfield Hills, Michigan: Cranbrook Museum of Art, 1982. [exhibition catalogue]
Gever, Martha. “Pomp and Circumstances: the Coronation of Nam June Paik.” Afterimage, no. 10 (October 1982).
Giblin, Marie. “Young Fluxus Performance at Washington Project for the Arts.” New Art Examiner, vol. 10, no. 2 (November 1982): 8.
Graevenitz, A. von. “Living and transitory art.” in ‘60 ‘80: attitudes/concepts/images. E. de Wilde, et al., eds. Amsterdam: Stedelijk Museum, 1982. [article in exhibition catalogue]
Hanhardt, John. G., ed. Nam June Paik. New York: The Whitney Museum of American Art, 1982.
Higgins, Dick. Postface. reprinted in The Word and Beyond: Four Literary Cosmologists. New York, The Smith, 1982, 7-96.
Higgins, Dick. Selected Early Work 1955-64. Edited by Peter H. Schiller. Berlin: Edition Ars Viva!, 1982.
Lewis, Jo Ann. “Art in Flux.” The Washington (D.C.) Post, October 2, 1982: C-1, C-7.
Moore, Barbara. “George Maciunas: A Finger in Fluxus.” Artforum, vol. 21, no. 2 (Oct 1982): 38-45.
1962 Wiesbaden Fluxus 1982. René Block, ed. Wiesbaden (BRD): Harlekin Art; Wiesbaden: Museum Wiesbaden and Nassauischer Kunstverein; Kassel: Neue Galerie der Staatliche, 1982. [exhibition catalogue]
1983
Art Vivant . (Japan) 11 (1983) “Special report – Fluxus.” [special magazine issue devoted to Fluxus]
Bronson, A.A. and Peggy Gale, eds. Museums by Artists. Toronto: Art Metropole, 1983.
Brumfield, John. “Fluxus Revisited.” Artweek, October 15, 1983, 3.
Contemporary Artists. Muriel Emanuel, et al., eds. London and New York: St. James Press and St. Martin’s Press, 1983. [biographical reference book]
Fluxus, etc.: Gilbert and Lila Silverman Collection. Addenda I . Jon Hendricks, ed. New York: Ink &, 1983. [exhibition catalogue]
Fluxus, etc.: Gilbert and Lila Silverman Collection. Addenda TWO. Jon Hendricks, ed. Pasadena, CA: California Institute of Technology. Baxter Art Gallery, 1983. [exhibition catalogue]
Frank, Peter. Something Else Press, an annotated bibliography. Barrytown, New York: McPherson and Company, 1983.
Gever, Martha. “Art is an Excuse: an Interview with Felipe Ehrenberg.” Afterimage, vol. 10, no. 9 (April 1983): 12-18.
Glueck, Grace. “Some Roguish ‘Sixties Art Achieves Museum Status.” New York Times, February 13, 1983: H-35, H-37.
Higgins, Dick. Horizons: the Poetics and Theory of the Intermedia. Carbondale, Illinois: Southern Illinois University Press, 1983.
Higgins, Dick. Selected Early Works. Berlin: Edition Galerie Ars Nova, 1983.
KG’s Privat Pinakothek. Solothurn, Switzerland: Solothurn Kunstmuseum, 1983. [exhibition catalogue]
Larson, Kay. Going with the Flow.” New York Magazine, vol. 16, no. 10 (March 7, 1983): 104-105.
Levin, Kim. “Fluxtuations.” Village Voice, March 15, 1983, 104-105.
O’Dell, Kathy. “Fluxus on Display: Challenges to the Tenets of Ownershi” ArtCom, vol. 6, no. 1 (1983): 54-57.
Pedersen, Knud. Kampen mot Borgermusiken. Translated by Ann-Charlotte Weimarck. Kristianstad: Kalejdoskop Förlag, 1983.
1984
Banana, Anna. “Mail Art: Canada & Western U.S.A.”In Franklin Furnace Flue, vol. 4, no. 3/4 (Winter 1984).
Blam! The Explosion of Pop, Minimalism and Performance 1958-1964. Barbara Haskell, ed. New York: The Whitney Museum of American Art, 1984. [exhibition catalogue]
Crane, Michael and Mary Stofflett, eds. Correspondence Art: Sourcebook for the Network of International Postal Art Activity. San Francisco: Contemporary Arts Press, 1984.
Di Felice, Attanasio. “From Bernini to Beuys: Historical Sources of Performance and Time-Space Art.”The Art of Performance.
Gregory Battcock and Robert Nickas, eds. New York: E. Dutton, 1984.
The Eternal Network Presents Robert Filliou. Edited by Michael Erlhoff. Hannover: Spengel-Museum Hannover, 1984. [exhibition catalogue]
Frank, Peter and Ken Friedman. “Fluxus: A Post-Definitive History: Art Where Response Is the Heart of the Matter.” High Performance, #27 (1984): 56-61, 83.
Friedman, Ken. “Fluxus Performance.” The Art of Performance.
Gregory Battcock and Robert Nickas, eds. New York: E. Dutton, 1984.
Friedman, Ken. “Mail Art History: The Fluxus Factor.” In Franklin Furnace Flue, vol. 4, no. 3/4 (Winter 1984), Ronnie Cohen, guest editor. [Special magazine issue devoted to mail art published in conjunction with mail art exhibition held a Franklin Furnace.]
Higgins, Dick. Horizons: the Poetics and Theory of the Intermedia. Carbondale and Edwardsville: Southern Illinois University Press, 1984.
Lebeer, I. “Robert Filliou or the Art of Making Life More Interesting than Art.” Art Press (France) no. 86 (November 1984).
Loeffler, Carl. “Performance Facts Go Electronic: The Performance Data Bank Computerizes Fluxus.” Art Com, vol. 7, no. 1 (1984), 34-35.
Multiples und Objekte aus der Sammlung Ute und Michael Berger. Ulrich Meyer-Hausmann, ed. Wiesbaden: Museum Wiesbaden. [exhibition catalogue]
Seng Ts’an. Hsin Hsin Ming. English tanslation by George Brecht, French translation by Robert Filliou, German translation by Albrecht Fabri, calligraphy by Takako Saito. Brussels: Editions Lebeer Hossman, 1984.
1985
Festival of Fantastics. Marianne Bech, editor. Roskilde, Denmark: Galleri Sct. Agnes, 1985. [exhibition catalogue]
Friedman, Ken. Ken Friedman: Events. Edited with an introduction by Peter Frank. New York: Jaap Rietman, 1985.
Held, Jr, Jonathan. International Artist Cooperation: Mail Art Shows, 1970-1985. Dallas: Dallas Public Library, 1985. [chronology]
Klintberg, Bengt af. “Magisk Teater.” Kalejdoskop, no. 6, 1985.
Martin, Henry. “Fluxus Is It Fluxus?” Scanorama, Stockholm, May 1985.
Martin, Henry. “The Zetetics of Zealous Zambians.” Art News (September 1985): 125-126.
McEvilly, Thomas. “Fluxus, Etc. The Gilbert and Lila Silverman Fluxus Collection.” Artforum, vol. 23, no. 5 (January 1985), 94-95.
Moore, Barbara. Fluxus 1: A History of the Edition. New York: Reflux Editions, 1985.
Moore, Barbara and Jon Hendricks. “The Page as Alternative Space 1950 to 1969.” in Artists Books: a Critical Anthology and Sourcebook, edited by Joan Lyons. Albany, New York: Visual Studies Workshop Press, 1985, 87-95.
Nykopp, Lauri. “Fluxus ja ohikusemisen taito.” Taide (Helsinki, Finland), vol. 26, no. 5 (1985), 13-15.
Opus International. no. 98. [special issue devoted to Wolf Vostell]
Reconstructions: Avant-Garde Art in Japan 1945-1965. David Elliott and Kazu Kaido, eds. Oxford: Museum of Modern Art, 1985. [exhibition catalogue]
von Maur, Karin, ed. Von Klang der Bilder. Die Musik in der Kunst des 20. Jahrhunderts. München: Prestel Verlag, 1985.
Vostell, Wolf. “Fluxus.” Opus International (Paris), no. 98 (Summer 1985), 10-17.
1986
Alexander, Randolph. “Homage to Fluxus.” New Art Examiner (Chicago), vol. 14, no. 3, (November 1986): 64.
Brecht, George. Water Yam. Brussels: Lebeer Hossmann. [reprint of the 1964 Fluxus edition]
Fröhliche Wissenschaft: das Archiv Sohm . Thomas Kellein, ed. Stuttgart: Staatsgalerie Stuttgart, 1986. [exhibition catalogue]
Gavric, Zoran, et al., eds. Fluxus Izbor Tekstova. Belgrade: Museum of Contemporary Art, 1986. [book published in conjunction with exhibition]
Die 60er Jahre Kölns Weg Zur Kunstmetropole von Happening Zum Kunstmarkt. Wulf Herzogenrath and Gabriele Lueg, eds. Cologne: Kölnischer Kunstverein, 1986. [exhibition catalogue]
Luxe, calme et volutpé: aspects of French art 1966-1986. Scott Watson, Bernard Marcadé and JoAnne Birnie Danzker, eds. Vancouver, British Columbia: Vancouver Art Gallery, 1986. [exhibition catalogue]
Mac Low, Jackson. Representative Works 1938 - 1985. New York: Roof Books, 1986.
Martin, Henry. “Les fantaisies fantaisistes de Roskilde.” Inter (Quebec) no. 30 (Winter 1986), 5-11.
Miller, Larry. As If the Universe Were an Object: Selected Works: 1969-1985. Richmond, Virginia: Virginia Commonwealth University, 1986.
La parola totale: una tradizione futurista 1909-1986. Achille Bonito Oliva, Gabriella De Mila, Claudio Cerritelli, eds. Modena, Italy: Galleria Fonte d’Abisso, 1986. [exhibition catalogue]
“Taide: Fluxus.” Suuri Ensyklopedia. Helsinki, Finland: Helsingissä Kustannusoakeyhtiö Otava, 1986.
1987
Fluxus. Marco Meneguzzo, ed. Milano: Galleria Chisel, 1987. [exhibition catalogue]
Block, René. “Fluxus and Fluxism in Berlin 1964-1976.” (in) 1961 Berlinart 1987. Kynaston McShine, ed. New York and Munich: Museum of Modern Art and Prestel Verlag, 1987, 64-79. [book published in conjunction with exhibition ]
Fluxus and Friends: Selection from the Alternative Traditions in Contemporary Art Collection. Estera Milman. Iowa City: University of Iowa. Museum of Art, 1987. [exhibition catalogue]
Fluxus 25 Years. Dick Higgins, ed. Williamstown: Williams College Museum of Art, 1987. [exhibition catalogue]
Freibord. (Austria) 60 (4/87) “Fluxus: 25 years.” Gerhard Jaschke, ed. [special magazine issue devoted to Fluxus]
Friedman, Ken. Explaining Fluxus. Helsinki, Finland: Arabia Fluxus Workshop, 1987.
Friedman, Ken. “Fluxus.” Prisma Nytt, Nr. 21/22 1987, Høvikodden, Norway: Henie-Onstad Kunstsenter, 34-37.
Friedman, Ken, guest editor. White Walls: FLUXUS. Chicago: White Walls, Inc., 1987. [special magazine issue devoted to Fluxus]
Robertson, Clive. “In memoriam Robert Filliou, 1926-1987 - couvre-chef(s) d’oeuvres.” Fuse (Canada), vol. 11, no. 5 (April 1988).
1988
Altshuler, Bruce. “Fluxus Redux.” Arts Magazine, vol. 64, no. 1 (September 1988), 66-70.
Anderson, Simon. Reflux Action. Doctoral dissertation. London: Royal College of Art, 1988. [doctoral dissertation]
Decker, Edith. Paik Video. Cologne: DuMont Bucherverlag, 1988.
Fluxus - O del “principio d’indterminazione.” Caterina Gualco and Rosa Leonardi, eds. Genoa, Italy: Studio Leonardi and Unimedia, 1988.
Fluxus: Selections from the Gilbert and Lila Silverman Collection. Clive Phillpot and Jon Hendricks, eds. New York: Museum of Modern Art, 1988. [exhibition catalogue]
Foster, Stephen C., Estera Milman, and Ying-Ying Lai, eds. The World According to Dada. Taipei, Taiwan, Republic of China: Taipei Fine Arts Museum, 1988. [exhibition catalogue]
Frank, Peter. “Fluxus is Dead! Long Live Fluxism!” Contemporanea, vol. 1, no. 3 (September-October 1988), 75-77.
Freibord. (Austria) 64 (2/88) Gerhard Jaschke, ed. [special magazine issue devoted to Fluxus]
Gran Pavese: the Flag Project - 50 artists / 50 flags. Thérèse Legierse, Peter van Beveren and Ralph van Hessen. The Hague, the Netherlands: SDU Publishers, 1988. [exhibition catalogue and project book]
Home, Stuart. The Assault on Culture: Utopian Currents from Lettrisme to Class War. London: Aporia Press & Unpopular Books, 1988.
Kang, Taehi. Nam June Paik: Early Years (1958-1973). Tallahassee: Florida State University, 1988. [doctoral dissertation]
La riformulaziome quantica. Enrico Pedrini, ed. Florence: Galleria Vivita, 1988. [exhibition catalogue]
Moffitt, John F. Occultism in avant-garde art: the case of Joseph Beuys. Ann Arbor, Michigan: UMI Research Press, 1988.
Obalk, Hector. “La partie pour le tout.” Art Press (France), no. 123 (March 1988), 38-9.
Robert Filliou - 1926 -1987 - zum Gedächtnis. Hans-Werner Schmidt, ed. Dusseldorf: Städtische Kunsthalle, 1988. [exhibition catalogue]
Stationen der Moderne. Michael Bolle and Eva Zuchner, eds. Berlin: Berlinische Galerie, 1988. [exhibition catalogue]
1989
Anderson, Simon. “Flux Hunting.” Performance Magazine (UK), no. 58 (Summer 1989), 11-21.
Arthur Køpcke Arkivet, Aarhus Kunstmuseum. Edited by Birgitte Hesselund, Erik Nørager Pedersen and Jens Erik Sørensen. Aarhus, Danmark: Aarhus Kunstmuseums Forlag, 1989. [archive catalogue]
Belloni, Cristina. “Da Fluxus a fluxus.” Terzo Occhio (Bologna), vol. 15, no. 2 (June 1989), 41-42.
Belloni, Cristina. “Fluxus: gli eventi.” Terzo Occhio (Bologna), vol. 15, no. 3 (September 1989), 48-49.
Block, Ursula and Micheal Glasmeier, eds. Broken Music - Artists’ Recordworks. Berlin: DAAD Galerie and Gelbe Musik, 1989. [exhibition catalogue]
Flux Med: Robert Watts Obra Grafica 1987. Madrid and Palma: Joan Guaita, 1989. [exhibition catalogue]
Friedman, Ken. “Jean Dupuy: Alchimiste.” Halle Sud (Geneva) , no. 22, 4-1989: 26-27. [in French translation by Françoise Senger]
Happenings + Fluxus. Charles Dreyfus, ed. Paris: Galerie 1900-2000 and Galerie du Génie, 1989. [exhibition catalogue]
Hendricks, Jon. Fluxus Codex. New York: Harry N. Abrams, Inc. 1989.
Higgins, Dick. “Five myths of postmodernism.” Art Papers, vol. 13, no. 1 (January-February 1989), 11-19.
Johnston, Jill. “A Fluxus Funeral.” Art in America, vol. 77, no. 3 (March 1989), 42-47.
La Frenais, Rob. “Notes from Offshore Europe.” High Performance issue 47, vol. 12, no. 3 (Fall 1989): 12-13.
Liu, Catherine. “Fluxus: Selections from the Gilbert and Lila Silverman Fluxus Collection.” Artforum, vol. 27, no. 9 (May 1989), 152-153.
McShine, Kynaston, ed. New York and Munich: The Museum of Modern Art and Prestel Verlag, 1987. [book published in conjunction with exhibition]
Sayre, Henry M. The Object of Performance. Chicago: The University of Chicago Press, 1989.
Sondheim, Alan. “Decomposition: the transamerican avant-garde.” Art Papers, vol. 13, no. 3 (May-June 1989), 25-31.
Theater of the Object: Reconstructions, Re-creations, Reconsiderations, 1958-1972. Edited with an introduction by Peter Frank. New York: The Alternative Museum, 1989. [exhibition catalogue]
1990
Bech, Marianne. Det indre rum, det nære rum, det ydre rum. Magisterkonferensspeciale, Københavns Universitet, 1990.
Belloni, Cristina. “Fluxus: L’Europa.” Terzo Occhio (Bologna), vol. 15, no. 1 (March 1990), 42-43.
Block, René, ed. Joe Jones: Music Machines from the Sixties until Now. Berlin: Rainer Verlag and DAAD, 1990.
Blom, Ina. “A Tourist’s Guide to Fluxus and the Most Modern Music of All Times.” (essay in) Fluxus. Høvikodden, Norway: Høvikodden Kunstsenter.
Botic, Leonida. “Strategije Fluxusa: Razgovor sa Ken Friedmanom.” (part 1) Student (Belgrade, Yugoslavia) , February 1990: 43-45.
Botic, Leonida. “Strategije Fluxusa: Razgovor sa Ken Friedmanom.” (part 2) Student (Belgrade, Yugoslavia) , March 1990: 44-45.
Daniels, Dieter. “Fluxus at La Biennale di Venezia: It was More Authentic than it was Supposed to Be.” Lund Art Press, Vol. 1, No. 4, 1990, Lund, Sweden: Lund University School of Architecture, p 312-315.
Daniels, Dieter. “Taking Fluxus Around for a Drive.” Flash Art, no. 150 (January-February 1990), 148.
