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(More customer reviews)From Umbrella, vol. 22, no. 1 (April 1999): The Fluxus Reader,edited by Ken Friedman (London, Academy Editions, 1998) is a mostwelcome addition to the growing Fluxus literature, one which puts Fluxus into the scholarly pursuits of present and future scholars. It took three decades to fulfill the request of George Maciunas to do a "history" of Fluxus. But this book is more than a history; it gives a theoretical basis for the study of Fluxus, amplifies the known sources and expands upon the ideas and theories of artists, scholars and theoreticians. The influx of new Fluxus scholars, the younger scholars, has given new insights into a movement that over the more than 30 years has become part of the history of art. The book is divided into History, Theory, Critical perspectives, a transcript of the videotaped Interview with George Maciunas, Two Fluxus theories: one by Ken Friedman and one by Dick Higgins, and a chronology, a list of selected Fluxus art works and related primary source materials, and a list of selected Fluxus sources and related secondary sources. There is much in this volume compacted so the lists are fine for my eyes, but might require a magnifying glass. But the book is indeed the first comprehensive overview on this challenging and controversial group.
Judith A. Hoffberg, Editor & Publisher, Umbrella
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The Fluxus Reader offers the first comprehensive overview on this challenging and controversial group. Fluxus began in the 1950s as a loose, international community of artists, architects, composers and designers. By the 1960s, Fluxus had become a laboratory of ideas and an arena for artistic experimentation in Europe, Asia and the United States. Described as 'the most radical and experimental art movement of the 1960s', Fluxus challenged conventional thinking on art and culture for over four decades. It had a central role in the birth of such key contemporary art forms as concept art, installation, performance art, intermedia and video. Despite this influence, the scope and scale of this unique phenomenon have made it difficult to explain Fluxus in normative historical and critical terms.
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