Fluxus emerged in the wake of Neo-Dada art in the 1950s. With a focus on political, nonsensical and anti-art ideas, artists looked to the anarchic spirit of Dadaism and Futurism, particularly their provocative performances and events, and to Duchamp’s ‘ readymade’ sculptures. full title, 'An Anthology of chance operations concept art anti-art indeterminacy improvisation meaningless work natural disasters plans of action stories diagrams Music poetry essays dance constructions mathematics compositions' Performances at Yoko Ono's Chambers Street Loft". Archived from the original on 10 April 2016 . Retrieved 2 July 2012. Haskell, Barbara. BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: W. W. Norton in association with the Whitney Museum of American Art, 1984.

Fluxus was founded by George Maciunas. The precise start date is debated but can be narrowed down to between 1960 and 1963. The initial members first sparked the idea in 1959 during a John Cage workshop. This initial interaction is sometimes referred to as “Proto-Fluxus.” The Israel Museum, Jerusalem, Gift from the Gilbert and Lila Silverman Collection, Detroit, to American Friends of the Israel Museum The name Fluxus, meant to suggest both “flow” and “effluent,” was coined by Fluxus founder George Maciunas (1931–78), a Lithuanian American designer and “cultural entrepreneur.” Maciunas used the word fluxus to describe a wide range of his activities, from a published call for a common front of artists against culture to a New York artists’ housing association, as well as a publishing concern that produced ephemeral interactive multiples and staged live events called Happenings that were precursors to performance art, video art, and other progressive art forms. Bhardwaj, Hari C. (1979). Aspects of Ancient Indian Technology (use of lime as a flux). Motilal Banarsidass. ISBN 81-208-3040-7. Archived from the original on 2017-11-03 . Retrieved 2011-08-19. Maciunas moved to the Berkshire Mountains in Western Massachusetts in the late 1970s. Two decades earlier, after collecting paintings, the Boston art collector Jean Brown, and her late husband Leonard Brown, began to shift their focus to Dadaist and Surrealist art, manifestoes and periodicals. In 1971, after Mr. Brown's death, Mrs. Brown moved to Tyringham, and expanded into areas adjacent to Fluxus, including artists' books, concrete poetry, happenings, mail art and performance art. Maciunas helped turn her home, originally a Shaker seed house, into an important center for both Fluxus artists and scholars, with Mrs. Brown alternately cooking meals and showing guests her collection. Activities centered on a large archive room on the second floor built by Maciunas, who settled in nearby Great Barrington, where it was discovered that Maciunas developed cancer of the pancreas and liver in 1977.

The Leaders of Fluxus

Getty Research Institute Selected Special Collections Finding Aids. Jean Brown papers, 1916–1995, bulk 1958–1985.. Retrieved 28 August 2008.

In metallurgy, a flux (from Latin fluxus'flow') is a chemical cleaning agent, flowing agent, or purifying agent. Fluxes may have more than one function at a time. They are used in both extractive metallurgy and metal joining. Kellein, Thomas (2007). George Maciunas: The Dream of Fluxus. New York: Thames & Hudson. ISBN 9780500976654. In An evening with Fluxus women: a roundtable discussion, hosted at New York University on 19 February 2009 by Women & Performance: a journal of feminist theory and the Department of Performance Studies, a passage from Mieko Shiomi reads "...the best thing about Fluxus, I think, is that there was no discrimination on the basis of nationality and gender. Fluxus was open to anyone who shared similar thoughts about art and life. That's why women artists could be so active without feeling any frustration." [91] :370

Word History

According to Hutching, quoted in Maciunas & Ay-O 1998, p.280. Maciunas was a transvestite and masochist. As part of the festival, Maciunas wrote a lecture entitled 'Neo-Dada in the United States'. [41] After an attempt to define 'Concretist Neo-Dada' art, he explained that Fluxus was opposed to the exclusion of the everyday from art. Using 'anti-art and artistic banalities', Fluxus would fight the 'traditional artificialities of art'. [42] The lecture ended with the declaration "Anti-art is life, is nature, is true reality—it is one and all." [42] After the death of George Maciunas a rift opened in Fluxus between a few collectors and curators who placed Fluxus as an art movement in a specific time frame (1962 to 1978), and the artists themselves, many of whom continued to see Fluxus as a living entity held together by its core values and world view. Different theorists and historians adopted each of these views. Fluxus is therefore referred to variously in the past or the present tense. While the definition of Fluxus was always a subject of controversy, the question is now significantly more complex due to the fact that many of the original artists who were still living when Maciunas died are now dead themselves. [103] [104]

Zen is a Japanese Buddhist philosophy that focuses on meditation and the importance of the present moment. No single moment is to be more important than another in life. Zen had a powerful impact on John Cage who thought that art should be concerned with equivalency of values instead of elevating artistic experiences from everyday experiences - "in this way art becomes important as a means to make one aware of one's actual environment." This comes directly from Buddhist teachings on the importance of being aware of every moment and present in every moment in life. Volatility – this property has to be balanced to facilitate easy removal of solvents during the preheating phase but to not require too frequent replenishing of solvent in the process equipment.Oren, Michel (1993). "Anti-Art as the End of Cultural History". Performing Arts Journal. 15 (2): 1–30. doi: 10.2307/3245708. JSTOR 3245708. S2CID 195053017.

Museum Fluxus+ Potsdam, Germany". Archived from the original on 28 December 2017 . Retrieved 3 September 2005. a b "MoMA, Interactive exhibitions". Archived from the original on 4 September 2012 . Retrieved 28 June 2012. Amongst the earliest pieces that would later be published by Fluxus were Brecht's event scores, the earliest of which dated from around 1958/9, and works such as Valoche, which had originally been exhibited in Brecht's solo show 'Toward's Events' at 1959.Deterioration of electrical properties of printed circuit boards, as soldering temperatures are above the glass transition temperature of the board material and flux components (e.g. glycols, or chloride and bromide ions) can diffuse into its matrix; e.g. water-soluble fluxes containing polyethylene glycol were demonstrated to have such impact [10]