Faust, Gretchen. “Fluxus & Co.” Arts Magazine, vol. 64, no. 7 (March 1990), 119.
Fluxus. Edited with an essay by Ina Blom. Høvikodden, Norway: Høvikodden Kunstsenter (Henie-Onstad Kunstsenter). [exhibition checklist]
Fluxus! Nicholas Zurbrugg, Nicholas Tsoutas and Francesco Conz, eds. Brisbane: Institute of Modern Art, 1990. [exhibition catalogue]
Fluxus S.Q.R. Alesandro Masi, ed. Roma: Galleria Fontanella Borghese, 1990. [exhibition catalogue]
Fluxus Subjektiv. Ursula Krinzinger, ed. Wien: Galerie Krinzinger, 1990. [exhibition catalogue]
Frank, Peter. “Fluxus Codex by Jon Hendricks.” (book review). Artweek, February 9, 1990, 28.
Frank, Peter. “Ubi Fluxus ibi Motus 1990-1962.” High Performance no. 52 (vol. 13, no. 4) (Winter 1990), 17.
Freibord: Zeitschrift für Literatur und Kunst. (Austria) 73 (3/90). Gerhard Jaschke, ed. [special magazine issue devoted to Fluxus]
Friedman, Ken. “Ben Vautier: Apostle of Truth.” (“Apôtre de la verité”). Halle Sud (Geneva) , no. 23, 1-1990: 34-35. [in English original with a French translation by Françoise Senger]
Friedman, Ken, ed. Fluxus Performance Workbook. [El Djarida, special issue] Trondheim, 1990: El Djarida.
Hahn, Otto. Daniel Spoerri. Paris: Flammarion, 1990.
Higgins, Dick. “A Very Selective Bibliography of Fluxus.” Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 47-50.
Laszlo, Jean-Noel. “Ken Friedman on Stamps in Fluxus.” InTimbre d’artiste. Toulon: Espace Peiresc, 1990, 5-12. [interview]
Mail Art. Christine Jones, ed. Vienna: Kunskanzlei, 1990. [exhibition catalogue in postcard portfolio]
Moore, Barbara. “Vintage Fluxus.” Ear: Magazine of New Music, vol. 15, no. 3 (May 1990), 20-24.
Ono, Yoko. To See the Skies. Milan: Fondazione Mudima, 1990.
The Readymade Boomerang: Certain Relations in 20th Century Art. René Block, ed. Sydney, Australia: Eighth Biennale of Sydney, 1990.
Ruinard, Elizabeth. “Fluxus!” Eyeline: East Coast Contemporary Visual Arts (Australia), no. 13 (Spring-Summer 1990), 20-22.
Sellem, Jean. “On Fluxus: Interview.” Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 268-288. [interview]
Sellem, Jean. “Why Fluxus?” (in) Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 262-267.
Tsoutas, Nicholas. “Francesco Conz Interviewed.” Eyeline: East Coast Contemporary Visual Arts (Australia), no. 13 (Spring-Summer 1990), 23-25.
Ubi Fluxus, ibi Motus. Achille Bonito Oliva, Gino Di Maggio, Gianni Sassi, eds. Venice and Milano: Biennale of Venice and Mazzotta Editore, 1990. [exhibition catalogue]
Yoko Ono: En Trance, [ed. Jon Hendricks and Birgitte Hesselund]. Randers, Danmark: Randers Kunstmuseum, 1990.
Zurbrugg, Nicholas. “ ‘A Spirit of Large Goals’ - Dada and Fluxus at Two Speeds.” In Fluxus! Zurbrugg, Nicholas, Francesco Conz and Nicholas Tsoutas, eds. Brisbane, Australia: Institute of Modern Art, 1990, 28-34. [exhibition catalogue]
1991
Ballade (No. 1, 1991), Oslo: Universitetsforlaget. [special magazine issue devoted to Fluxus]
Conzen-Meairs, Ina, ed. Lieber Meister S: Hanns Sohm sum siebzigsten Geburtstag. Stuttgart: Staatsgalerie Stuttgart, 1991.
Daniel Spoerri from A to Z. Gino DiMaggio, ed. Milan: Fondazione Mudima, 1991. [exhibition catalogue]
Denson, G. Roger. “Fluxus Closing In.” Flash Art, vol. 24, no. 157 (March-April 1991), 133.
DeVuono, frances. “Fluxus - Closing In.” Art News, vol. 90, no. 1 (January 1991), 95.
Faust, Gretchen. “Fluxus Closing In.” Arts Magazine, vol. 65, no. 5 (January 1991), 95.
Fluxartisti. Cristina Morato, ed. Verona: La Giarina, 1991. [exhibition catalogue]
FluxAttitudes. (Heckling Catalogue.) Cornelia Lauf and Susan Hapgood, eds. Ghent, Belgium: Imschoot Uitgevers, 1991. [exhibition catalogue]
Fluxus + Concept Art. Sammlung Beck: Wilhelm-Hack-Museum. Roland Scotti, ed. Ludwigshafen/Rhein: Wilhelm-Hack-Museum, 1991. [exhibition catalogue]
Fluxus - Ein Nachruf zu Lebzeiten. Edited by Dieter Daniels (Kunstforum International, Bd. 115). Köln: September-October 1991. [special magazine issue devoted to Fluxus]
Fluxus Research.. Jean Sellem, ed. Lund Art Press, Vol. 2, No. 2, 1991: School of Architecture, University of Lund. [special issue devoted to Fluxus]
Friedman, Ken. “George Maciunas: Expanded Arts Diagram,” In Contemporary Masterworks. Chicago and London: St. James Press, 1991.
Harris, Melissa. “Fluxus Closing In.” Artforum vol. 29, no. 5 (January 1991), 128-129.
Haskell, Barbara and John G. Hanhardt. Yoko Ono: Arias and Objects. Salt Lake City: Peregrine Smith, 1991.
Held, John Jr. Mail Art: an Annotated Bibliography. Metuchen, New Jersey and London: The Scarecrow Press, Inc., 1991.
Jones, Alan. “One Among Many: Dick Higgins and Something Else Press.” Arts Magazine, December 1991: 21-22.
Kamperelic, Dobrica. “Fluxus Pokret: Destructio Unius - Generatio Alternius.” Dalje (Sarajevo, Bosnia) no. 33-34 (1991): 37-44.
Paik, Nam June. “2 x mini giants.” Artforum, vol. 29, no. 6 (March 1991), 90-91.
Pop Art. Marco Livingston, ed. London: Royal Academy of Arts, 1991. [exhibition catalogue]
Ruhé, Harry. Multiples, etc. Amsterdam: ‘A,’ 1991.
Smith, Owen. George Maciunas and a History of Fluxus (or) the Art Movement that Never Was. Seattle: University of Washington, 1991. [doctoral dissertation]
Smith, Valerie. “King of the Dwarfs - A Conversation with Milan Knizak.” Arts Magazine, May 1991, 60-64.
Under the Influence of Fluxus. Wayne Baerwaldt, ed. Winnipeg, Canada: Plug In Inc., 1991. [exhibition catalogue]
Williams, Emmett. My Life in Flux and Vice Versa. Stiuttgart, London and New York: Edition Hansjörg Mayer and Thames & Hudson. 1991.
1992
Allen, R. F. Fluxus and literature. Visible Language v. 26 (Winter/Spring 1992) 69-78
Block, R. Fluxus in Wiesbaden 1992 [summary of interview with Johan Pijnappel]. Kunst & Museumjournaal v. 4 no. 1 (1992) 14-20
Corbett, J. “Anything must go” [London Musicians' Collective, Festival of Experimental Music]. New Art Examiner v. 20 (November 1992) 12-14
Cotter, Holland. “Three Shows Celebrate the Spirit of Fluxus.” The New York Times, Friday, October 23, 1992: C19.
Decter, J. {Fluxus, a conceptual country: Franklin Furnace Archive, Inc; Fluxattitudes: New Museum of Contemporary Art, New York}. Artforum International v. 31 (December 1992) 91-2
Dress & Photo Performance: Tivoli, Copenhagen, May 7th, 1992. Francesco Conz, ed. Verona, Italy: Editions Francesco Conz, 1992, unpaginated. [portfolio project, 8 sepia tone photographs]
Droles D’Envois: Mail Art - Art Postal. Lerouge, Evelyne, ed. Compiègne, France: Centre d’animation culturelle de Compiègne et du Valois, 1992. [exhibition catalogue]
“Exhibition check lists” [Fluxus, a conceptual country: Madison Art Center, Wisconsin; traveling exhibit]. Visible Language v. 26 (Winter/Spring 1992) 230-41
Flux Flag. György Galantaí, ed. Budapest: Budpesti Öszi Fesztivál, 1992. [exhibition catalogue]
Fluxus: A Conceptual Country, Estera Milman, guest editor. [Visible Language, vol. 26, nos. 1/2.] Providence: Rhode Island School of Design, 1992. [Special issue devoted to Fluxus, also exhibition catalogue]
Fluxus Da Capo: 1962 Wiesbaden 1992. René Block, ed. Wiesbaden: Nassauischer Kunstverein, Kulturamt der Landeshauptstadt Wiesbaden and Harlekin Art/Fluxeum, 1992.
“Fluxus, flux on: it all started a 17th of January, one million years ago” [3 article special section]. Flash Art (International Edition) no. 167 (November/December 1992) 53-9
“Fluxus island in de-coll/age ocean (Art Reproduction).” Visible Language v. 26 (Winter/Spring 1992) 16
Fluxus: the Development of an Antidote. Mats B. Stockholm: Galleri Stenström, 1992. [exhibition catalogue]
Fluxus Virus, 1962-1992. Ken Friedman, ed. Köln: Verlag Schüppenhauer, 1992. [Exhibition catalogue]
Foster, S. C. “Historical design and social purpose: a note on the relationship of Fluxus to modernism.” Visible Language v. 26 (Winter/Spring 1992) 35-44
Frank, Fluxus fallout: New York in the wake of the new sensibility. Visible Language v. 26 (Winter/Spring 1992) 211-20
Friedman, Ken. Fluxus 1992. Budapest: Artpool. Hungarian translation by Barbarczy Eszter.
Friedman, Ken. “The Head through the Wall. The René Block Collection at Statens Museum for Kunst, Copenhagen.” Siksi. 3/92. Helsinki: Nordiskt konstcentrum, Sveaborg, 52-53.
Friedman, Ken. “Occupying the Border Zone,” Eye, vol. 2, No. 7, 1992, 50.
Friedman, Ken. “Vytautas Landsbergis and Fluxus.” Siksi. 1/92. Helsinki: Nordiskt konstcentrum, Sveaborg, 33-34.
Friedman, K., et. al., “Fluxus: global community, human dimensions [the development of Fluxus as a community of individuals].” Visible Language v. 26 (Winter/Spring 1992) 155-79
Gomez, E. M. “All is flux” [various shows and exhibits throughout the United States and Europe in celebration of the 30th anniversary of the group Fluxus]. Art News v. 91 (September 1992) 16
Higgins, D. “Two sides of a coin: Fluxus and the Something Else Press.” Visible Language v. 26 (Winter/Spring 1992) 143-53
Kissick, John. “Fluxus Deluxe.” New Art Examiner, vol. 19, no. 5 (January 1992) 41-42.
Kontova, H., et. al., “John M Armleder: a gentleman in the Fluxus tradition”[interview]. Flash Art (International Edition) no. 166 (October 1992) 63-9
Hovedet Gennem Muren.. Elisabeth Delin Hansen and René Block, eds. Copenhagen: The Royal Museum of Fine Art, 1992. [exhibition catalogue]
Michaelides, Lee. “The Stuff of Art,” Dartmouth Alumni Magazine, vol. 85, no. 2, 24-31.
Martin, Henry. Fluxers. Bolzano, Italy: Museion - Museum of Modern Art, 1992. [exhibition catalogue]
Milman, E. “Road shows, street events, and Fluxus people; a conversation with Alison Knowles [interview].” Visible Language v. 26 (Winter/Spring 1992) 97-107
“Portraits of a Fluxus artist as hors-d'oeuvre d'art (Art Reproduction).” Kunst & Museumjournaal v. 4 no. 1 (1992) 17
Rian, J. “Fluxus, flux on: it all started a 17th of January, one million years ago.” Flash Art (International Edition) no. 167 (November/December 1992) 53+
Rose, Matthew. “Fluxus Redux.” Connoisseur (London), no. 222 (January 1992) 94.
Saper, C. “Fluxacademy: from intermedia to interactive education [a Fluxus based experimental pedagogy].” Visible Language v. 26 (Winter/Spring 1992) 79-96
Sellem, Jean. “The Head through the Wall: Ken Friedman Discusses the René Block Collection in Copenhagen.” (in) Lund Art Press, Vol. 2, No. 3, 1992: School of Architecture, University of Lund, 178-193. [interview]
Smith, O. “Proto-Fluxus in the United States 1959-1961: the establishment of a like-minded community of artists.” Visible Language v. 26 (Winter/Spring 1992) 45-58
Thea, R. “ Fluxus, ein Nachruf zu Lebzeiten (Book Review). “Domus no. 734 (January 1992) xv-xvi
Träger, Wolfgang. “Fluxus - Cologne/Wiesbaden,” Art Position, Nr. 21, 4. Jhg., September/Oktober ‘92: 12-13.
Triggs, Teal. “Flux type,” Eye, vol. 2, no. 7, 1992: 46-55.
Under the Influence of Fluxus. Wayne Baerwaldt, ed. Winnipeg, Canada: Plug In, Inc., 1992. [exhibition catalogue]
Wix, Gabriele. “Die Kunst der Einfachen Geste,” art - Das Kunstmagazine, Nr. 11, November 1992, 38-49.
1993
Blom, Ina. The Intermedia Dynamic: An Aspect of Fluxus. Oslo, Norway: Institutt for Arkeologi, Kunsthistorie og Numismatikk, Universitet i Oslo, 1993. [magister dissertation.]
Buchholz, Daniel and Gregorio Magnani. International Index of Multiples from Duchamp to the Present. Tokyo and Köln: Spiral/Wacoal Art Center and Verlag der Buchhandlung Walther König, 1993.
Doris, David T. Zen Vaudeville: A Medi(t)ation in the Margins of Fluxus. New York, New York: Department of Art History, Hunter College, 1993. [m-aster’s thesis.]
Felter, James Warren. “Artiststamps.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 189-195 (French translation by Marie-Antoinette Biesel and Marie-Jeanne Mesguen) and 233-239 (English original).
Fluxus and After. Anne Kirker, ed. Brisbane, Australia: Queensland Art Gallery, 1993. [exhibition catalogue]
Fluxus: Today and Yesterday. Johan Pijnappel, guest editor. [Art and Design Magazine, no. 28]. London, 1993: Academy Group, Ltd. [special issue devoted to Fluxus]
Frank, Peter. “Modernisme Postal: Timbres d’artistes et images de timbres.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 177-188 (French translation by Marie-Antoinette Biesel and Marie-Jeanne Mesguen) and 222-232 (English original).
Friedman, Ken, ed. Fluxus and Friends: Mailing List and Telephone Directory. Oslo, Norway: Friedman Associates, 1993. [30th Anniversary Fluxlist]
Gray, John. Action Art. A Bibliography of Artists’ Performance from Futurism to Fluxus and Beyond. Westport, Conn,: Greenwood Press, 1993.
Halem, Ludo van. “Fluxpost! Fluxus en mail art.” (in) Als kunst bestempeld: mail art inernational. Edited by Ben Koevoets. ‘s-Gravenhage, The Netherlands: 1993, p 16-24, 41-42. [exhibition catalogue]
Henie-Onstad Kunstsenter: Jubileumsgaver. Per Hovdenakk, ed. Høvikodden, Norway: Henie-Onstad Kunstsenter, 1993. [exhibition catalogue]
Higgins, H. B. “Totally excellent” [Excellent '92, celebrating 30 years of Fluxus activity: Fluxeum, Wiesbaden-Erbenheim, Germany; and other recent exhibits]. New Art Examiner v. 20 (May 1993) 32-5+
In the Spirit of Fluxus: Published on the Occasion of the Exhibition. Minneapolis: Walker Art Center, 1993
Jones, K. “Forget about it” [FluxAttitudes: Hallwalls Contemporary Arts Center, Buffalo; traveling exhibit]. Afterimage v. 20 (February 1993) 16-17
Jenkins, Janet, ed. In the Spirit of Fluxus. Minneapolis, Minnesota: Walker Art Center, 1993. [book published in conjunction with exhibition]
Kim-Cheon, Hong Hee, ed. The S(e)oul of Fluxus. Seoul, Korea: A. International, Ltd., 1993. [book published in conjunction with festival and exhibition]
Klintberg, B. A. “Fluxus games and contemporary folklore: on the non-individual character of Fluxus art.” Konsthistorisk Tidskrift v. 62 no. 2 (1993) 115-25
Laszlo, Jean-Noel. “Interview: Ken Friedman.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 18-21 (French translation by Marie-Antoinette Biesel and Marie-Jeanne Mesguen) and 216-221 (English original).
Laszlo, Jean-Noel. “Le Timbre c’est le message.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 13-16 (French original) and 211-215 (English translation by Dan Golemski and Robert Ruscoe).
Nam June Paik. eine DATA base. Klaus Bussmann and Florian Matzner, eds. Venice: Biennale of Venice, German Pavilion and Edition Cantz, 1993.
Princenthal, N. “Artist's book beat “[What part did Fluxus take in the development of artists' books? interview with six contemporary artists]. The Print Collector's Newsletter v. 23 (January/February 1993) 235-7
Silberman, R. “In the spirit of Fluxus” [Walker Art Center, Minneapolis; exhibit]. The Burlington Magazine v. 135 (June 1993) 432-3
Silver, Kenneth E. “Nam June Paik: Video’s Body.” Art in America, November 1993,100-107.
