This seminal book outlines Porter’s ideas for a union of science and art, which he dubbed “Sciart.” In it he proposes wild and revolutionary improvements to, as well as new uses for, books, poetry, clothing, theater, architecture, art, food, toys, and automobiles

Frutto della collaborazione tra l’Accademia di Belle Arti di Brera (Milano) e la Fondazione Bonotto (Colceresa), questo libro raccoglie, per la prima volta in una monografia in lingua italiana, una significativa selezione di testi, pubblici e privati, di George Maciunas (1931-1978), iniziatore del celebre movimento Fluxus. La selezione – a cura di Patrizio Peterlini e Angela Sanna – comprende manifesti, newsletter, testi teorici, event scores, opere, lettere, scritti relativi al progetto Fluxhouse Cooperatives e si conclude con l’intervista di Charles Dreyfus Pechkoff. Elaborate fra il 1962 e il 1978, ossia tra la pubblicazione del primo manifesto Fluxus e la scomparsa dell’autore, queste pagine evidenziano gli aspetti fondanti del movimento, di cui Maciunas rivendicò inutilmente la paternità, oltre all’impegno assiduo da lui profuso a organizzarlo, promuoverlo, animarlo. Con altrettanto impegno e fervore Maciunas, fin da giovane, si consacrò alla scrittura, lasciando emergere una personalità colta, complessa, ironica, anticonformista. Incontriamo qui Walter De Maria, Dick Higgins, La Monte Young, Larry Miller, Nam June Paik, Yoko Ono e moltissimi altri artisti e musicisti con cui Maciunas ebbe rapporti intensi, di collaborazione e di amicizia. Fondamentale inoltre fu l’importanza che ebbe per lui l’Italia, come molti scritti qui raccolti testimoniano.

Exhibition catalogue published in conjunction with Art Metropole’s 10th Anniversary exhibition held November 17 – December 8, 1984. Designed by AA Bronson. Text by AA Bronson, John Goodwin, Christina Ritchie, and Peggy Gale. Includes an exhibition checklist and an Art Metropole chronology from 1974 – 1984. Indexes works by: Vito Acconci, Vincenzo Agnetti, Shelagh Alexander, Laurie Anderson, Carl Andre, Ant Farm, Eleanor Antin, Ida Applebroog, Shusaka Arakawa, Ryan Arnott, Robert Ashley, David Askevold, Alice Aycock, John Baldessari, Robert Barry, Carole Gallagher, Luciano Bartolini, Lothar Baumgarten, Joseph Beuys, Caroline Tisdall, Dara Birnbaum, Mel Bochner, Alighiero Boetti, Christian Boltanski, Pierre Boogaerts, Jonathan Borofsky, Brad Brace, George Brecht, Hans Breder, Marcel Broodthaers, Stanley Brouwn, David Buchan, Hank Bull, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Richard C., Miriam Cahn, John Cage, Ulises Carrion, James Casebere, Sarah Charlesworth, Sandro Chia, Giuseppe Chiari, Robert Christo, Collective Chromazone, Heinz Cibulka, Francesco Clemente, James Collins, Claudio Costa, Robert Cumming, Greg Curnoe, Hanne Darboven, Lowel D. Darling, Juan Da Villa, Constance De Jong, Tom Dean, Mario Diacono, Antonio Dias, Jan Dibbets, Martin Disler, Jean Dubuffet, Marcel Duchamp, Mary Beth Edelson, Kit Edwards, Felipe Ehrenberg, Valie Export, Hans-Peter Feldmann, Robert Filliou, A.M. Fine, Hervé Fischer, Joel Fisher, Copp Fletcher, Robert Fones, Ken Friedman, Hamish Fulton, Phillip Galgiani, Eldon Garnet, Gilbert and George, Jochen Gerz, Michael Gibbs, Jon Gibson, Oliver Girling, Randy Gledhill, Tom Graff, Dan Graham, John Greer, Walther Gutman, Hans Haacke, Dieter Hacker, Noel Harding, Keith Haring, Stephen Harris, Matt Harley, Michael Heizer, Gerard Hemsworth, Jan Herman, Geoff Hendricks, Dick Higgins, Susan Hiller, Hans Hollein, Jenny Holzer, Rebecca Horn, Douglas Huebler, Sonja Ivekovic, Jasper Johns, Ray Johnson, Joe Jones, On Kawara, Anselm Kiefer, Kijkhuis, Yves Klein, John Knight, Richard Kostelanetz, Joseph Kosuth, Jannis Kounellis, Les Krims, David Lamelas, Bernard Lassus, Vera Lemecha, Les Levine, Sol LeWitt, Tina Lhotsky, Roy Lichtenstein, Colin Lochhead, Richard Long, Robert Longo, Nino Longobardi, Urs Luthi, George Maciunas, Allan Mackay, David MacWilliam, Paul Maenz, Arnaud Maggs, Liz Magor, John Massey, Hansjorg Mayer, Bruce McLean, Sandra Meigs, Mario Merz, Eric Metcalfe, Phillip Monk, Michael Morris, Muntadas, Ian Murray, Norman Ogue Mustill, Maurizio Nannucci, Opal L. Nations, Bruce Nauman, Linda Neaman, Al Neil, Hermann Nitsch, Barbara Noah, Arlene Golant, Claes Oldenburg, Luigi Ontani, Dennis Oppenheim, Nam June Paik, Giulio Paolini, Andy Patton, Steve Paxton, A.R. Penck, Giuseppe Penone, Bern Porter, Royden Rabinowitch, Marcus Rätz, Steve Reich, Lothar Reiners, James Riddle, David Rosenberg, Martha Rosler, Dieter Rot, Ed Ruscha, Lawerence Weiner, Reiner Ruthenbeck, Jim de Sana, Lucas Samaras, Bernd Schmitz, Carolee Schneemann, Rudolf Schwarzkogler, Kurt Schwitters, Tom Sherman, Chieko Shiomi, Seth Siegelaub, Jack Wendler, Michael Snow, Valerie Solanas, Daniel Spoerri, Klaus Staeck, Ernesto Tatafiore, Paul Thek, Edwin Klein, Vincent Trasov, John Mitchell, Richard Tuttle, Cy Twombly, Ulay, Roland Van Den Berghe, M. Vaughan-James, Ben Vautier, Bernar Venet, Claudio Verna, Wolf Vostell, Martin Walde, Jeff Wall, Duane Lunden, Ian Wallace, Andy Warhol, Robert Watts, George Whiteside, Robert Wiens, Stephan Willats, Emmett Williams, Martha Wilson, Robert Wilson, Ludwig Wittgenstein, Krzysztof Wodiczko, Va Wölfl, Peter Wronski, Donna Wyszomierski, Keigo Yammamoto, La Monte Young, and R. Zybert.

