FLUXUS EXPERIENCE HANNAH HIGGINS PDF

Start your review of Fluxus Experience Write a review Shelves: books-bought In my head, when I first saw this book cover, I was hoping that "Fluxus Experience" would be more of a memoir by Hannah Higgins, the daughter of Dick Higgins and Alison Knowles, two important post-war artists. This is not the case. Also a critique of the educational world that surrounds the subject matter of Fluxus. And roughly the years match up with mine.

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Related Books About the Book In this groundbreaking work of incisive scholarship and analysis, Hannah Higgins explores the influential art movement Fluxus. Daring, disparate, contentious—Fluxus artists worked with minimal and prosaic materials now familiar in post-World War II art.

Higgins describes the experience of Fluxus for viewers, even experiences resembling sensory assaults, as affirming transactions between self and world. Fluxus began in the s with artists from around the world who favored no single style or medium but displayed an inclination to experiment. Two formats are unique to Fluxus: a type of performance art called the Event, and the Fluxkit multiple, a collection of everyday objects or inexpensive printed cards collected in a box that viewers explore privately.

Although it was commonly associated with political and cultural activism in the s, Fluxus struggled against being pigeonholed in these too-prescriptive and narrow terms. Higgins, the daughter of the Fluxus artists Alison Knowles and Dick Higgins, makes the most of her personal connection to the movement by sharing her firsthand experience, bringing an astounding immediacy to her writing and a palpable commitment to shedding light on what Fluxus is and why it matters.

Reviews "Higgins bravely argues for the experiential, life-affirming qualities of Fluxus, combining theory and practice in a most sophisticated, engaging, and refreshing manner. She situates Fluxus in the context of American art history as well as international art practices, while exploring sense-related theory in enticing accounts of her own observations of and participation in Fluxus works.

Higgins represents a new generation of Fluxus scholars who are impatient with the objective pose and historical rigidity of academic art history. Both insightful and provocative, her work offers a thorough consideration of the development and reception of Fluxus from the late s through the early s.

This book is essential for anyone interested in Fluxus, particularly anyone who wants to understand its cognitive and phenomenological bases.

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Hannah Higgins

Daring, disparate, contentious—Fluxus artists worked with minimal and prosaic materials now familiar in post-World War II art. Higgins describes the experience of Fluxus for viewers, even experiences resembling sensory assaults, as affirming transactions between self and world. Fluxus began in the s with artists from around the world who favored no single style or medium but displayed an inclination to experiment. Two formats are unique to Fluxus: a type of performance art called the Event, and the Fluxkit multiple, a collection of everyday objects or inexpensive printed cards collected in a box that viewers explore privately. Although it was commonly associated with political and cultural activism in the s, Fluxus struggled against being pigeonholed in these too-prescriptive and narrow terms. Higgins, the daughter of the Fluxus artists Alison Knowles and Dick Higgins, makes the most of her personal connection to the movement by sharing her firsthand experience, bringing an astounding immediacy to her writing and a palpable commitment to shedding light on what Fluxus is and why it matters.

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Fluxus Experience

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