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!!GEORGE MACIUNAS {br}{br} In 1973 Maciunas announced his intention to design a grand art history chart, an exhaustive chronicle of Fluxus that would also narrate the movement’s origins since the beginning of performance-based art. Later that year he produced the breathtakingly detailed Diagram of Historical Development of Fluxus and Other 4 Dimentional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms, which he called, simply, “the chart.” Maciunas’s chart—which he never considered complete—reveals not only the history of Fluxus but also an ambitious reckoning with modernism and its legacy. {small}''(From http://www.moma.org/interactives/exhibitions/2013/charting_fluxus/ )''{/small} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1962_maciunas_1p.jpg\|../files/articles/lamonteyoung/1962_maciunas_1.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas, "Space projected in time GRAPHIC MUSIC / Time projected in space MUSIC THEATRE", ca. dec. 1961{/cap}{/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1962_maciunas_2p.jpg\|../files/articles/lamonteyoung/1962_maciunas_2.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas, "Space projected in 2 dim. space POETRY GRAPHICS / Space projected in time GRAPHIC MUSIC / Time projected in space MUSIC THEATRE", ca. 1962{/cap}{/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1962_maciunas_3p.jpg\|../files/articles/lamonteyoung/1962_maciunas_3.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas, "Expanded Arts Diagram", back page of "Fluxfest Sale" (New York, 1966){/cap}{/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1973_maciunas_chart_small.jpg\|../files/articles/lamonteyoung/1973_maciunas_chart_big.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas, "Diagram of Historical Development of Fluxus and Other 4 Dimentional, Aural, Optic, Olfactory, Epithelial and Tactile Art Forms", (Incomplete), annotated by Alison Knowles, 1973 (The Gilbert and Lila Silverman Fluxus Collection Archives in The Museum of Modern Art Archives){/cap}{/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}George Maciunas, "Fluxus (Its historical development and relationship to Avant-Garde movements)", 1966{/cap}{/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/maciunas_redchart.jpg]\| {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1965_maciunas_fluxmanifesto.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas, "Flux Manifesto on Flux Art Amusement", 1965{/cap}{/small}\| \|t \|t \|t \|t \|t {small}'''ART{br}{br}To justify artist's professional, parasitic and elite status in society,{br}he must demonstrate artist's indispensability and exclusiveness,{br}he must demonstrate the dependability of audience upon him,{br}he must demonstrate that no one but the artist can do art.{br}{br}Therefore, art must appear to be complex, pretentious, profound,{br}serious, intellectual, inspired, skillful, significant, theatrical,{br}It must appear to be caluable as commodity so as to provide the{br}artist with an income.{br}To raise its value (artist's income and patrons profit), art is made{br}to appear rare, limited in quantity and therefore obtainable and{br}accessible only to the social elite and institutions'''{/small}\|t \|t \|t \|t \|t {small}'''FLUXUS ART-AMUSEMENT{br}{br}To establish artist's nonprofessional status in society,{br}he must demonstrate artist's dispensability and inclusiveness,{br}he must demonstrate the selfsufficiency of the audience,{br}he must demonstrate that anything can be art and anyone can do it.{br}Therefore, art-amusement must be simple, amusing, upretentious,{br}concerned with insignificances, require no skill or countless{br}rehersals, have no commodity or institutional value.{br}{br}The value of art-amusement must be lowered by making it unlimited,{br}massproduced, obtainable by all and eventually produced by all.{br}{br}Fluxus art-amusement is the rear-guard without any pretention{br}or urge to participate in the competition of "one-upmanship" with{br}the avant-garde. It strives for the monostructural and nontheatrical{br}qualities of simple natural event, a game or a gag. It is the fusion{br}of Spikes Jones Vaudeville, gag, children's games and Duchamp.'''{/small}\| {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/maciunas_yearbox1.jpg]{br}[../files/articles/lamonteyoung/maciunas_yearbox2.jpg]{br}[../files/articles/lamonteyoung/maciunas_yearbox3.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas, "Fluxus Year Boxes" (1962){/cap}{/small}\| {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/maciunas_photo.jpg]\| {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1962_maciunasp.jpg\|../files/articles/lamonteyoung/1962_maciunas.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas, Dick Higgins, Wolf Vostell, Benjamin Patterson, Emmett Williams performing Phillip Corner’s "Piano Activities" at Fluxus Internationale Festspiele Neuester Musik, Wiesbaden (1962){/cap}{/small}\| {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/maciunas_photo2p.jpg\|../files/articles/lamonteyoung/maciunas_photo2.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}{/cap}{/small}\| {br}{br} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl [../files/articles/lamonteyoung/1966_maciunasp.jpg\|../files/articles/lamonteyoung/1966_maciunas.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl {small}{cap}George Maciunas performing for self-exposing camera, New York in 1966{/cap}{/small}\| {br}{br} {br}{br} ----
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