Writings about John Cage. Ann Arbor: University of Michigan Press, 1993.
1994
Anderson, S. “Surflux: more Fluxus than you can shake a stick at “[Fluxus Festival Chicago, 1993; various locations]. New Art Examiner v. 21 (March 1994) 14-16
Apple, J. “Stomp: a generational advance of a Fluxus idea.” High Performance v. 17 (Winter 1994) 54-5
Brentano, Robyn; Georgia, Olivia; Mills, Kathleen (editor) Outside the Frame: Performance and the Object: A Survey History of Performance Art in the USA Since 1950. Cleveland, Ohio: Cleveland Center for Contemporary Art, 1994.
Coulter-Smith, G., et. al., Fluxus [Queensland Art Gallery, Brisbane, Australia]. Art and Australia v. 32 (Spring 1994) 150-1
“Fluxshoe shuffle” [Fluxbritannica, aspects of the Fluxus movement 1962-73: Tate Gallery, London]. Art Monthly no. 176 (May 1994) 15-17
Hapgood, Susan. Neo-Dada: Redefining Art, 1958-62. New York: American Federation of Arts in association with Universe Publishing, 1994.
Higgins, Hannah. Enversioning Fluxus. Chicago: Department of Art History, University of Chicago, 1994. [Doctoral Dissertation.]
Higgins, H. B. “Critical refluxtions” [Recollections of Fluxus performances]. New Art Examiner v. 21 (March 1994) 17-23
Johnston, J. “Wedding in Denmark” [author's marriage becomes part of a Fluxus event]. Art in America v. 82 (June 1994) 75-6
Johnston, J. “Flux acts“[In the spirit of Fluxus: Walker Art Center, Minneapolis; traveling exhibit]. Art in America v. 82 (June 1994) 70-4+
Krainak, “Fluxus as (un)architecture [architectural ideas of George Maciunas].” New Art Examiner v. 21 (March 1994) 24-5
Munroe, Alexandra. Japanese Art After 1945: Scream Against the Sky. New York: H.N. Abrams, 1994.
O'Neill, R. “In the spirit of Fluxus” [Walker Art Center, Minneapolis; traveling exhibit]. Art Journal v. 53 (Spring 1994) 90-1+
Van Proyen, M. “All ways at once” [In the spirit of Fluxus: San Francisco Museum of Modern Art; traveling exhibit]. Artweek v. 25 (June 23 1994) 14
1995
Blistene, B. “Fluxtuat nec mergitur” [L'esprit de Fluxus: MAC, Galleries Contemporaines des Musees de Marseille; traveling exhibit]. Connaissance des Arts no. 516 (April 1995) 110-17
Domino, C. “Quand Fluxus dynamitait l'art” [Musee d'Art Contemporain, Marseilles; Fluxus et les nouveaux realistes: Kunsthalle, Hamburg; exhibits]. Beaux Arts Magazine no. 134 (May 1995) 102-8
Kellein, Thomas. Fluxus. London; New York, N.Y.: Thames and Hudson, 1995.
Puvogel, R. „Wollt Ihr das totale Leben?” [Fluxus und Agit-Pop der 60er Jahre in Aachen: Neuer Aachener Kunstverein]. Kunstforum International no. 130 (May/July 1995) 350-2
Sanford, Mariellen R., Happenings and Other Acts. London; New York: Routledge, 1995.
1996
Shaw-Miller, S. “@Concerts of everyday living': Cage, Fluxus and Barthes, interdisciplinarity and inter-media events. “ Art History v. 19 (March 1996) 1-25
1997
Bolton, W. “Haphazard Documentation” [Yoko Ono and Fluxus: Royal Festival Hall, London; exhibit]. Make, the magazine of women's art no. 75 (April/May 1997) 30
Bonami, F. Jasansky and Polak [Nature, Jokes, Fluxus and Abstract; photography series]. Flash Art (International Edition) no. 195 (Summer 1997) 125
Conzen, Ina. Art Games. Germany: Staatsgalerie Stuttgart, 1997.
Shaw-Miller, S., reviewer In the spirit of Fluxus (Book Review); Fluxus (Book Review); Sound works (Book Review). Oxford Art Journal v. 20 no. 1 (1997) 105-9
Smith, Owen. "Fluxus, Experimentalism and the End of Language," K. David Jackson, Eric Vos and Johanna Drucker, eds., Experimental, Visual, Concrete: Avant-Garde Poetry Since 1960 (Avant Garde Critical Studies Vol. 10), Amsterdam/Atlanta, GA: Rodopi Press, 1997
Williams, Emmett; Noel, Ann (editors), Mr. Fluxus: A Collective Portrait of George Maciunas 1931-1978. London: Thames & Hudson, 1997.
1998
Butler, R. "Francesco Conz and the intermedia avant-garde". Art/Text no. 61 (May/July 1998) 94-5
Fricke, C. “Takako Saito: ACDKLMNQRUVYZ.” Kunstforum International no. 139 (December 1997/March 1998) 301-19
Friedman, Ken. The Fluxus Reader. Chicester, West Sussex; New York: Academy Editions, 1998.
Gibbs, M. “Mr Fluxus” (Book Review). Art Monthly no. 216 (May 1998) 52-3
Nixon, M. “After images” [Yoko Ono and Fluxus; Inside the visible; exhibits]. October (Cambridge, Mass.) no. 83 (Winter 1998) 114-30
Smith, Owen F. Fluxus: The History of an Attitude. San Diego, CA: San Diego State University Press, 1998.
Vautier, Ben and Guy Schraenen. Ben Vautier: Bucher, Zeitschriften, Einladungen, Plakate. Bemen: Neues Museum Weserburg Bremen, 1998
1999
Auslander, “Fluxus art-amusement: the music of the future?” Art Papers v. 23 no. 2 (March/April 1999) 30-5
Beckman, E., et. al., Off limits (Book Review); Mr. Fluxus (Book Review); The Fluxus reader (Book Review). Art Journal v. 58 no. 3 (Fall 1999) 100-2
Bucholh, B.H.D. Experiments in the Everyday: Allan Kaprow and Robert Watts, Events, Objects, Documents. New York: Columbia University, Miriam and Ira D. Wallach Art Gallery, 1999.
Glew, A. The Fluxus reader (Book Review). Art Monthly no. 227 (June 1999) 50-1
Marter, Joan, Ed. Off Limits: Rutgers University and the Avant-Garde, 1957-1963. Newark, N.J.: Newark Museum; New Brunswick, N.J.: Rutgers University Press, 1999
Patterson, Ben. The Black and White File. Wiesbaden: Ben Patterson, 1999.
Poggenpohl, S. H., reviewer The Fluxus reader (Book Review). Visible Language v. 33 no. 3 (1999) 309-12
Ruhe, Harry. 25 Fluxus Stories. Amsterdam: Tuja Books, 1999
Seagull, S. “George Maciunas DBA/Fluxhouse Co-operative, Inc or Soho: a new utopia” [exhibit]. Art Monthly no. 228 (July/August 1999) 32-3
Smith, Owen. "A Pilgrim’s Progress," Alternative Traditions in Contemporary Arts: Subjugated Knowledge and the Balance of Power, Iowa: University of Iowa Museum of Art, 1999
2000
Kaplan, J. A. “Flux generations” [roundtable discussion]. Art Journal v. 59 no. 2 (Summer 2000) 6-17
Leydier, R. “Rudolf Wehrung: fluxus redux.” Art Press no. 253 (January 2000) 34-7
Munroe, Alexandra et.al. Yes Yoko Ono. New York: Harry N. Abrams, 2000
Puvogel, R. “Nam June Paik--Fluxus/Video: Kunsthalle Bremen.” Kunstforum International no. 149 (January/March 2000) 348-50
Santi, Tiziano and Roberto Melchiori et al. Vanished Paths: Crises of Representation and Destruction in the Arts from the 1950s to the End of the Century. Milan: Charta, 2000
Schwerfel, H. “Nam Jun Paik: ecran total.” Beaux Arts Magazine no. 191 (April 2000) 76-83
Strecker, J. „Fluxus in Germany 1962-1994.” Art and Australia v. 38 no. 1 (2000) 60-2
2001
Hersh, A. “All You Need Is Art.” Art & Antiques v. 24 no. 11 (December 2001) 96
Martel, Richard. Art Action. Paris:Éditions Intervention (2001).
Saper, Craig J. Networked Art. Minneapolis/London: University of Minnesota Press, 2001
Thompson, Chris. “Responsible Idiocy and Fluxus Ethics:_Robert Filliou and Emmanuel Levinas.” a–r–c, issue 5, July 2001, http://a-r-c.gold.ac.uk/a-r-c_Five/texts/5_responsible01.html
2002
Blain, F. A. “Au Plateau, Robert Filliou et Comparses” [Exhibit]. Beaux Arts Magazine no. 216 (May 2002) 36
Dyment, D. “Maura Doyle's Art Services.” C Magazine no. 74 (Summer 2002) 46
Friedman, Ken. And Owen Smith, eds. Fluxus Performance Workbook. Performance Research e-Publication, volume 7, 2002
Friedman, Ken. And Owen Smith, eds. “On Fluxus,” Performance Research. Vol.7, No.3 (September 2002)
Hendricks, Jon. What’s Fluxus? What’s Not! Why. Detroit, Michigan: The Gilbert ad Lisa Silverman Fluxus Collection Foundation, 2002.
Higgins, Hannah. Fluxus Experience. Berkeley: University of California Press, 2002.
Huther, C. „40 Jahre: Fluxus und die Folgen.“ Kunstforum International no. 162
(November/December 2002) 156-75
Miller, Simon. Visible Deeds of Music: Art and Music from Wagner to Cage. NewHaven, Conn: Yale University Press, 2002.
Platow, R. North Adams, Massachusetts. Art Papers v. 26 no. 2 (March/April 2002) 4-5
Esner, Rachel, ed. FLUXUS UND FREUNDE. Die Sammlung Maria und Walter Schnepel. Bremen: Bremen Neues Museum Weserburg, 2002
Solimano, Sandra. The Fluxus Constellation. Genova: Neos Edizioni, 2002.
Thompson, C. “Museum of Art the University of Maine/Orono: Betwixt and between: the life and work of Fluxus artist Dick Higgins.” Art New England v. 23 no. 4 (June/July 2002) 31
2003
Davidge, M. {Fluxus Experience}. Parachute no. 112 (October/November/December 2003) 135-6
Donguy, J. “Les 40 ans de Fluxus 1962-2002: Ecole normale superieure” [Exhibit]. Art Press no. 286 (January 2003) 85-6
Hendricks, Geoffrey, ed. Critical Mass, Happenings, Fluxus, performance, intermedia and Rutgers University 1958-1972.
Mason Gross Art Galleries, Rutgers, and Mead Art Gallery, Amherst, 2003
Herstatt, C. “Arthur Kopcke: Art is Work is Art: Hamburger Kunsthalle”; Kunstverein Dusseldorf; Kunsthalle Fridericianum, Kassel [Exhibit]. Kunstforum International no. 167 (November/December 2003) 272-3
McCall, A. “Line Describing a Cone and Related Films.” October (Cambridge, Mass.) no. 103 (Winter 2003) 42-62
Moren, Lisa. Intermedia. University of Maryland, Baltimore County (Baltimore, Maryland) 2003.
2004
Anderson, S. “What's Fluxus? What's not!” Art Monthly no. 273 (February 2004) 41-2
Bagenal, C. “Art Interactive/Cambridge, MA: Do-It-Yourself Fluxus” [Exhibit]. Art New England v. 25 no. 3 (April/May 2004) 24
Behrens, R. R. {Fluxus Experience}. Leonardo v. 37 no. 2 (2004) 162
Gibbs, M. “Fluxus Recidivists.” Art Monthly no. 273 (February 2004) 44
Kelein, Thomas Nyman, Michael Robinson, Julia. George Brecht Works from 1959-1973. New York: Gagosian Gallery, 2004
Lussac, Olivier. Happening et Fluxus; Polyexpressivite et Pratique Concrete des Arts. Paris: Harmattan, 2004
Medina, C. “Architecture and efficiency: George Maciunas and the economy of art.” Res (Cambridge, Mass.) no. 45 (Spring 2004) 273-84
Perloff, M. “Fluxier-than-Thou.” Modernism - Modernity v. 11 no. 3 (September 2004) 581-7
Robinson, J. “The Sculpture of Indeterminacy: Alison Knowles's Beans and Variations.” Art Journal v. 63 no. 4 (Winter 2004) 96-115
Schwarze, D. „Fluxus und die Probleme der Zeit: Arthur Kopcke: Was ist das?” apexart New York: Kunsthalle Fridericianum Kassel [Exhibit]. Kunstforum International no. 170 (May/June 2004) 280-3
Vergne, “The Bride, Revived by Her Bachelors, on a Dissecting Table, between a Sewing Machine and an Umbrella.” Parkett v. 70 (2004) 46-55
2005
Danto, Arthur Coleman. Unnatural Wonders: Essays from the Gap Between Art and Life. New York: Farrar, Straus and Giroux, 2005
Friedman, Ken and Owen Smith, eds. Fluxus and Legacy, Visible Language, Volume 3, No. 3 (Fall 2005)
Kotz, L. “Language Between Performance and Photography.” October (Cambridge, Mass.) no. 111 (Winter 2005) 3-21
Schmidt-Burkhardt, Astrit. Maciunas' Learning Machine from Art History to a Chronology of Fluxus. Gilbert and Lila Silverman Fluxus Collection, 2005
Smith, Owen. “Fluxus; Experiments in Community, Collaboration and Connectivity,” At a Distance: Precursors to Art and Activism on the Internet, Cambridge: MIT, 2005
Appendix 1
Fluxus Documentation: Major Collections
Readers will find examples of the documents and publications cited in this bibliography in these public and private collections.
Alternative Traditions in Contemporary Art
University Library and University Art Museum
University of Iowa
Iowa City, Iowa
USA
Archiv Sohm
Stadtsgalerie Stuttgart
Stuttgart, Germany
Archivio Conz
Verona, Italy
Emily Harvey Foundation
New York, New York and Venice, Italy
Fluxus West Collection
Fluxus West in England Papers
Tate Gallery Archives
The Tate Gallery
London, England
Franklin Furnace Archive
The Museum of Modern Art
New York
USA
The Gilbert and Lila Silverman Fluxus Foundation
Detroit, Michigan and New York, New York
USA
Jean Brown Archive
Getty Center for the History of the Arts and Humanities
Los Angeles, California
USA
Library
Walker Art Center
Minneapolis, Minnesota
USA
Artpool
Budapest
Hungary
Fluxus Objects: Major Collections
This is a list of public and private collections with extensive holdings of original Fluxus works, objects by the different artists. This includes the Fluxus multiples edited, designed, and published by George Maciunas, the Something Else Press books and multiples edited, designed, and published by Dick Higgins, and multiples published by such Fluxus-related publishers as Edition Block, Edition Hundertmark, Vice Versand, or Editions Conz.
Alternative Traditions in Contemporary Art
University Library and University Art Museum
University of Iowa
Iowa City, Iowa
USA
Archiv Sohm
Stadtsgalerie Stuttgart
Stuttgart, Germany
Archivio Conz
Verona, Italy
Emily Harvey Foundation
New York, New York and Venice, Italy
Fluxus Collection
Henie Onstad Art Center
Høvikodden, Norway
Fluxus Collection
Tate Gallery Archives Collection
The Tate Gallery
London, England
Fluxus Collection
Walker Art Center
Minneapolis, Minnesota
USA
George Maciunas Memorial Collection
The Hood Museum of Art
Dartmouth College
Hanover, New Hampshire
USA
The Gilbert and Lila Silverman Fluxus Foundation
Detroit, Michigan and New York, New York
USA
Jean Brown Archive
Getty Center for the History of the Arts and Humanities
Los Angeles, California
USA
Fluxus Objects: Smaller Collections
Fluxus Room
Nordjyllands Kunstmuseum
Aalborg
Denmark
Kjarvalstadir
The Municipal Museums of Reykjavik
Reykjavik
Iceland
Madison Art Center
Madison, Wisconsin
USA
Museum of Contemporary Art
Belgrade
Yugoslavia
Pori Art Museum
Pori
Finland
The Køpcke Archive
Randers Kunstmuseum
Randers
Denmark
There are several ways to present a bibliography of information on Fluxus. Every presentation requires a different organizing principle and the lists grow all the time. For this reason, the most flexible way to present a general bibliography is to organize it chronologically by year, and to present entries alphabetically within each year.
To the degree that it is possible, the format style is consistent. There are always matters of judgment, such as deciding when to list an exhibition catalogue as a book by the name of the editor or author, and when to treat it as a document cited by title. Others might choose to organize the data in a different way.
Any complete bibliography on Fluxus and Fluxus artists would run to hundreds of pages of small print. This means that any selection will always fall short. We have tried to include a broad overview of articles, books, and catalogues. Because it is easier for readers to locate recent publications than those from the past, the bibliography becomes more comprehensive as it moves toward the present.
We avoid abbreviations that are common in one culture and not clear in others. We also try to make dates clear and use written abbreviations for volume (vol.) and number (no.) rather than introducing the ambiguity of short systems.
Special thanks to Hoseon Cheon, Dick Higgins, Matthew Hogan, James Lewes and Jean Sellem for their contributions earlier editions of this bibliography.
A Bibliography of Bibliographies
ARTbibliographies Modern. [Bibliographic reference book published twice each year.]
Baerwaldt, Wayne. “A Very Selective Bibliography of Fluxus.” Under the Influence of Fluxus. Winnipeg, Canada: Plug In Inc., 1991, 62-63.
