New Realism Fluxus

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New Realism Fluxus Decollage Performance art Happenings Installation art Influence of earlier avant-garde movement, Dada: appropriation, ready-mades, collage, assemblage, blurring boundaries between “art” and “life”, undermining sole authorship Yves Klein, Blue Monochrome, 1961*** Yves Klein, Anthropometries of the Blue Period, 1962*** Yves Klein, Leap into the Void, 1960 *** Pierre Restany (critic), characterized artists involved in New Realism as having : “1. A method of perception and sensible communication in the service of a cosmic intuition; 2. A desire to integrate industrial technique into the metamorphosis of the quotidian; 3. A wish to poetically recuperate the most current forms from the explosion of organized visual languages: posters, advertising, and mass media” Confronting materialism, consumerism, militarism, nationalism (444) Niki de Saint-Phalle, Shooting Picture, 1961 *** Niki de Saint Phalle, Objekt, 1961 Jean Tinguely, Homage to New York, 1960*** Arman, Long Term Parking, 1982*** Cesar, The Yellow Buick, 1961 Mimmo Rotella, Minuit, 1962 Kurt Schwitters, Man soll nicht asen mit Phrasen, 1930 Mimmo Rotella, Marilyn, 1962*** “Marilyn Monroe Doctrine” (444) Mimmo Rotella, Made in Italy, 1963 Jacques de Villegle, 14 Juillet, Décembre, 1961 Jacques de Villegle Martial Raysse , High Voltage Picture, 1965 Martial Raysse, Tableau dans le style Francais, “Installation Art” 1965 Piero Manzoni, Artist’s Breath, 1960 Piero Manzoni, Merde d'artista, 1961*** Piero Manzoni, Achrome, 1959*** Christo, Package, 1961*** Christo, Look, 1965 Christo and Jean-Claude, Wrapped Kunsthalle, 1968*** Fluxus “If man could experience the world, the concrete world surrounding him (from the mathematical ideas to physical matter) in the same way he experiences art, there would be no need for art, artists and similar ‘non-productive’ element” -George Maciunas, FLUXUS founder George Maciunas and Billy Hutching, Fluxus wedding, 1978 George Maciunas, Dick Higgins, Wolf Vostell, Benjamin Patterson & Emmett Williams perform Phillip Corner’s “Piano Activities”, Fluxus International Festival, 1962 George Maciunas, Fluxus Kit, 1963 Joseph Beuys, I like America and America likes me, 1972 Thinking Forms Spoken Forms Social Sculpture “Everyone is an artist” Joseph Beuys, How to explain pictures to a dead hare, 1965*** Joseph Beuys, The Pack, 1969*** Yoko Ono, Cut Piece, 1965 18.19*** Yoko Ono, Yes, 1966 .

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Allan Kaprow: the Happenings Are Dead, Long Live the Happenings
1 ALLAN KAPROW: THE HAPPENINGS ARE DEAD, LONG LIVE THE HAPPENINGS Happenings are today's only underground avant-garde. Regularly, since 1958, the end of the Happenings has been announced--always by those who have never come near one--and just as regularly since then, Happenings have been spreading around the globe like some chronic virus, cunningly avoiding the familiar places and occurring where they are least expected. "Where Not To Be Seen: At a Happening," advised Esquire Magazine a year ago, in its annual two-page scoreboard on what's in and out of Culture. Exactly! One goes to the Museum of Modern Art to be seen. The Happenings are the one art activity that can escape the inevitable death-by-publicity to which all other art is condemned, because, designed for a brief life, they can never be over-exposed; they are dead, quite literally, every time they happen. At first unconsciously, then deliberately, they played the game of planned obsolescence, just before the mass media began to force the condition down the throats of the standard arts (which can little afford the challenge). For the latter, the great question has become "How long can it last?"; for the Happenings it always was "How to keep on going?". Thus, "underground" took on a different meaning. Where once the artist's enemy was the smug bourgeois, now he was the hippie journalist. In 1961 I wrote in an article, "To the extent that a Happening is not a commodity but a brief event, from the standpoint of any publicity it may receive, it may become a state of mind.
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Everything is art, 1961, 33.5 x 162 cm, The Musée Maillol reopens with an exhibition by Ben acrylic on wood, Ben’s personal collection. TOUT EST ART ? * * IS EVERYTHING ART ? BEN AT THE MUSÉE MAILLOL Ben takes possession of the newly reopened Musée Maillol for the first large-scale exhibition devoted to the artist in Paris. Bringing together over 200 artworks principally from the artist’s own personal collection, as well as private collections, this retrospective, which features several previously unseen installations, provides the public with an insight into the multiple and complex facets of this iconoclastic, provocative and prolific artist, an advocate of the non-conformist and the alternative for over 50 years. This exhibition devoted to Ben is part of a new programme of exhibitions put in place by Culturespaces at the Musée Maillol which will reopen its doors in September after 18 months of renovation work. In the late 1950s, Benjamin Vautier (b. 1935) more widely known as Ben, declared: ‘I sign everything’. This statement, corroborated by his images and actions, illustrates his belief that the world and indeed art, is a whole, and that everything constitutes art. Each phrase, however brief, reveals a meditation on important issues such as truth in art, the role of the artist in society and the relationship between art and life itself. His ‘écritures’ or written texts reflect his own personal questions and bear testimony to a critical spirit that is quick to question everyone and everything, including himself. Inspired by Marcel Duchamp’s ready-mades, Ben has systematically perpetuated the notion that a work of art is recognizable not by its material content, but by its signature alone.
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ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY of FLORIDA
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UCLA Paroles gelées Title In Defense of Civilisation: Modernism, Anti-Americanism and the Struggle for Cultural Identity in French Art (1953- 1968) Permalink https://escholarship.org/uc/item/3mp2s8n5 Journal Paroles gelées, 23(1) ISSN 1094-7264 Author Vogl, Rhiannon Publication Date 2007 DOI 10.5070/PG7231003172 Peer reviewed eScholarship.org Powered by the California Digital Library University of California In Defense of Civilisation In Defense of Civilisation: Modernism, Anti-Americanism and the Struggle for Cultural Identity in French Art (1953- 1968) Rhiannon Vogl, Carleton University Modernism and modernity have long been synonymous with national and cultural identity in France. In Paris, "the absolute sovereignty of Modernism is ushered in around 1910 by a rupture with the classical and traditional vocabulary: the divine and the human, the city, history, paternity. The reign is consolidated after World War I with Cubism, abstract art and the rise of the Bauhaus" (Lefebvre 1-2). World-renowned as the centre of creative innovation, Paris at the dawn of the twentieth century stood as the urban hub of intellectual and artistic development, symbolized by the power and grace of the Eiffel tower and the cosmopolitan city's burgeoning avant-garde. The end of the Second World War marked a dramatic shift away from this notion of Paris as the cultural capital of the world; with the onset of the Cold War and the rise of the United States as the new purveyor of modernity as both the international economic and political leaders, France's position as the cultural centre of the developed world came greatly under threat.
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Sigmar Polke Born 1941 in Oels, Silesia
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Raysse Press Release
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