Bercht, Fatima and Paula Baxter. “References and Bibliographic Information.” Hendricks, Jon. Fluxus Codex. New York: Harry N. Abrams, Inc. 1989, 592-601.
Blom, Ina. “Selected Bibliography” The Intermedia Dynamic: An Aspect of Fluxus. Oslo, Norway: Institutt for Arkeologi, Kunsthistorie og Numismatikk, Universitet i Oslo, 1993, 214-222.
Doris, David. “Works Consulted.” Zen Vaudeville: A Medi(t)ation in the Margins of Fluxus. New York, New York: Department of Art History, Hunter College, 1993, 107-116.
Held, John Jr. Mail Art: an Annotated Bibliography. Metuchen, New Jersey and London: The Scarecrow Press, Inc., 1991.
Higgins, Dick. “A Very Selective Bibliography of Fluxus.” Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 47-50.
Higgins, Dick, Jean Sellem, Ken Friedman and Hoseon Cheon. “A Fluxus Bibliography” in The S(e)oul of Fluxus. Edited by Hong Hee Kim-Cheon. Seoul, Korea: A. International, Ltd., 1993, 128-131.
Hogan, Matthew. A Friedman Bibliography (Preliminary Compilation). New York: Franklin Furnace Archive, 1986.
Lewes, James. “Bibliographie” in Fluxus Virus, 1962-1992. Edited by Ken Friedman. Köln: Verlag Schüppenhauer, 1992, 356-383.
Martin, Henry. “Fluxers - Blibliographie.” in Fluxers. Bolzano, Italy: Museion - Museum of Modern Art, 1992, 158-160.
Moss, Karen and Joan Rothfuss. “Selected Bibliography” in In the Spirit of Fluxus. Edited by Janet Jenkins. Minneapolis, Minnesota: Walker Art Center, 1993, 185-188.
Smith, Owen. “Selected Bibliography” George Maciunas and a History of Fluxus (or) the Art Movement that Never Was. Seattle: University of Washington, 1991, 553-580.
Smith, Owen. Bibiography The Fluxus Reader. Chicester, West Sussex; New York: Academy Editions, 1998.
Smith, Owen. “Selected Bibliography” in Fluxus: The History of an Attitude. San Diego, CA: San Diego State University Press, 1998.
A Selected Bibliography of Fluxus
1961
Cage, John. Silence. Middletown, Connecticut: Wesleyan University Press.
Maciunas, George. Bread & AG. New York: AG Gallery, 1961.
Maciunas, George. Music Antiqua et Nova. New York: A G Gallery, 1961.
1962
Maciunas, George. News-Policy-Letter No. 1. Wiesbaden: Fluxus, 1962.
Maciunas, George. News-Policy-Letter No. 2. Wiesbaden: Fluxus, 1962.
Maciunas, George. News-Policy-Letter No. 3. Wiesbaden: Fluxus, 1962.
Maciunas, George. Fluxus Newsletter No. 4, Wiesbaden, Fluxus 1962.
1963
Maciunas, George. Fluxus News Letter No. 5, Ehlhalten: Fluxus, 1963.
Maciunas, George. Fluxus News-Policy Letter No. 6, Ehlhalten: Fluxus, 1963.
Maciunas, George. Fluxus News Letter No. 7, Ehlhalten: Fluxus, 1963.
Maciunas, George, ed. Fluxus Review Preview. Wiesbaden: Fluxus, 1963.
Poesie Etcetera Americaine. Emmett Williams, ed. Paris: Centre Americain, 1963.
Young, La Monte, ed. An Anthology. New York: Jackson Mac Low and La Monte Young, 1963.
1964
Brecht, George. Water Yam. New York: Fluxus, 1964.
Higgins, Dick. Jefferson’s Birthday/Postface. New York: Something Else Press, 1964.
Johnson, Jill. “Fluxus Fluxus.” Village Voice, July 2, 1964, 7.
1965
Corner, Philip, Alison Knowles, Benjamin Patterson and Tomas Schmit. The Four Suits. New York: Something Else Press, 1965.
Filliou, Robert. Ample Food for Stupid Thought. New York: Something Else Press, 1965.
Flynt, Henry. Communists Must Give Revolutionary Leadership in Culture. New York: World View Publisher, 1965.
Hansen, Al. A Primer of Happenings and Time/Space Art. New York: Something Else Press, 1965.
Johnson, Ray. The Paper Snake. New York: Something Else Press, 1965.
Knowles, Alison. By Alison Knowles. A Great Bear Pamphlet. New York: Something Else Press, 1965.
Maciunas, George, ed. Fluxus Vacuum TRapEzoid. New York: Fluxus, 1965.
Maciunas, George, ed. Fluxus Vaudeville TouRnamEnt. New York: Fluxus, 1965.
TDR 10 (Winter 1965). [special magazine issue devoted to happenings and intermedia-related performance, including Fluxus]
1966
Berner, Jeff, ed. Astronauts of Inner Space. San Francisco: Stolen Paper Editions, 1966.
Brecht, George. Chance Imagery. A Great Bear Pamphlet. New York: Something Else Press, 1966.
Higgins, Dick and Emmett Williams, eds. Manifestos. A Great Bear Pamphlet. New York: Something Else Press, 1966.
Klintberg, Bengt af. Stockholmsspelet. Stockholm: Norstedt & Söner, 1966.
Mac Low. Jackson. The Twin Plays. Great Bear Pamphlets. New York: Something Else Press, 1966.
Maciunas, Geoge, ed. Film Culture, no. 43. (Expanded Arts issue) [special magazine issue devoted to intermedia and Fluxus]
Maciunas, George. Fluxfest Sale Sheet. New York: Fluxus, 1966.
Maciunas, George, ed. Fluxus Three Newspaper EVenTs for the PRicE of $1. New York: Fluxus, 1966.
Maciunas, George, ed. Fluxus Vaseline STReEt. New York: Fluxus, 1966.
Spoerri, Daniel. An Anecdoted Topography of Chance. Edited with annotations by Emmett Williams. New York: Something Else Press, 1966.
Vostell, Wolf. Berlin and Phenomena. Great Bear Pamphlet. New York: Something Else Press, 1966.
1967
Aktual Art International. Jeff Berner, ed. Stanford Art Book 8. Palo Alto, California: Department of Art and Architecture, Stanford University, 1967.
Brecht, George and Robert Filliou. Games at the Cedille, or the Cedille Takes Off. New York: Something Else Press, 1967.
Filliou, Robert. A Filliou Sampler. A Great Bear Pamphlet. New York: Something Else Press, 1967.
Hidalgo, Juan. A Zaj Sampler. A Great Bear Pamphlet. New York: Something Else Press, 1967.
Klintberg, Bengt af. The Cursive Scandinavian Salve. A Great Bear Pamphlet. New York: Something Else Press, 1967.
Maciunas, George. Fluxnewsletter, March 8, 1967. New York: Fluxus, 1967.
Manifestos. Great Bear Pamphlets. New York: Something Else Press, 1967.
Williams, Emmett, ed. An Anthology of Concrete Poetry. New York: Something Else Press, 1967.
1968
Becker, Jürgen and Wolf Vostell, eds. Happenings - Fluxus, Pop Art, Nouveau Réalisme. Hamburg: Rowohlt, 1968.
Bory, J.F., ed. Once Again. New York: New Directions, 1968.
Flynt, Henry. Down with Art. New York: Fluxus, 1968.
Higgins, Dick. Foew&ombwhnw: a grammar of the mind and a phenomenology of love and a science of the arts as seen by a stalker of the wild mushroom. New York: Something Else Press, 1968.
Kostelanetz, Richard. The Theater of Mixed Means. New York: The Dial Press, 1968.
Maciunas, George. Fluxnewsletter, January 31, 1968. New York: Fluxus, 1968.
Maciunas, George. Fluxnewsletter, December 2, 1968. New York: Fluxus, 1968.
Pedersen, Knud. Kampen mod borgermusikken. København (Denmark): Kunstbibliothekets Forlag, 1968.
Young, La Monte, ed. An Anthology. New York: Galerie Heiner Friedrich, 1968. [2nd edition]
1969
Cage, John, ed. Notations. New York: Something Else Press, 1969.
Partitury. Jiri Valoch. Brno, Czechoslovakia: Dum Umeni Mesta Brna, 1969.
Goetze, Jochen, Klaus Staeck and Friedrich Gerling, eds. Intermedia 1969. Heidelberg: Edition Tangente, 1969.
Higgins, Dick. Foew&ombwhnw. New York: Something Else Press, 1969.
Vautier, Ben, ed. Festival of Art, Non-Art and Anti-Art. Nice, France: Galerie Ben, 1969.
1970
Clair, Jean. Happening et Fluxus.” Chroniques de l’art vivant (Paris) 16 (December 1970-January 1971): 4-5.
Gribling, F. “Happenings -- Fluxus.” Museumjournaal (The Netherlands) no. 6 (15 December, 1970): 288-290.
Happening & Fluxus. Harald Szeemann and Hanns Sohm, eds. Köln: Kölner Kunstverein, 1970. [exhibition catalogue]
Kostelanetz, Richard, ed. John Cage. New York: Praeger Books, 1970.
“Happening et Fluxus.” Chroniques de l’art vivant (16 December, 1970).
Maciunas, George. Fluxnewsletter, january 8, 1970. New York: Fluxus, 1970.
Maciunas, George, ed. JOHN & YOKO FLUX. New York: Fluxus, 1970.
Ono, Yoko. Grapefruit. With an introduction by John Lennon. New York: Simon and Schuster, 1970.
Sammlung Feelisch. Wolfgang Feelisch, ed. Dortmund, West Germany:
Museum am Ostwall, 1970. [exhibition catalogue]
Vostell, Wolf. Happening & Leben. Neuwied, Germany: Leuchterhand, 1970.
1971
Art and Artists. (England) vol. 7, no. 7 (1971) “Free Fluxus Now.” [special magazine issue devoted to Fluxus]
Arte de Sistemas. Jorge Glusberg. Buenos Aires: Museo de Arte Moderno, 1971. [exhibition catalogue]
Bell, Michael, et al. “The House of Dust by Alison Knowles.” Experiments in Art and Technology: Los Angeles Survey no. 7 (January 1971): 8-11.
Filliou, Robert. “Research at the Stedelijk,” Art and Artists (London), vol. 6, no. 7 (November 1971), 32-33.
Friedman, Ken, ed. Art Folio. Boston: Religious Arts Guild, 1971.
[Religious Arts Guild “Circular/Packet: 2.”]
Friedman, Ken. Some Investigations. San Diego, 1971: self-published. [contains “Notes on Concept Art” and several other discussions that were xeroxed and widely circulated. Most of these discussions were later reprinted in The Aesthetics]
Knowles, Alison. Journal of the Identical Lunch. San Francisco: Nova Broadcast Press, 1971.
Mac Low, Jackson. Stanzas for Iris Lezak. Barton, Vermont: Something Else Press, 1971.
Poinsot, Jean-Marc, ed. Mail Art Communication: A Distance Concept. Paris: Editions CEDIC, 1971.
Septième Biennale de Paris. Georges Boudaille, et al., eds. Paris: Manifestation et Biennale Internationale des Jeunes Artistes, 1971. [exhibition catalogue]
1972
Albright, Thomas. “Correspondence.” Rolling Stone 107 (April 27, 1972): 28-29.
Albright, Thomas. “New Art School: Correspondence.” Rolling Stone 106 (April 13, 1972): 32.
B., Mats. Fluxus, Concept and Buren. Lund, Sweden: Art History Institute, University of Lund, 1972. [master’s thesis]
Beuys, Joseph. Joseph Beuys: Multiples. Munich: Edition Jörg Schellmann, 1972.
Fluxshoe. David Mayor, ed. Cullompton, England: Beau Geste Press, 1972. [exhibition catalogue]
“Free Fluxus Now.” Art and Artists (London), (Oct. 1972). [special magazine issue devoted to Fluxus]
Friedman, Ken. The Aesthetics. Regina, Sasketchewan, Canada: University of Saskatchewan, 1972.
Friedman, Ken, ed. An International Contact List of the Arts. Regina, Saskatchewan, Canada: Fluxus West and Image Bank, 1972.
Hören sehen: Texte, Bilder, Environments. Bremen: Kunsthalle Bremen, 1972. [exhibition catalogue]
I denti del drago: transformazioni della pagina e del libro. Daniela Palazolli. Milan: Edizione L’Uomo e L’Arte, 1972. [exhibition catalogue]
Kostelanetz, Richard, ed. Breakthrough Fictioneers. Barton, Vermont and Berlin, West Germany: Something Else Press, 1972.
Tot, Endre. Incomplete Information. Oldenburg, West Germany: I.A.C. Editions, 1972.
1973
De Gruson, F. “Allez, France!” Cles pour les Arts (Belgium), vol. 7, no. 11 (November 1975), 22-3.
“Fluxshoe England West.” Spanner, no. 3 (June 1975): 28-39.
Fluxshoe Add End A . David Mayor and Felipe Ehrenberg, eds. Cullompton, England: Beau Geste Press, 1973. [exhibition catalogue]
Friedman, Ken. The Aesthetics. Devon, England: Beau Geste Press, 1973.
Friedman, Ken. Events. Introduced by Jay Belloli. Davis, California: Nelson I.C. Gallery, University of California at Davis, 1973.
Friedman, Ken. “Flowing in Omaha.” Art and Artists (London), vol. 8, no. 9 (Issue no 89, Aug 1973): 6-9.
Friedman, Ken. “Fluxus.” Flash Art, no. 40 (Mar-May 1973): 3.
Glossary of Art, Architecture and Design since 1945. John A. Walker, ed. London and Hamden, Connecticut: Clive Bingley and Linnet Books, 1973.
Groh, Klaus, guest editor. Visuell-Konkrett International. (Und, issue 11/12) Gersthofen, West Germany: Maro Verlag, 1973. [special magazine issue devoted to concretism and intermedia]
Hendricks, Geoff. Ring Piece. Barton, Vermont: Something Else Press, 1973.
An International Cyclopedia of Plans and Occurrences. Davi Det Hompson. Richmond: Anderson Gallery, Virginia Commonwealth University, 1973. [exhibition catalogue]
Kocman, J.H., ed. Stamp Activity. Brno, Czechoslovakia: J.H. Kocman, 1973.
Lebeer, Irmelin. “George Brecht” Chroniques de l’Art Vivant, no. 39 (May 1973), 16-19. [interview]
Lippard, Lucy. Six Years: The Dematerialization of Art. New York: Praeger Publications, 1973.
Mottram, Eric. “Call It ‘Something Else.’ Dick Higgins in conversation with Eric Mottram.” Spanner, no. 9 (1973): 157-81.
Palazzoli, Daniela. “L’Avventura Fluxus.” Domus (Milan), no. 522 (May 1973), 49-51.
Pedersen, Knud. Der Kampf gegen die Burgermusik, tr. Ludwig Gosewitz. Köln: Michael Werner, 1973.
Robertson, Clive and Paul Woodrow. A Conceptographic Reading of Our World Thermometer. Calgary, Alberta: W.O.R.K.S., 1973.
Vautier, Ben. “George Brecht: conversation sur autre chose.” Art Press (France), No. 2 (February 1973), 26-29. [interview]
Zack, David. “An Authentik and Historical Discourse on the Phenomenon of Mail Art.” Art in America, vol. 66, no. 1 (Jan-Feb 1973): cover, 46-53.
1974
Alloway, Lawrence. “Seine trügerische Stille bedroht jeden, der von ihm nür die Uhrzeit wissen will.” Magazine Kunst, vol. 14, no. 3 (1974), 98-9.
Artists’ Stamps and Stamp Images. James W. Felter. Burnaby, British Columbia: Simon Fraser Gallery, Simon Fraser University, 1974. [exhibition catalogue]
Block, René, ed. Multiples: Ein Versuch die Entwicklung des Auflagenobjektes darzustellen/ An Attempt to Present the Development of the Object Edition. Berlin, Neuer Berliner Kunstverein, 1974. [exhibition catalogue]
“Der Löwe” Flash Art 48-49 (October-November 1974): 27.
Dictionary of Contemporary Music. John Vinton, ed. New York: E. Dutton, 1974. [biographical reference book]
Dreyfus, Charles. Fluxus: Elements d’information. Paris: Documents de l’art contemporain, Musee d’art moderne de la ville de Paris, 1974.
Fischer, Hervé, ed. Art et Communication Marginale. Paris: Editions Balland, 1974.
Focke, Walter, ed. Open Notices. Oldenburg, West Germany: I.A.C./Focke Editions, 1974.
Friedman, Ken and Stanley Lunetta, eds. International Sources (Source Magazine, vol. 6, no. 1, issue 11) Sacramento, California: Composer/Performer Editions, 1974. [special issue devoted to Fluxus and intermedia, also the cataliogue of the exhibition International Sources]
Groh, Klaus, ed. Baum. Oldenburg, West Germany: I.A.C./Focke Editions, 1974.
Henri, Adrian. Total Art: Happenings and Performance. new York: Praeger, 1974.
Lambert, J.C. Depassement de l’Art? Paris: Anthropos, 1974.
Marck, Jan van der. “George Brecht: an art of multiple implications.” Art in America, vol. 62, no. 4 (July-August 1974), 48-57.
Nam June Paik: Video and Videology. Syracuse, New York: Everson Museum of Art, 1974. [exhibition catalogue]
Nyman, Michael. Experimental Music: Cage and Beyond. London: Studio Vista, 1974.
Ohff, H. “Dick Higgins.” Kunstwerk, vol. 27, no. 1 (January 1974), 52.
Poinsot, Jean-Marc. Fluxus: un art de l’événement. Art Press (France) no. 15 (December 1974-January 1975), 14-17.
Ravicz, Marilyn Ekdahl. Aesthetic Anthropology: Theory and Analysis of Pop and Conceptual Art in America. Los Angeles: Department of Anthropology, University of California, 1974. [doctoral dissertation]
Theorie/Informatie/Praktijk. Roger D’Hondt. Ghent: Proka-Akademie, 1974. [exhibition catalogue]
Tousley, N. “Artists’ Books.” Print Collector’s Newsletter, vol. 4, no. 6 (January-February 1974), 131-4.
1975
Albright, Thomas. “Correspond’art.” La Honduras (Madrid) , vol. 1, no. 1 (Spring 1975): 1.
van Beveren, Peter and Jan Brand, eds. Stempelboek. Middelburg, Holland: Brummense Uitgeverij Van Luxe Wekjes, 1975.
Brindle, Reginald Smith. The New Music: the Avant-Garde since 1945. London: Oxford University Press, 1975.
Brown, Anthony. “The Composer’s Influence: Personality and Music Composition.” The Composer (Hamilton, Ohio), vol. 4, no. 16 (Winter 1975-1976): 39-41.
Crozier, Robin. Portrait of Robin Crozier. Sunderland, England: Ceolfrith Arts Centre, 1975.
Dunham, Judith. “All Xerox.” Artweek, vol. 7, no. 7 (14 February 1976), 3.
Focke, Walter, ed. Open Notices. Oldenburg, Germany: I.A.C./Focke Editions, 1975.
“Geoffrey Hendricks.” Flash Art, no. 60-61 (December 1975-February 1976), 48-49. [artist project]
Groh, Klaus. Art Impressions USA and Canada. Devon, England: Beau Geste Press, 1975.
Gugelberger, Georg M. “Ein interview mit Fluxus-West Direktor Ken Friedman.” Kunstforum International, 13 (February-April 1975): 176-188. [Interview]
Ken Friedman at the Slocumb Gallery. Marilyn Ekdahl Ravicz. Johnson City: Department of Art, East Tennessee State University, 1975. [exhibition monograph]
Kostelanetz, Richard, ed. Language and Structure in North America. Toronto: Kensingtion Arts Association, 1975.
Maciunas, George. Fluxnewsletter, April 1975. New York: Fluxus, 1975.
Maciunas, George. Fluxnewsletter, May 3, 1975. New York: Fluxus, 1975.
Open Drawers. Terry Reid and Graham Kerr, eds. Mildura, Australia: Mildura Art Centre, 1975. [exhibition catalogue]
Poinsot, Jean-Marc. “Fluxus: un art de l’événement.” Art Press (Paris), no. 15 (December-January 1975), 14-17.
Reid, Terry and G. Kerr, eds. Inch Art Issue. Auckland, New Zealand: Auckland University Student Association, 1975.
Robertson, Clive and Paul Woodrow. W.O.R.S.C.O.R.E.O.R.T. Devon, England: Beau Geste Press, 1975.
Sarenco, ed. Factotumbook I: Lotta Poetica 1971-1975. Brescia, Italy: Tipolito Maghina, 1975.
Spiralen und Progressionen. Lucerne, Switzerland: Kunstmuseum Luzern, 1975. [exhibition catalogue]
Sterckx, “Douze moins un ... ou onze plus un.” Cles pour les Arts (Belgium), vol. 7, no. 12 (December 1975), 41.
“The Top 100 e i Musei Ideali.” Flash Art 50-51 (December 1974-January 1975): 13.
Vautier, Ben. Textes Theoriques Tractes 1960 - 1975. Milano: Editore Giancarlo Politi.
1976
Allen, Jim and Wystan Curnow, eds. New Art: Some Recent New Zealand Sculpture and Post-Object Art. Auckland, New Zealand: Heinemann Educational Books, Ltd., 1976.
Art in the Mail. Nicholas Spill, ed. Palmerston North, New Zealand: Manawatu Art Gallery, 1976.
Artists’ Stamps and Stamp Images. 2nd edition, revised. James W. Felter. Burnaby, British Columbia: Simon Fraser Gallery, Simon Fraser University, 1976. [exhibition catalogue]
Block, René, ed. New York - Downtown Manhattan: SoHo. Berlin: Akadmie der Künste and Berliner Festwochen, 1976.
Boites. Jean-Marc Poinsot. Paris: Museum of Modern Art, 1976. [exhibition catalogue]
Crozier, Robin. Portraits. Sunderland, England: Sunderland Polytechnic, 1976.
Frank, Peter. “New York Fluxus.” New York - Downtown Manhattan: Soho. Berlin: Akademie der Kunst Festwochen, 1976: 151-179.
Friedman, Kenneth S. James Edwards . El Cajon, California: Grossmont College Art Gallery; La Mamelle Art Center (San Francisco); and the Everson Museum (Syracuse, New York), 1976. [exhibition catalogue]
Friedman, Kenneth Scott. Sociology of Art: An Aspect of the Social Reality of the Art World. Ph.D. Dissertation. Graduate School of Human Behavior,United States International University, San Diego, California, 1976. (Published by University Microfilms, Ann Arbor, Michigan, 1977. Abstract, Dissertation Abstracts International, vol. 38, no. 3, 1977)
Friedman, Ken and Georg M. Gugelberger. “The Stamp and Stamp Art.” International Rubber Stamp Exhibition. Carl Loeffler, ed. San Francisco: La Mamelle Arts Center, May 1976. [exhibition catalog]
Graevenitz, Antje van. “Then and Now: Performance Art in Holland.” Studio 192 (July 1976): 49-53.
Jappe, G “Performance in Germany: an Introduction.” Studio no. 192 (July 1976): 59-61.
Marcellis, B. “Europalia France 12 x 1.” Heute Kunst, no. 13 (February-April 1976), 13.
Shiomi, Mieko. Spatial Poem. Osaka, Japan: private publication, 1976.
Tot, Endre, ed. TOTal Questions by Tot. Berlin, West Germany: Edition Hundertmark, 1976.
1977
Contemporary Artists. Colin Naylor and Genesis Orridge, eds. London and New York: St. James Press and St. Martin’s Press, 1977. [biographical reference book]
Danzker, JoAnne Birnie. “Robert Filliou in conversation with Allan Kaprow.” Vanguard (Canada), vol. 6, no. 9 (December 1977-January 1978). [interview]
Dick Higgins Issue. (West Coast Poetry Review, vol. 5, no. 2, Issue 15, 1977). [special issue devoted to Dick Higgins]
Dimitijevic, Nena. “Berlin: New York in Europe and Downtown Manhattan: SoHo.” Studio International, vol. 193, no. 985 (January 1977), 25-26.
Friedman, Ken. “Notes on the History of the Alternative Press.” Lightworks, no. 8-9 (Winter 1977): 41-47.
Glossary of Art, Architecture and Design since 1945. John A. Walker, ed. London and Hamden, Connecticut: Clive Bingley and Linnet Books, 1977.
Groh, Klaus. Untersuchungen uber Erscheinungsformen und Communicationsverfahren des “Neuen Dadismus” in Nordamerika
und sein Padagogische Bedeutung. Oldenburg, Germany: Universitat Oldenburg, Fachberich II, 1977. [doctoral dissertation].
Herzogenrath, Wulf, ed. Nam June Paik: Werke 1946-1976 Musik Fluxus Video. Cologne: Kölnischer Kunstverein, 1977. [exhibition catalogue]
Higgins, Dick. “Ett exemplativistisk manifest.” Kalejdoskop (Sweden), no. 3-4, 1977, 53-59.
Klintberg, Bengt af. “Dick Higgins, intermediakonstnär.” Kalejdoskop (Sweden), no. 3-4, 1977, 51-52.
Lomholt, Niels. “Questionnaires.” North (Denmark), no. 3, 1977.
Pindell, Howardena. “Artist’s Periodicals - An Alternate Space.” Print Collector’s Newsletter, vol. 8, no. 4 (September-October 1977): 96-109, 120-121.
Somogyi, Gyorgi. “Ken Friedman es a ‘konceptmuveszet’ elmelete.” Muveszet (Budapest), 1977: 34-36.
Space Window. Tom Ockerse. Providence, Rhode Island: Tom Ockerse Editions and Rhode Island School of Design, 1977. [exhibition catalogue]
Würz, Hervé, ed. How We Met: or a Microdemystification. (AQ 16). Nice: Arrocaria Editions, 1977. [special magazine issue devoted to Fluxus]
Young, La Monte, ed. An Anthology. New York: Galerie Heiner Friedrich, 1977. [reprint of 2nd edition]
1978
Adlers, Bengt. Interviews of Internews. Åhus, Sweden: Kalejdoskop, 1978.
Anderson, Alexandra. “Artist’s Books Come of Age.” Art News, vol. 77, no. 3 (March 1978): 68.74.
Artists’ Books USA. Peter Frank and Martha Wilson. Washington, D.C. and New York, New York: Independent Curators Incorporated, 1978. [exhibition catalogue]
Baker’s Biographical Dictionary. Nicholas Slonimsky, ed. 6th edition. New York and London: G. Schirmer & Sons and Collier/Macmillan, 1978.
Canal [France], 21 (1978), “Special Fluxus.” [special magazine issue devoted to Fluxus]
Filliou, Robert. “The Propositions and Principles of Robert Filliou (Part One),” Humanistic Perspectives in Contemporary Art, no. 9 (September 1978), 6-8.
Filliou, Robert. “Transcript: The ‘Gong Show’ Tape,” Centerfold (April 1978), 27-30.
Flash Art. (Italy) 84-5 (1978) “Fluxus.” [special magazine issue devoted to Fluxus]
Herzogenrath, Wulf, ed. Tomas Schmit. Cologne: Kölnischer Kunstverein, 1978. [exhibition catalogue]
Higgins, Dick. A Dialectic of Centuries: Notes Towards a Theory of the New Arts. 2nd Edition. New York and Barton, Vermont: Printed Editions, 1978.
Hosier, Tom. “Dadazines.” Cascade (Colorado Springs, Colorado), vol. 1, no. 1 (March 1978): 6-7.
Kostelanetz, Richard. Esthetics Contemporary. New York: Prometheus Books, 1978.
Køpcke. Bent Petersen, ed. North 7-8 (1978). [special magazine issue devoted to Arthur Køpcke]
Mantua Mail 78. Romano Peli and Michaela Versari. Mantua, Italy: Assessorato Cultura: Comune di Mantova, 1978. [exhibition catalogue]
Martin, Henry. An Introduction to George Brecht’s Book of the Tumbler on Fire. Milan: Mult(h)ipla Edizione, 1978.
Miller, Joni K. and Lowry Thompson, eds. The Rubber Stamp Album. New York: Workman Publishing 1978.
Schilling, Jürgen. Aktionskunst: Identität von kunst und Leben? Lucern & Frankfurt: J.C. Bucher, 1978.
1979
Adriani, Gotz, Winfried Konnertz and Karin Thomas. Joseph Beuys Life and Works. Woodbury, New York: Barron’s, 1979. (tr. by Patricia Lech)
Aktie, werkelijkheid en fictie in de Kunst van de jaren 60 in Nederland. The Hague, Netherlands, and Rotterdam: Staatsuitgeverij and Museum Boymans-van Beuningen, 1979.
Beeren, Wim. Aktie, Werkelijkheid en Fictie in de Kunst Van Jaren ‘60 in Nederland. Rotterdam: Museum Boymans-van Beuningen, 1979.
Beeren, Wim. “Aktie, werkelijkheid en fictie in de Kunst van de jaren 60 in Nederland.” Museumjournaal (Amsterdam), vol. 24, no. 6 (November 1979), 257-260.
Cavaliere, B. “Flux-concert: The Kitchen, New York.” Flash Art/Heute Kunst 90-91 (June-July 1979): 49.
Fluxus International & Co. Gino DiMaggio and Ben Vautier, eds. Lyon: and Nice: Elac and Galerie d’Art Contemporain, 1979. [exhibition catalogue]
Frank, Peter. “Fluxus in New York.” Lightworks, Fall 1979: 29-36. [article in special issue devoted to Fluxus]
Friedman, Ken. “Fluxus.” Performance Art Magazine, vol. 1, no. 1 (1979): 16-20.
Goldberg, Roselee. Performance Live Art 1909 to the Present. New York: Harry N. Abrams, Inc., 1979.
Higgins, E.F., III. “Artist’s Stamps.” The Print Collector’s Newsletter, vol. 10, mo. 5 (November-December 1979): 154-155.
Johnson, Tom. “Paper Airplanes and Shattered Violins.” The Village Voice, April 9, 1979: 71-72.
Knowles, Alison. More by Alison Knowles. New York: Printed Editions, 1979.
Lightworks, vol. 11, no. 12 (Fall 1979). Burch, Charlton, ed. [special magazine issue devoted to Fluxus]
Mac Low, Jackson. The Pronouns - a Collection of 40 Dances - for the Dancers. Barrytown, New York: Station Hill Press, 1979.
“Pied Piper of a Moveable Feast.” ArtNews, vol. 78, no. 3 (March 1979), 14, 19-20.
Restany, Pierre. “George Maciunas: l’archiviste et le catalyseur d’une situation, celle des années ‘60.” Domus (Milan) no. 590 (Januar7 1979), 51-54.
Ruhé, Harry. Fluxus: the most radical and experimental art movement of the sixties. Amsterdam: ‘A,’ 1979.
Ruhé, Harry. “Muziek voor piano en hartige apjes: Fluxus in Nederland.” Museumjournaal (Amsterdam), vol. 24, no. 3 (May 1979), 106-110.
Sociology, Anthropology and Art. (The Dumb Ox, no. 8, 1979). Ken Friedman, guest editor. Los Angeles: Intermedia Press, 1979. [special magazine issue]
von Spreckelson, Elin. “Zen Vaudeville.” The Soho News, April 5, 1979: 6.
A V-TRE EXTRA. Geoffrey Hendricks, ed. no. 11 (March 24, 1979), New York: Fluxus. [special issue of the Fluxus V-Tre magazine devoted to George Maciunas]
1980
Auslander, Phili A History of Fluxus Performance. New York: Hunter College, 1980. [master’s thesis.]
Breder, Hans and Stephen C. Foster, eds. Intermedia. Iowa City: Corroboree, Gallery of New Concepts, University of Iowa, 1980.
Carrion, Ulises. Second Thoughts. Amsterdam: VOID Distributors, 1980.
Di Felice, Attanasio. “From Bernini to Beuys: Historical Sources of Performance and Time-Space Art.” National Arts Guide, vol. 2, no. 4 (July-August 1980): 24-32.
Friedman, Ken. “Eighties Dada.” Impressions, no. 26 (Fall 1980): 29-30.
Friedman, Ken. “Live.” Impressions, no. 24/25 (Spring 1980): 4-5.
Für Augen und Ohren: Von der Spieluhr zum akustischen Environment: Objekte Ionstallationen Performances. René Block, ed. Berlin: Akademie der Kunst, 1980. [exhibition catalogue]
Herzogenrath, Wulf. “Monuments, Memorials.” Kunstforum International, no. 1 (1980), 159-91.
Hughes, Patrick and George Brecht. Vicious Cirecles and Infinity: an Anthology of Paradoxes. Middlesex, England: Penguin Books, 1980.
Kostelanetz, Richard, ed. Scenarios: Scripts to Perform. Brooklyn, New York: Assembling Press, 1980.
Stuttgen, Johannes. “Fluxus und der ‘Erweiterte Kunstbegriff’.” Kunstmagazin, vol. 20, no. 2 (Aug 1980): 53-63.
Todorovic, Miroljub, guest editor. Delo: Mail Art, Mail Poetry (Belgrade, Yugoslavia), vol 26, no 2 (Feb 1980). [special issue]
1981
Artzien [Netherlands], 23-4 (1981) “AKI Fluxfest.” [special magazine issue devoted to Fluxus]
Battcock, Gregory, ed. Breaking the Sound Barrier: a Critical Anthology of the New Music. New York: E. Dutton, 1981.
Cohen, Ronny. “Art and Letters: Please Mr. Postman, Look and See... Is there a work of art in your bag for me?” Art News, vol. 80+, no. 10 (December 1981): 68-73.
A Contemporary Artists’ Book Exhibition. Peter Frank. Philadelphia, Pennsylvania: The Art Alliance, 1981. [exhibition catalogue]
Continuous Creation. London: Serpentine Gallery, 1981. [exhibition catalogue]
Fluxus: Aspekte eines Phänomens. Ursula Peters, ed. Wuppertal: Von der Heydt Museum, 1981. [exhibition catalogue]
Frank, Peter. “Postal Modernism: Artists’ Stamps and Stamp Images.” Art Express, vol. 1, no. 1 (May-June 1981): 18-25.
Friedman, Ken. “George Maciunas: In Memoriam.” High Performance, vol. 4, no. 1 (Issue 13, Spring 1981): 20. (Reprinted from Umbrella).
Maciunas, George. Diagram of Historical Development of Fluxus and Other 4 Dimensional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms. Åhus, Sweden: Kalejdoskop, 1981.
Mapped Art: Charts, Routes, Regions. Peter Frank. Washington, D.C.: Independent Curators Incorporated and Boulder: University of Colorado, 1981. [exhibition catalogue]
Portfluxus. (Factotumbook 28). Verona, Italy: Edizioni Factotum-art. 1981.
Truck, Fred. “Fred Truck.” High Performance, vol. 4, no. 2 (Summer 1981), 82.
Vostell Fluxus Zug. Frankfurt, Germany: Deutsche Bundesbahn (and seven other German organizations, 1981.
Young Fluxus. Edited by Ken Friedman and Peter Frank with Elizabeth Brown. New York: Artists Space, Inc., 1981 [exhibition catalogue]
1982
Aktionen, Vernissagen, Personen: Die Rheinische Kunstszene der 50er und 60er Jahre. Eine Fotodokumentation von Manfred Leve. Cologne: Rheinland-Verlag. [exhibition catalogue]
Anderson, Alexandra. “Who’s Afraid of Fluxus.” Portfolio, vol. 4, no. 1 (January-February 1982): 8.
Artists’ Books: A Survey 1960-1981. Inserted as an issue of Artery, vol. 5, no. 4 (Apr 1982): 2. Carol Heubner. [exhibition catalogue published in special magazine issue]
Black and White and Red All Over: Contemporary Eastern European Artists’ Books. Diana Augaitis. New York: Franklin Furnace, 1982. [exhibition catalogue]
Boyd, Don. Fifty Characteristics of Fluxus. New York: Fluxus West, 1982.
Fluxus, etc.: The Gilbert and Lila Silverman Collection. Jon Hendricks, ed. Bloomfield Hills, Michigan: Cranbrook Museum of Art, 1982. [exhibition catalogue]
Gever, Martha. “Pomp and Circumstances: the Coronation of Nam June Paik.” Afterimage, no. 10 (October 1982).
Giblin, Marie. “Young Fluxus Performance at Washington Project for the Arts.” New Art Examiner, vol. 10, no. 2 (November 1982): 8.
Graevenitz, A. von. “Living and transitory art.” in ‘60 ‘80: attitudes/concepts/images. E. de Wilde, et al., eds. Amsterdam: Stedelijk Museum, 1982. [article in exhibition catalogue]
Hanhardt, John. G., ed. Nam June Paik. New York: The Whitney Museum of American Art, 1982.
Higgins, Dick. Postface. reprinted in The Word and Beyond: Four Literary Cosmologists. New York, The Smith, 1982, 7-96.
Higgins, Dick. Selected Early Work 1955-64. Edited by Peter H. Schiller. Berlin: Edition Ars Viva!, 1982.
Lewis, Jo Ann. “Art in Flux.” The Washington (D.C.) Post, October 2, 1982: C-1, C-7.
Moore, Barbara. “George Maciunas: A Finger in Fluxus.” Artforum, vol. 21, no. 2 (Oct 1982): 38-45.
1962 Wiesbaden Fluxus 1982. René Block, ed. Wiesbaden (BRD): Harlekin Art; Wiesbaden: Museum Wiesbaden and Nassauischer Kunstverein; Kassel: Neue Galerie der Staatliche, 1982. [exhibition catalogue]
1983
Art Vivant . (Japan) 11 (1983) “Special report – Fluxus.” [special magazine issue devoted to Fluxus]
Bronson, A.A. and Peggy Gale, eds. Museums by Artists. Toronto: Art Metropole, 1983.
Brumfield, John. “Fluxus Revisited.” Artweek, October 15, 1983, 3.
Contemporary Artists. Muriel Emanuel, et al., eds. London and New York: St. James Press and St. Martin’s Press, 1983. [biographical reference book]
Fluxus, etc.: Gilbert and Lila Silverman Collection. Addenda I . Jon Hendricks, ed. New York: Ink &, 1983. [exhibition catalogue]
Fluxus, etc.: Gilbert and Lila Silverman Collection. Addenda TWO. Jon Hendricks, ed. Pasadena, CA: California Institute of Technology. Baxter Art Gallery, 1983. [exhibition catalogue]
Frank, Peter. Something Else Press, an annotated bibliography. Barrytown, New York: McPherson and Company, 1983.
Gever, Martha. “Art is an Excuse: an Interview with Felipe Ehrenberg.” Afterimage, vol. 10, no. 9 (April 1983): 12-18.
Glueck, Grace. “Some Roguish ‘Sixties Art Achieves Museum Status.” New York Times, February 13, 1983: H-35, H-37.
Higgins, Dick. Horizons: the Poetics and Theory of the Intermedia. Carbondale, Illinois: Southern Illinois University Press, 1983.
Higgins, Dick. Selected Early Works. Berlin: Edition Galerie Ars Nova, 1983.
KG’s Privat Pinakothek. Solothurn, Switzerland: Solothurn Kunstmuseum, 1983. [exhibition catalogue]
Larson, Kay. Going with the Flow.” New York Magazine, vol. 16, no. 10 (March 7, 1983): 104-105.
Levin, Kim. “Fluxtuations.” Village Voice, March 15, 1983, 104-105.
O’Dell, Kathy. “Fluxus on Display: Challenges to the Tenets of Ownershi” ArtCom, vol. 6, no. 1 (1983): 54-57.
Pedersen, Knud. Kampen mot Borgermusiken. Translated by Ann-Charlotte Weimarck. Kristianstad: Kalejdoskop Förlag, 1983.
1984
Banana, Anna. “Mail Art: Canada & Western U.S.A.”In Franklin Furnace Flue, vol. 4, no. 3/4 (Winter 1984).
Blam! The Explosion of Pop, Minimalism and Performance 1958-1964. Barbara Haskell, ed. New York: The Whitney Museum of American Art, 1984. [exhibition catalogue]
Crane, Michael and Mary Stofflett, eds. Correspondence Art: Sourcebook for the Network of International Postal Art Activity. San Francisco: Contemporary Arts Press, 1984.
Di Felice, Attanasio. “From Bernini to Beuys: Historical Sources of Performance and Time-Space Art.”The Art of Performance.
Gregory Battcock and Robert Nickas, eds. New York: E. Dutton, 1984.
The Eternal Network Presents Robert Filliou. Edited by Michael Erlhoff. Hannover: Spengel-Museum Hannover, 1984. [exhibition catalogue]
Frank, Peter and Ken Friedman. “Fluxus: A Post-Definitive History: Art Where Response Is the Heart of the Matter.” High Performance, #27 (1984): 56-61, 83.
Friedman, Ken. “Fluxus Performance.” The Art of Performance.
Gregory Battcock and Robert Nickas, eds. New York: E. Dutton, 1984.
Friedman, Ken. “Mail Art History: The Fluxus Factor.” In Franklin Furnace Flue, vol. 4, no. 3/4 (Winter 1984), Ronnie Cohen, guest editor. [Special magazine issue devoted to mail art published in conjunction with mail art exhibition held a Franklin Furnace.]
Higgins, Dick. Horizons: the Poetics and Theory of the Intermedia. Carbondale and Edwardsville: Southern Illinois University Press, 1984.
Lebeer, I. “Robert Filliou or the Art of Making Life More Interesting than Art.” Art Press (France) no. 86 (November 1984).
Loeffler, Carl. “Performance Facts Go Electronic: The Performance Data Bank Computerizes Fluxus.” Art Com, vol. 7, no. 1 (1984), 34-35.
Multiples und Objekte aus der Sammlung Ute und Michael Berger. Ulrich Meyer-Hausmann, ed. Wiesbaden: Museum Wiesbaden. [exhibition catalogue]
Seng Ts’an. Hsin Hsin Ming. English tanslation by George Brecht, French translation by Robert Filliou, German translation by Albrecht Fabri, calligraphy by Takako Saito. Brussels: Editions Lebeer Hossman, 1984.
1985
Festival of Fantastics. Marianne Bech, editor. Roskilde, Denmark: Galleri Sct. Agnes, 1985. [exhibition catalogue]
Friedman, Ken. Ken Friedman: Events. Edited with an introduction by Peter Frank. New York: Jaap Rietman, 1985.
Held, Jr, Jonathan. International Artist Cooperation: Mail Art Shows, 1970-1985. Dallas: Dallas Public Library, 1985. [chronology]
Klintberg, Bengt af. “Magisk Teater.” Kalejdoskop, no. 6, 1985.
Martin, Henry. “Fluxus Is It Fluxus?” Scanorama, Stockholm, May 1985.
Martin, Henry. “The Zetetics of Zealous Zambians.” Art News (September 1985): 125-126.
McEvilly, Thomas. “Fluxus, Etc. The Gilbert and Lila Silverman Fluxus Collection.” Artforum, vol. 23, no. 5 (January 1985), 94-95.
Moore, Barbara. Fluxus 1: A History of the Edition. New York: Reflux Editions, 1985.
Moore, Barbara and Jon Hendricks. “The Page as Alternative Space 1950 to 1969.” in Artists Books: a Critical Anthology and Sourcebook, edited by Joan Lyons. Albany, New York: Visual Studies Workshop Press, 1985, 87-95.
Nykopp, Lauri. “Fluxus ja ohikusemisen taito.” Taide (Helsinki, Finland), vol. 26, no. 5 (1985), 13-15.
Opus International. no. 98. [special issue devoted to Wolf Vostell]
Reconstructions: Avant-Garde Art in Japan 1945-1965. David Elliott and Kazu Kaido, eds. Oxford: Museum of Modern Art, 1985. [exhibition catalogue]
von Maur, Karin, ed. Von Klang der Bilder. Die Musik in der Kunst des 20. Jahrhunderts. München: Prestel Verlag, 1985.
Vostell, Wolf. “Fluxus.” Opus International (Paris), no. 98 (Summer 1985), 10-17.
1986
Alexander, Randolph. “Homage to Fluxus.” New Art Examiner (Chicago), vol. 14, no. 3, (November 1986): 64.
Brecht, George. Water Yam. Brussels: Lebeer Hossmann. [reprint of the 1964 Fluxus edition]
Fröhliche Wissenschaft: das Archiv Sohm . Thomas Kellein, ed. Stuttgart: Staatsgalerie Stuttgart, 1986. [exhibition catalogue]
Gavric, Zoran, et al., eds. Fluxus Izbor Tekstova. Belgrade: Museum of Contemporary Art, 1986. [book published in conjunction with exhibition]
Die 60er Jahre Kölns Weg Zur Kunstmetropole von Happening Zum Kunstmarkt. Wulf Herzogenrath and Gabriele Lueg, eds. Cologne: Kölnischer Kunstverein, 1986. [exhibition catalogue]
Luxe, calme et volutpé: aspects of French art 1966-1986. Scott Watson, Bernard Marcadé and JoAnne Birnie Danzker, eds. Vancouver, British Columbia: Vancouver Art Gallery, 1986. [exhibition catalogue]
Mac Low, Jackson. Representative Works 1938 - 1985. New York: Roof Books, 1986.
Martin, Henry. “Les fantaisies fantaisistes de Roskilde.” Inter (Quebec) no. 30 (Winter 1986), 5-11.
Miller, Larry. As If the Universe Were an Object: Selected Works: 1969-1985. Richmond, Virginia: Virginia Commonwealth University, 1986.
La parola totale: una tradizione futurista 1909-1986. Achille Bonito Oliva, Gabriella De Mila, Claudio Cerritelli, eds. Modena, Italy: Galleria Fonte d’Abisso, 1986. [exhibition catalogue]
“Taide: Fluxus.” Suuri Ensyklopedia. Helsinki, Finland: Helsingissä Kustannusoakeyhtiö Otava, 1986.
1987
Fluxus. Marco Meneguzzo, ed. Milano: Galleria Chisel, 1987. [exhibition catalogue]
Block, René. “Fluxus and Fluxism in Berlin 1964-1976.” (in) 1961 Berlinart 1987. Kynaston McShine, ed. New York and Munich: Museum of Modern Art and Prestel Verlag, 1987, 64-79. [book published in conjunction with exhibition ]
Fluxus and Friends: Selection from the Alternative Traditions in Contemporary Art Collection. Estera Milman. Iowa City: University of Iowa. Museum of Art, 1987. [exhibition catalogue]
Fluxus 25 Years. Dick Higgins, ed. Williamstown: Williams College Museum of Art, 1987. [exhibition catalogue]
Freibord. (Austria) 60 (4/87) “Fluxus: 25 years.” Gerhard Jaschke, ed. [special magazine issue devoted to Fluxus]
Friedman, Ken. Explaining Fluxus. Helsinki, Finland: Arabia Fluxus Workshop, 1987.
Friedman, Ken. “Fluxus.” Prisma Nytt, Nr. 21/22 1987, Høvikodden, Norway: Henie-Onstad Kunstsenter, 34-37.
Friedman, Ken, guest editor. White Walls: FLUXUS. Chicago: White Walls, Inc., 1987. [special magazine issue devoted to Fluxus]
Robertson, Clive. “In memoriam Robert Filliou, 1926-1987 - couvre-chef(s) d’oeuvres.” Fuse (Canada), vol. 11, no. 5 (April 1988).
1988
Altshuler, Bruce. “Fluxus Redux.” Arts Magazine, vol. 64, no. 1 (September 1988), 66-70.
Anderson, Simon. Reflux Action. Doctoral dissertation. London: Royal College of Art, 1988. [doctoral dissertation]
Decker, Edith. Paik Video. Cologne: DuMont Bucherverlag, 1988.
Fluxus - O del “principio d’indterminazione.” Caterina Gualco and Rosa Leonardi, eds. Genoa, Italy: Studio Leonardi and Unimedia, 1988.
Fluxus: Selections from the Gilbert and Lila Silverman Collection. Clive Phillpot and Jon Hendricks, eds. New York: Museum of Modern Art, 1988. [exhibition catalogue]
Foster, Stephen C., Estera Milman, and Ying-Ying Lai, eds. The World According to Dada. Taipei, Taiwan, Republic of China: Taipei Fine Arts Museum, 1988. [exhibition catalogue]
Frank, Peter. “Fluxus is Dead! Long Live Fluxism!” Contemporanea, vol. 1, no. 3 (September-October 1988), 75-77.
Freibord. (Austria) 64 (2/88) Gerhard Jaschke, ed. [special magazine issue devoted to Fluxus]
Gran Pavese: the Flag Project - 50 artists / 50 flags. Thérèse Legierse, Peter van Beveren and Ralph van Hessen. The Hague, the Netherlands: SDU Publishers, 1988. [exhibition catalogue and project book]
Home, Stuart. The Assault on Culture: Utopian Currents from Lettrisme to Class War. London: Aporia Press & Unpopular Books, 1988.
Kang, Taehi. Nam June Paik: Early Years (1958-1973). Tallahassee: Florida State University, 1988. [doctoral dissertation]
La riformulaziome quantica. Enrico Pedrini, ed. Florence: Galleria Vivita, 1988. [exhibition catalogue]
Moffitt, John F. Occultism in avant-garde art: the case of Joseph Beuys. Ann Arbor, Michigan: UMI Research Press, 1988.
Obalk, Hector. “La partie pour le tout.” Art Press (France), no. 123 (March 1988), 38-9.
Robert Filliou - 1926 -1987 - zum Gedächtnis. Hans-Werner Schmidt, ed. Dusseldorf: Städtische Kunsthalle, 1988. [exhibition catalogue]
Stationen der Moderne. Michael Bolle and Eva Zuchner, eds. Berlin: Berlinische Galerie, 1988. [exhibition catalogue]
1989
Anderson, Simon. “Flux Hunting.” Performance Magazine (UK), no. 58 (Summer 1989), 11-21.
Arthur Køpcke Arkivet, Aarhus Kunstmuseum. Edited by Birgitte Hesselund, Erik Nørager Pedersen and Jens Erik Sørensen. Aarhus, Danmark: Aarhus Kunstmuseums Forlag, 1989. [archive catalogue]
Belloni, Cristina. “Da Fluxus a fluxus.” Terzo Occhio (Bologna), vol. 15, no. 2 (June 1989), 41-42.
Belloni, Cristina. “Fluxus: gli eventi.” Terzo Occhio (Bologna), vol. 15, no. 3 (September 1989), 48-49.
Block, Ursula and Micheal Glasmeier, eds. Broken Music - Artists’ Recordworks. Berlin: DAAD Galerie and Gelbe Musik, 1989. [exhibition catalogue]
Flux Med: Robert Watts Obra Grafica 1987. Madrid and Palma: Joan Guaita, 1989. [exhibition catalogue]
Friedman, Ken. “Jean Dupuy: Alchimiste.” Halle Sud (Geneva) , no. 22, 4-1989: 26-27. [in French translation by Françoise Senger]
Happenings + Fluxus. Charles Dreyfus, ed. Paris: Galerie 1900-2000 and Galerie du Génie, 1989. [exhibition catalogue]
Hendricks, Jon. Fluxus Codex. New York: Harry N. Abrams, Inc. 1989.
Higgins, Dick. “Five myths of postmodernism.” Art Papers, vol. 13, no. 1 (January-February 1989), 11-19.
Johnston, Jill. “A Fluxus Funeral.” Art in America, vol. 77, no. 3 (March 1989), 42-47.
La Frenais, Rob. “Notes from Offshore Europe.” High Performance issue 47, vol. 12, no. 3 (Fall 1989): 12-13.
Liu, Catherine. “Fluxus: Selections from the Gilbert and Lila Silverman Fluxus Collection.” Artforum, vol. 27, no. 9 (May 1989), 152-153.
McShine, Kynaston, ed. New York and Munich: The Museum of Modern Art and Prestel Verlag, 1987. [book published in conjunction with exhibition]
Sayre, Henry M. The Object of Performance. Chicago: The University of Chicago Press, 1989.
Sondheim, Alan. “Decomposition: the transamerican avant-garde.” Art Papers, vol. 13, no. 3 (May-June 1989), 25-31.
Theater of the Object: Reconstructions, Re-creations, Reconsiderations, 1958-1972. Edited with an introduction by Peter Frank. New York: The Alternative Museum, 1989. [exhibition catalogue]
1990
Bech, Marianne. Det indre rum, det nære rum, det ydre rum. Magisterkonferensspeciale, Københavns Universitet, 1990.
Belloni, Cristina. “Fluxus: L’Europa.” Terzo Occhio (Bologna), vol. 15, no. 1 (March 1990), 42-43.
Block, René, ed. Joe Jones: Music Machines from the Sixties until Now. Berlin: Rainer Verlag and DAAD, 1990.
Blom, Ina. “A Tourist’s Guide to Fluxus and the Most Modern Music of All Times.” (essay in) Fluxus. Høvikodden, Norway: Høvikodden Kunstsenter.
Botic, Leonida. “Strategije Fluxusa: Razgovor sa Ken Friedmanom.” (part 1) Student (Belgrade, Yugoslavia) , February 1990: 43-45.
Botic, Leonida. “Strategije Fluxusa: Razgovor sa Ken Friedmanom.” (part 2) Student (Belgrade, Yugoslavia) , March 1990: 44-45.
Daniels, Dieter. “Fluxus at La Biennale di Venezia: It was More Authentic than it was Supposed to Be.” Lund Art Press, Vol. 1, No. 4, 1990, Lund, Sweden: Lund University School of Architecture, p 312-315.
Daniels, Dieter. “Taking Fluxus Around for a Drive.” Flash Art, no. 150 (January-February 1990), 148.
Faust, Gretchen. “Fluxus & Co.” Arts Magazine, vol. 64, no. 7 (March 1990), 119.
Fluxus. Edited with an essay by Ina Blom. Høvikodden, Norway: Høvikodden Kunstsenter (Henie-Onstad Kunstsenter). [exhibition checklist]
Fluxus! Nicholas Zurbrugg, Nicholas Tsoutas and Francesco Conz, eds. Brisbane: Institute of Modern Art, 1990. [exhibition catalogue]
Fluxus S.Q.R. Alesandro Masi, ed. Roma: Galleria Fontanella Borghese, 1990. [exhibition catalogue]
Fluxus Subjektiv. Ursula Krinzinger, ed. Wien: Galerie Krinzinger, 1990. [exhibition catalogue]
Frank, Peter. “Fluxus Codex by Jon Hendricks.” (book review). Artweek, February 9, 1990, 28.
Frank, Peter. “Ubi Fluxus ibi Motus 1990-1962.” High Performance no. 52 (vol. 13, no. 4) (Winter 1990), 17.
Freibord: Zeitschrift für Literatur und Kunst. (Austria) 73 (3/90). Gerhard Jaschke, ed. [special magazine issue devoted to Fluxus]
Friedman, Ken. “Ben Vautier: Apostle of Truth.” (“Apôtre de la verité”). Halle Sud (Geneva) , no. 23, 1-1990: 34-35. [in English original with a French translation by Françoise Senger]
Friedman, Ken, ed. Fluxus Performance Workbook. [El Djarida, special issue] Trondheim, 1990: El Djarida.
Hahn, Otto. Daniel Spoerri. Paris: Flammarion, 1990.
Higgins, Dick. “A Very Selective Bibliography of Fluxus.” Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 47-50.
Laszlo, Jean-Noel. “Ken Friedman on Stamps in Fluxus.” InTimbre d’artiste. Toulon: Espace Peiresc, 1990, 5-12. [interview]
Mail Art. Christine Jones, ed. Vienna: Kunskanzlei, 1990. [exhibition catalogue in postcard portfolio]
Moore, Barbara. “Vintage Fluxus.” Ear: Magazine of New Music, vol. 15, no. 3 (May 1990), 20-24.
Ono, Yoko. To See the Skies. Milan: Fondazione Mudima, 1990.
The Readymade Boomerang: Certain Relations in 20th Century Art. René Block, ed. Sydney, Australia: Eighth Biennale of Sydney, 1990.
Ruinard, Elizabeth. “Fluxus!” Eyeline: East Coast Contemporary Visual Arts (Australia), no. 13 (Spring-Summer 1990), 20-22.
Sellem, Jean. “On Fluxus: Interview.” Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 268-288. [interview]
Sellem, Jean. “Why Fluxus?” (in) Lund Art Press, Vol. 1, No. 4, 1990: School of Architecture, University of Lund, 262-267.
Tsoutas, Nicholas. “Francesco Conz Interviewed.” Eyeline: East Coast Contemporary Visual Arts (Australia), no. 13 (Spring-Summer 1990), 23-25.
Ubi Fluxus, ibi Motus. Achille Bonito Oliva, Gino Di Maggio, Gianni Sassi, eds. Venice and Milano: Biennale of Venice and Mazzotta Editore, 1990. [exhibition catalogue]
Yoko Ono: En Trance, [ed. Jon Hendricks and Birgitte Hesselund]. Randers, Danmark: Randers Kunstmuseum, 1990.
Zurbrugg, Nicholas. “ ‘A Spirit of Large Goals’ - Dada and Fluxus at Two Speeds.” In Fluxus! Zurbrugg, Nicholas, Francesco Conz and Nicholas Tsoutas, eds. Brisbane, Australia: Institute of Modern Art, 1990, 28-34. [exhibition catalogue]
1991
Ballade (No. 1, 1991), Oslo: Universitetsforlaget. [special magazine issue devoted to Fluxus]
Conzen-Meairs, Ina, ed. Lieber Meister S: Hanns Sohm sum siebzigsten Geburtstag. Stuttgart: Staatsgalerie Stuttgart, 1991.
Daniel Spoerri from A to Z. Gino DiMaggio, ed. Milan: Fondazione Mudima, 1991. [exhibition catalogue]
Denson, G. Roger. “Fluxus Closing In.” Flash Art, vol. 24, no. 157 (March-April 1991), 133.
DeVuono, frances. “Fluxus - Closing In.” Art News, vol. 90, no. 1 (January 1991), 95.
Faust, Gretchen. “Fluxus Closing In.” Arts Magazine, vol. 65, no. 5 (January 1991), 95.
Fluxartisti. Cristina Morato, ed. Verona: La Giarina, 1991. [exhibition catalogue]
FluxAttitudes. (Heckling Catalogue.) Cornelia Lauf and Susan Hapgood, eds. Ghent, Belgium: Imschoot Uitgevers, 1991. [exhibition catalogue]
Fluxus + Concept Art. Sammlung Beck: Wilhelm-Hack-Museum. Roland Scotti, ed. Ludwigshafen/Rhein: Wilhelm-Hack-Museum, 1991. [exhibition catalogue]
Fluxus - Ein Nachruf zu Lebzeiten. Edited by Dieter Daniels (Kunstforum International, Bd. 115). Köln: September-October 1991. [special magazine issue devoted to Fluxus]
Fluxus Research.. Jean Sellem, ed. Lund Art Press, Vol. 2, No. 2, 1991: School of Architecture, University of Lund. [special issue devoted to Fluxus]
Friedman, Ken. “George Maciunas: Expanded Arts Diagram,” In Contemporary Masterworks. Chicago and London: St. James Press, 1991.
Harris, Melissa. “Fluxus Closing In.” Artforum vol. 29, no. 5 (January 1991), 128-129.
Haskell, Barbara and John G. Hanhardt. Yoko Ono: Arias and Objects. Salt Lake City: Peregrine Smith, 1991.
Held, John Jr. Mail Art: an Annotated Bibliography. Metuchen, New Jersey and London: The Scarecrow Press, Inc., 1991.
Jones, Alan. “One Among Many: Dick Higgins and Something Else Press.” Arts Magazine, December 1991: 21-22.
Kamperelic, Dobrica. “Fluxus Pokret: Destructio Unius - Generatio Alternius.” Dalje (Sarajevo, Bosnia) no. 33-34 (1991): 37-44.
Paik, Nam June. “2 x mini giants.” Artforum, vol. 29, no. 6 (March 1991), 90-91.
Pop Art. Marco Livingston, ed. London: Royal Academy of Arts, 1991. [exhibition catalogue]
Ruhé, Harry. Multiples, etc. Amsterdam: ‘A,’ 1991.
Smith, Owen. George Maciunas and a History of Fluxus (or) the Art Movement that Never Was. Seattle: University of Washington, 1991. [doctoral dissertation]
Smith, Valerie. “King of the Dwarfs - A Conversation with Milan Knizak.” Arts Magazine, May 1991, 60-64.
Under the Influence of Fluxus. Wayne Baerwaldt, ed. Winnipeg, Canada: Plug In Inc., 1991. [exhibition catalogue]
Williams, Emmett. My Life in Flux and Vice Versa. Stiuttgart, London and New York: Edition Hansjörg Mayer and Thames & Hudson. 1991.
1992
Allen, R. F. Fluxus and literature. Visible Language v. 26 (Winter/Spring 1992) 69-78
Block, R. Fluxus in Wiesbaden 1992 [summary of interview with Johan Pijnappel]. Kunst & Museumjournaal v. 4 no. 1 (1992) 14-20
Corbett, J. “Anything must go” [London Musicians' Collective, Festival of Experimental Music]. New Art Examiner v. 20 (November 1992) 12-14
Cotter, Holland. “Three Shows Celebrate the Spirit of Fluxus.” The New York Times, Friday, October 23, 1992: C19.
Decter, J. {Fluxus, a conceptual country: Franklin Furnace Archive, Inc; Fluxattitudes: New Museum of Contemporary Art, New York}. Artforum International v. 31 (December 1992) 91-2
Dress & Photo Performance: Tivoli, Copenhagen, May 7th, 1992. Francesco Conz, ed. Verona, Italy: Editions Francesco Conz, 1992, unpaginated. [portfolio project, 8 sepia tone photographs]
Droles D’Envois: Mail Art - Art Postal. Lerouge, Evelyne, ed. Compiègne, France: Centre d’animation culturelle de Compiègne et du Valois, 1992. [exhibition catalogue]
“Exhibition check lists” [Fluxus, a conceptual country: Madison Art Center, Wisconsin; traveling exhibit]. Visible Language v. 26 (Winter/Spring 1992) 230-41
Flux Flag. György Galantaí, ed. Budapest: Budpesti Öszi Fesztivál, 1992. [exhibition catalogue]
Fluxus: A Conceptual Country, Estera Milman, guest editor. [Visible Language, vol. 26, nos. 1/2.] Providence: Rhode Island School of Design, 1992. [Special issue devoted to Fluxus, also exhibition catalogue]
Fluxus Da Capo: 1962 Wiesbaden 1992. René Block, ed. Wiesbaden: Nassauischer Kunstverein, Kulturamt der Landeshauptstadt Wiesbaden and Harlekin Art/Fluxeum, 1992.
“Fluxus, flux on: it all started a 17th of January, one million years ago” [3 article special section]. Flash Art (International Edition) no. 167 (November/December 1992) 53-9
“Fluxus island in de-coll/age ocean (Art Reproduction).” Visible Language v. 26 (Winter/Spring 1992) 16
Fluxus: the Development of an Antidote. Mats B. Stockholm: Galleri Stenström, 1992. [exhibition catalogue]
Fluxus Virus, 1962-1992. Ken Friedman, ed. Köln: Verlag Schüppenhauer, 1992. [Exhibition catalogue]
Foster, S. C. “Historical design and social purpose: a note on the relationship of Fluxus to modernism.” Visible Language v. 26 (Winter/Spring 1992) 35-44
Frank, Fluxus fallout: New York in the wake of the new sensibility. Visible Language v. 26 (Winter/Spring 1992) 211-20
Friedman, Ken. Fluxus 1992. Budapest: Artpool. Hungarian translation by Barbarczy Eszter.
Friedman, Ken. “The Head through the Wall. The René Block Collection at Statens Museum for Kunst, Copenhagen.” Siksi. 3/92. Helsinki: Nordiskt konstcentrum, Sveaborg, 52-53.
Friedman, Ken. “Occupying the Border Zone,” Eye, vol. 2, No. 7, 1992, 50.
Friedman, Ken. “Vytautas Landsbergis and Fluxus.” Siksi. 1/92. Helsinki: Nordiskt konstcentrum, Sveaborg, 33-34.
Friedman, K., et. al., “Fluxus: global community, human dimensions [the development of Fluxus as a community of individuals].” Visible Language v. 26 (Winter/Spring 1992) 155-79
Gomez, E. M. “All is flux” [various shows and exhibits throughout the United States and Europe in celebration of the 30th anniversary of the group Fluxus]. Art News v. 91 (September 1992) 16
Higgins, D. “Two sides of a coin: Fluxus and the Something Else Press.” Visible Language v. 26 (Winter/Spring 1992) 143-53
Kissick, John. “Fluxus Deluxe.” New Art Examiner, vol. 19, no. 5 (January 1992) 41-42.
Kontova, H., et. al., “John M Armleder: a gentleman in the Fluxus tradition”[interview]. Flash Art (International Edition) no. 166 (October 1992) 63-9
Hovedet Gennem Muren.. Elisabeth Delin Hansen and René Block, eds. Copenhagen: The Royal Museum of Fine Art, 1992. [exhibition catalogue]
Michaelides, Lee. “The Stuff of Art,” Dartmouth Alumni Magazine, vol. 85, no. 2, 24-31.
Martin, Henry. Fluxers. Bolzano, Italy: Museion - Museum of Modern Art, 1992. [exhibition catalogue]
Milman, E. “Road shows, street events, and Fluxus people; a conversation with Alison Knowles [interview].” Visible Language v. 26 (Winter/Spring 1992) 97-107
“Portraits of a Fluxus artist as hors-d'oeuvre d'art (Art Reproduction).” Kunst & Museumjournaal v. 4 no. 1 (1992) 17
Rian, J. “Fluxus, flux on: it all started a 17th of January, one million years ago.” Flash Art (International Edition) no. 167 (November/December 1992) 53+
Rose, Matthew. “Fluxus Redux.” Connoisseur (London), no. 222 (January 1992) 94.
Saper, C. “Fluxacademy: from intermedia to interactive education [a Fluxus based experimental pedagogy].” Visible Language v. 26 (Winter/Spring 1992) 79-96
Sellem, Jean. “The Head through the Wall: Ken Friedman Discusses the René Block Collection in Copenhagen.” (in) Lund Art Press, Vol. 2, No. 3, 1992: School of Architecture, University of Lund, 178-193. [interview]
Smith, O. “Proto-Fluxus in the United States 1959-1961: the establishment of a like-minded community of artists.” Visible Language v. 26 (Winter/Spring 1992) 45-58
Thea, R. “ Fluxus, ein Nachruf zu Lebzeiten (Book Review). “Domus no. 734 (January 1992) xv-xvi
Träger, Wolfgang. “Fluxus - Cologne/Wiesbaden,” Art Position, Nr. 21, 4. Jhg., September/Oktober ‘92: 12-13.
Triggs, Teal. “Flux type,” Eye, vol. 2, no. 7, 1992: 46-55.
Under the Influence of Fluxus. Wayne Baerwaldt, ed. Winnipeg, Canada: Plug In, Inc., 1992. [exhibition catalogue]
Wix, Gabriele. “Die Kunst der Einfachen Geste,” art - Das Kunstmagazine, Nr. 11, November 1992, 38-49.
1993
Blom, Ina. The Intermedia Dynamic: An Aspect of Fluxus. Oslo, Norway: Institutt for Arkeologi, Kunsthistorie og Numismatikk, Universitet i Oslo, 1993. [magister dissertation.]
Buchholz, Daniel and Gregorio Magnani. International Index of Multiples from Duchamp to the Present. Tokyo and Köln: Spiral/Wacoal Art Center and Verlag der Buchhandlung Walther König, 1993.
Doris, David T. Zen Vaudeville: A Medi(t)ation in the Margins of Fluxus. New York, New York: Department of Art History, Hunter College, 1993. [m-aster’s thesis.]
Felter, James Warren. “Artiststamps.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 189-195 (French translation by Marie-Antoinette Biesel and Marie-Jeanne Mesguen) and 233-239 (English original).
Fluxus and After. Anne Kirker, ed. Brisbane, Australia: Queensland Art Gallery, 1993. [exhibition catalogue]
Fluxus: Today and Yesterday. Johan Pijnappel, guest editor. [Art and Design Magazine, no. 28]. London, 1993: Academy Group, Ltd. [special issue devoted to Fluxus]
Frank, Peter. “Modernisme Postal: Timbres d’artistes et images de timbres.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 177-188 (French translation by Marie-Antoinette Biesel and Marie-Jeanne Mesguen) and 222-232 (English original).
Friedman, Ken, ed. Fluxus and Friends: Mailing List and Telephone Directory. Oslo, Norway: Friedman Associates, 1993. [30th Anniversary Fluxlist]
Gray, John. Action Art. A Bibliography of Artists’ Performance from Futurism to Fluxus and Beyond. Westport, Conn,: Greenwood Press, 1993.
Halem, Ludo van. “Fluxpost! Fluxus en mail art.” (in) Als kunst bestempeld: mail art inernational. Edited by Ben Koevoets. ‘s-Gravenhage, The Netherlands: 1993, p 16-24, 41-42. [exhibition catalogue]
Henie-Onstad Kunstsenter: Jubileumsgaver. Per Hovdenakk, ed. Høvikodden, Norway: Henie-Onstad Kunstsenter, 1993. [exhibition catalogue]
Higgins, H. B. “Totally excellent” [Excellent '92, celebrating 30 years of Fluxus activity: Fluxeum, Wiesbaden-Erbenheim, Germany; and other recent exhibits]. New Art Examiner v. 20 (May 1993) 32-5+
In the Spirit of Fluxus: Published on the Occasion of the Exhibition. Minneapolis: Walker Art Center, 1993
Jones, K. “Forget about it” [FluxAttitudes: Hallwalls Contemporary Arts Center, Buffalo; traveling exhibit]. Afterimage v. 20 (February 1993) 16-17
Jenkins, Janet, ed. In the Spirit of Fluxus. Minneapolis, Minnesota: Walker Art Center, 1993. [book published in conjunction with exhibition]
Kim-Cheon, Hong Hee, ed. The S(e)oul of Fluxus. Seoul, Korea: A. International, Ltd., 1993. [book published in conjunction with festival and exhibition]
Klintberg, B. A. “Fluxus games and contemporary folklore: on the non-individual character of Fluxus art.” Konsthistorisk Tidskrift v. 62 no. 2 (1993) 115-25
Laszlo, Jean-Noel. “Interview: Ken Friedman.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 18-21 (French translation by Marie-Antoinette Biesel and Marie-Jeanne Mesguen) and 216-221 (English original).
Laszlo, Jean-Noel. “Le Timbre c’est le message.” (in) Laszlo, Jean-Noël and Chantal Reynaud, eds. Timbres d’Artistes. Paris: Editions Musée de la Poste, 1993, 13-16 (French original) and 211-215 (English translation by Dan Golemski and Robert Ruscoe).
Nam June Paik. eine DATA base. Klaus Bussmann and Florian Matzner, eds. Venice: Biennale of Venice, German Pavilion and Edition Cantz, 1993.
Princenthal, N. “Artist's book beat “[What part did Fluxus take in the development of artists' books? interview with six contemporary artists]. The Print Collector's Newsletter v. 23 (January/February 1993) 235-7
Silberman, R. “In the spirit of Fluxus” [Walker Art Center, Minneapolis; exhibit]. The Burlington Magazine v. 135 (June 1993) 432-3
Silver, Kenneth E. “Nam June Paik: Video’s Body.” Art in America, November 1993,100-107.
Writings about John Cage. Ann Arbor: University of Michigan Press, 1993.
1994
Anderson, S. “Surflux: more Fluxus than you can shake a stick at “[Fluxus Festival Chicago, 1993; various locations]. New Art Examiner v. 21 (March 1994) 14-16
Apple, J. “Stomp: a generational advance of a Fluxus idea.” High Performance v. 17 (Winter 1994) 54-5
Brentano, Robyn; Georgia, Olivia; Mills, Kathleen (editor) Outside the Frame: Performance and the Object: A Survey History of Performance Art in the USA Since 1950. Cleveland, Ohio: Cleveland Center for Contemporary Art, 1994.
Coulter-Smith, G., et. al., Fluxus [Queensland Art Gallery, Brisbane, Australia]. Art and Australia v. 32 (Spring 1994) 150-1
“Fluxshoe shuffle” [Fluxbritannica, aspects of the Fluxus movement 1962-73: Tate Gallery, London]. Art Monthly no. 176 (May 1994) 15-17
Hapgood, Susan. Neo-Dada: Redefining Art, 1958-62. New York: American Federation of Arts in association with Universe Publishing, 1994.
Higgins, Hannah. Enversioning Fluxus. Chicago: Department of Art History, University of Chicago, 1994. [Doctoral Dissertation.]
Higgins, H. B. “Critical refluxtions” [Recollections of Fluxus performances]. New Art Examiner v. 21 (March 1994) 17-23
Johnston, J. “Wedding in Denmark” [author's marriage becomes part of a Fluxus event]. Art in America v. 82 (June 1994) 75-6
Johnston, J. “Flux acts“[In the spirit of Fluxus: Walker Art Center, Minneapolis; traveling exhibit]. Art in America v. 82 (June 1994) 70-4+
Krainak, “Fluxus as (un)architecture [architectural ideas of George Maciunas].” New Art Examiner v. 21 (March 1994) 24-5
Munroe, Alexandra. Japanese Art After 1945: Scream Against the Sky. New York: H.N. Abrams, 1994.
O'Neill, R. “In the spirit of Fluxus” [Walker Art Center, Minneapolis; traveling exhibit]. Art Journal v. 53 (Spring 1994) 90-1+
Van Proyen, M. “All ways at once” [In the spirit of Fluxus: San Francisco Museum of Modern Art; traveling exhibit]. Artweek v. 25 (June 23 1994) 14
1995
Blistene, B. “Fluxtuat nec mergitur” [L'esprit de Fluxus: MAC, Galleries Contemporaines des Musees de Marseille; traveling exhibit]. Connaissance des Arts no. 516 (April 1995) 110-17
Domino, C. “Quand Fluxus dynamitait l'art” [Musee d'Art Contemporain, Marseilles; Fluxus et les nouveaux realistes: Kunsthalle, Hamburg; exhibits]. Beaux Arts Magazine no. 134 (May 1995) 102-8
Kellein, Thomas. Fluxus. London; New York, N.Y.: Thames and Hudson, 1995.
Puvogel, R. „Wollt Ihr das totale Leben?” [Fluxus und Agit-Pop der 60er Jahre in Aachen: Neuer Aachener Kunstverein]. Kunstforum International no. 130 (May/July 1995) 350-2
Sanford, Mariellen R., Happenings and Other Acts. London; New York: Routledge, 1995.
1996
Shaw-Miller, S. “@Concerts of everyday living': Cage, Fluxus and Barthes, interdisciplinarity and inter-media events. “ Art History v. 19 (March 1996) 1-25
1997
Bolton, W. “Haphazard Documentation” [Yoko Ono and Fluxus: Royal Festival Hall, London; exhibit]. Make, the magazine of women's art no. 75 (April/May 1997) 30
Bonami, F. Jasansky and Polak [Nature, Jokes, Fluxus and Abstract; photography series]. Flash Art (International Edition) no. 195 (Summer 1997) 125
Conzen, Ina. Art Games. Germany: Staatsgalerie Stuttgart, 1997.
Shaw-Miller, S., reviewer In the spirit of Fluxus (Book Review); Fluxus (Book Review); Sound works (Book Review). Oxford Art Journal v. 20 no. 1 (1997) 105-9
Smith, Owen. "Fluxus, Experimentalism and the End of Language," K. David Jackson, Eric Vos and Johanna Drucker, eds., Experimental, Visual, Concrete: Avant-Garde Poetry Since 1960 (Avant Garde Critical Studies Vol. 10), Amsterdam/Atlanta, GA: Rodopi Press, 1997
Williams, Emmett; Noel, Ann (editors), Mr. Fluxus: A Collective Portrait of George Maciunas 1931-1978. London: Thames & Hudson, 1997.
1998
Butler, R. "Francesco Conz and the intermedia avant-garde". Art/Text no. 61 (May/July 1998) 94-5
Fricke, C. “Takako Saito: ACDKLMNQRUVYZ.” Kunstforum International no. 139 (December 1997/March 1998) 301-19
Friedman, Ken. The Fluxus Reader. Chicester, West Sussex; New York: Academy Editions, 1998.
Gibbs, M. “Mr Fluxus” (Book Review). Art Monthly no. 216 (May 1998) 52-3
Nixon, M. “After images” [Yoko Ono and Fluxus; Inside the visible; exhibits]. October (Cambridge, Mass.) no. 83 (Winter 1998) 114-30
Smith, Owen F. Fluxus: The History of an Attitude. San Diego, CA: San Diego State University Press, 1998.
Vautier, Ben and Guy Schraenen. Ben Vautier: Bucher, Zeitschriften, Einladungen, Plakate. Bemen: Neues Museum Weserburg Bremen, 1998
1999
Auslander, “Fluxus art-amusement: the music of the future?” Art Papers v. 23 no. 2 (March/April 1999) 30-5
Beckman, E., et. al., Off limits (Book Review); Mr. Fluxus (Book Review); The Fluxus reader (Book Review). Art Journal v. 58 no. 3 (Fall 1999) 100-2
Bucholh, B.H.D. Experiments in the Everyday: Allan Kaprow and Robert Watts, Events, Objects, Documents. New York: Columbia University, Miriam and Ira D. Wallach Art Gallery, 1999.
Glew, A. The Fluxus reader (Book Review). Art Monthly no. 227 (June 1999) 50-1
Marter, Joan, Ed. Off Limits: Rutgers University and the Avant-Garde, 1957-1963. Newark, N.J.: Newark Museum; New Brunswick, N.J.: Rutgers University Press, 1999
Patterson, Ben. The Black and White File. Wiesbaden: Ben Patterson, 1999.
Poggenpohl, S. H., reviewer The Fluxus reader (Book Review). Visible Language v. 33 no. 3 (1999) 309-12
Ruhe, Harry. 25 Fluxus Stories. Amsterdam: Tuja Books, 1999
Seagull, S. “George Maciunas DBA/Fluxhouse Co-operative, Inc or Soho: a new utopia” [exhibit]. Art Monthly no. 228 (July/August 1999) 32-3
Smith, Owen. "A Pilgrim’s Progress," Alternative Traditions in Contemporary Arts: Subjugated Knowledge and the Balance of Power, Iowa: University of Iowa Museum of Art, 1999
2000
Kaplan, J. A. “Flux generations” [roundtable discussion]. Art Journal v. 59 no. 2 (Summer 2000) 6-17
Leydier, R. “Rudolf Wehrung: fluxus redux.” Art Press no. 253 (January 2000) 34-7
Munroe, Alexandra et.al. Yes Yoko Ono. New York: Harry N. Abrams, 2000
Puvogel, R. “Nam June Paik--Fluxus/Video: Kunsthalle Bremen.” Kunstforum International no. 149 (January/March 2000) 348-50
Santi, Tiziano and Roberto Melchiori et al. Vanished Paths: Crises of Representation and Destruction in the Arts from the 1950s to the End of the Century. Milan: Charta, 2000
Schwerfel, H. “Nam Jun Paik: ecran total.” Beaux Arts Magazine no. 191 (April 2000) 76-83
Strecker, J. „Fluxus in Germany 1962-1994.” Art and Australia v. 38 no. 1 (2000) 60-2
2001
Hersh, A. “All You Need Is Art.” Art & Antiques v. 24 no. 11 (December 2001) 96
Martel, Richard. Art Action. Paris:Éditions Intervention (2001).
Saper, Craig J. Networked Art. Minneapolis/London: University of Minnesota Press, 2001
Thompson, Chris. “Responsible Idiocy and Fluxus Ethics:_Robert Filliou and Emmanuel Levinas.” a–r–c, issue 5, July 2001, http://a-r-c.gold.ac.uk/a-r-c_Five/texts/5_responsible01.html
2002
Blain, F. A. “Au Plateau, Robert Filliou et Comparses” [Exhibit]. Beaux Arts Magazine no. 216 (May 2002) 36
Dyment, D. “Maura Doyle's Art Services.” C Magazine no. 74 (Summer 2002) 46
Friedman, Ken. And Owen Smith, eds. Fluxus Performance Workbook. Performance Research e-Publication, volume 7, 2002
Friedman, Ken. And Owen Smith, eds. “On Fluxus,” Performance Research. Vol.7, No.3 (September 2002)
Hendricks, Jon. What’s Fluxus? What’s Not! Why. Detroit, Michigan: The Gilbert ad Lisa Silverman Fluxus Collection Foundation, 2002.
Higgins, Hannah. Fluxus Experience. Berkeley: University of California Press, 2002.
Huther, C. „40 Jahre: Fluxus und die Folgen.“ Kunstforum International no. 162
(November/December 2002) 156-75
Miller, Simon. Visible Deeds of Music: Art and Music from Wagner to Cage. NewHaven, Conn: Yale University Press, 2002.
Platow, R. North Adams, Massachusetts. Art Papers v. 26 no. 2 (March/April 2002) 4-5
Esner, Rachel, ed. FLUXUS UND FREUNDE. Die Sammlung Maria und Walter Schnepel. Bremen: Bremen Neues Museum Weserburg, 2002
Solimano, Sandra. The Fluxus Constellation. Genova: Neos Edizioni, 2002.
Thompson, C. “Museum of Art the University of Maine/Orono: Betwixt and between: the life and work of Fluxus artist Dick Higgins.” Art New England v. 23 no. 4 (June/July 2002) 31
2003
Davidge, M. {Fluxus Experience}. Parachute no. 112 (October/November/December 2003) 135-6
Donguy, J. “Les 40 ans de Fluxus 1962-2002: Ecole normale superieure” [Exhibit]. Art Press no. 286 (January 2003) 85-6
Hendricks, Geoffrey, ed. Critical Mass, Happenings, Fluxus, performance, intermedia and Rutgers University 1958-1972.
Mason Gross Art Galleries, Rutgers, and Mead Art Gallery, Amherst, 2003
Herstatt, C. “Arthur Kopcke: Art is Work is Art: Hamburger Kunsthalle”; Kunstverein Dusseldorf; Kunsthalle Fridericianum, Kassel [Exhibit]. Kunstforum International no. 167 (November/December 2003) 272-3
McCall, A. “Line Describing a Cone and Related Films.” October (Cambridge, Mass.) no. 103 (Winter 2003) 42-62
Moren, Lisa. Intermedia. University of Maryland, Baltimore County (Baltimore, Maryland) 2003.
2004
Anderson, S. “What's Fluxus? What's not!” Art Monthly no. 273 (February 2004) 41-2
Bagenal, C. “Art Interactive/Cambridge, MA: Do-It-Yourself Fluxus” [Exhibit]. Art New England v. 25 no. 3 (April/May 2004) 24
Behrens, R. R. {Fluxus Experience}. Leonardo v. 37 no. 2 (2004) 162
Gibbs, M. “Fluxus Recidivists.” Art Monthly no. 273 (February 2004) 44
Kelein, Thomas Nyman, Michael Robinson, Julia. George Brecht Works from 1959-1973. New York: Gagosian Gallery, 2004
Lussac, Olivier. Happening et Fluxus; Polyexpressivite et Pratique Concrete des Arts. Paris: Harmattan, 2004
Medina, C. “Architecture and efficiency: George Maciunas and the economy of art.” Res (Cambridge, Mass.) no. 45 (Spring 2004) 273-84
Perloff, M. “Fluxier-than-Thou.” Modernism - Modernity v. 11 no. 3 (September 2004) 581-7
Robinson, J. “The Sculpture of Indeterminacy: Alison Knowles's Beans and Variations.” Art Journal v. 63 no. 4 (Winter 2004) 96-115
Schwarze, D. „Fluxus und die Probleme der Zeit: Arthur Kopcke: Was ist das?” apexart New York: Kunsthalle Fridericianum Kassel [Exhibit]. Kunstforum International no. 170 (May/June 2004) 280-3
Vergne, “The Bride, Revived by Her Bachelors, on a Dissecting Table, between a Sewing Machine and an Umbrella.” Parkett v. 70 (2004) 46-55
2005
Danto, Arthur Coleman. Unnatural Wonders: Essays from the Gap Between Art and Life. New York: Farrar, Straus and Giroux, 2005
Friedman, Ken and Owen Smith, eds. Fluxus and Legacy, Visible Language, Volume 3, No. 3 (Fall 2005)
Kotz, L. “Language Between Performance and Photography.” October (Cambridge, Mass.) no. 111 (Winter 2005) 3-21
Schmidt-Burkhardt, Astrit. Maciunas' Learning Machine from Art History to a Chronology of Fluxus. Gilbert and Lila Silverman Fluxus Collection, 2005
Smith, Owen. “Fluxus; Experiments in Community, Collaboration and Connectivity,” At a Distance: Precursors to Art and Activism on the Internet, Cambridge: MIT, 2005
Appendix 1
Fluxus Documentation: Major Collections
Readers will find examples of the documents and publications cited in this bibliography in these public and private collections.
Alternative Traditions in Contemporary Art
University Library and University Art Museum
University of Iowa
Iowa City, Iowa
USA
Archiv Sohm
Stadtsgalerie Stuttgart
Stuttgart, Germany
Archivio Conz
Verona, Italy
Emily Harvey Foundation
New York, New York and Venice, Italy
Fluxus West Collection
Fluxus West in England Papers
Tate Gallery Archives
The Tate Gallery
London, England
Franklin Furnace Archive
The Museum of Modern Art
New York
USA
The Gilbert and Lila Silverman Fluxus Foundation
Detroit, Michigan and New York, New York
USA
Jean Brown Archive
Getty Center for the History of the Arts and Humanities
Los Angeles, California
USA
Library
Walker Art Center
Minneapolis, Minnesota
USA
Artpool
Budapest
Hungary
Fluxus Objects: Major Collections
This is a list of public and private collections with extensive holdings of original Fluxus works, objects by the different artists. This includes the Fluxus multiples edited, designed, and published by George Maciunas, the Something Else Press books and multiples edited, designed, and published by Dick Higgins, and multiples published by such Fluxus-related publishers as Edition Block, Edition Hundertmark, Vice Versand, or Editions Conz.
Alternative Traditions in Contemporary Art
University Library and University Art Museum
University of Iowa
Iowa City, Iowa
USA
Archiv Sohm
Stadtsgalerie Stuttgart
Stuttgart, Germany
Archivio Conz
Verona, Italy
Emily Harvey Foundation
New York, New York and Venice, Italy
Fluxus Collection
Henie Onstad Art Center
Høvikodden, Norway
Fluxus Collection
Tate Gallery Archives Collection
The Tate Gallery
London, England
Fluxus Collection
Walker Art Center
Minneapolis, Minnesota
USA
George Maciunas Memorial Collection
The Hood Museum of Art
Dartmouth College
Hanover, New Hampshire
USA
The Gilbert and Lila Silverman Fluxus Foundation
Detroit, Michigan and New York, New York
USA
Jean Brown Archive
Getty Center for the History of the Arts and Humanities
Los Angeles, California
USA
Fluxus Objects: Smaller Collections
Fluxus Room
Nordjyllands Kunstmuseum
Aalborg
Denmark
Kjarvalstadir
The Municipal Museums of Reykjavik
Reykjavik
Iceland
Madison Art Center
Madison, Wisconsin
USA
Museum of Contemporary Art
Belgrade
Yugoslavia
Pori Art Museum
Pori
Finland
The Køpcke Archive
Randers Kunstmuseum
Randers
Denmark
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