Edited by Lawrence Kumpf with Joe Bucciero and Mark Harwood. Contributors include Henning Christiansen, Thomas Groetz, Diedrich Diederichsen, Dick Higgins, Lars Morell, Per Kirkeby, Bjørn Nørgaard, Helmer Nørgaard, Thorbjørn Reuter Christiansen, Anton Lukoszevieze, Hans-Jørgen Nielsen, Michael Glasmeier, Ute Wassermann, Stíne Janvin Motland, Mark Harwood, Lucy Railton, Graham Lambkin, Áine O’Dwyer, Lia Mazzari, Ursula Reuter Christiansen, Francesco Conz, and Emily Harvey. The third issue of Blank Forms’ journal is released in conjunction with Freedom is Around the Corner, a retrospective exhibition and performance series devoted to the work of pioneering Danish composer and artist Henning Christiansen (1932–2008). Perhaps best known for his collaborations and artistic affinities with notable artists such as Joseph Beuys and Fluxus members like Nam June Paik and Dick Higgins, Christiansen, who worked primarily on the remote Danish island of Møn, moved beyond his Fluxus roots to create a vast, often ineffable body of work that spanned music, performance, film, and visual art over the course of a fifty-year career. Yet Christiansen’s work has remained under the radar, even in the ten years following his death: only a few of his recordings were available until recently, and his prolific compositional and visual outputs have rarely been performed or exhibited in the United States. Freedom is Around the Corner—the exhibition, the performance series, and the journal—seeks to present Christiansen’s life and work in a holistic manner that befits his dynamic practice. Like previous issues of the Blank Forms journal, Freedom is Around the Corner collects a combination of newly discovered, never-before published, and newly translated materials; in this case, many of the materials were found in the Henning Christiansen Archive during the exhibition’s curatorial process. The issue begins with the first of four newly translated interviews with Christiansen himself, conducted circa 2006 by the German writer Thomas Groetz. Two others, conducted by Francesco Conz and Michael Glasmeier in the 1990s, come later in the issue; together these three interviews, which had only existed as audio recordings before, offer a well-rounded picture of the late-career Christiansen through his own, good-humored lens. The fourth interview, a more experimental text conducted by Helmer Nørgaard, was originally published in Danish in the magazine DMT, in a 1986/87 issue devoted to Christiansen. In this issue we’ve created a translated facsimile of that DMT issue, which also featured texts on Christiansen by his prominent Danish collaborators, the writer Lars Morell and the artists Per Kirkeby and Bjørn Nørgaard. We hear from other Christiansen collaborators through correspondence—including in transcribed letters from Emily Harvey and Dick Higgins, whose messages to and from Christiansen were recently discovered in the Archive—and through interviews, including newly conducted interviews with his wife and longtime collaborator, Ursula Reuter Christiansen; Bjorn Nørgaard, who spoke with Christiansen’s son Thorbjørn Reuter Christiansen; and later musical collaborators Werner Durand and Ute Wassermann. Except Nørgaard, these collaborators will all speak or perform as part of the Freedom is Around the Corner programming; a section of this issue features many of the other performers as well, younger artists who have grappled with Christiansen’s legacy. Represented through interviews (Lucy Railton), original artworks (Graham Lambkin, Áine O’Dwyer, Stíne Janvin), and essays (Mark Harwood, Anton Lukoszevieze of Apartment House), these artists demonstrate the lasting and diverse impact of Christiansen’s work on today’s musical landscape. Lukoszevieze’s essay introduces a newly translated libretto for Dejligt vejr i dag, n’est-ce pas, Ibsen, a 1964 opera with music by Christiansen and libretto by Hans-Jørgen Nielsen which Apartment House, commissioned by Blank Forms, will perform twice during the run of the exhibition. Taken together—and even more, in conjunction with the exhibition and performances—the texts in this journal provide an in-depth look, previously unavailable, especially in the United States, at a towering but overlooked figure in the postwar musical as well as artistic avant-garde. Support for Freedom is Around the Corner comes from the Nordic Culture Point, the Nordic Culture Fund, Snyk, the Danish Arts Foundation, the Royal Norwegian Consulate, Goethe-Institut, the Danish Consulate General, Music Norway, and Ultima Contemporary Music Festival

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 1950s 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. Higgins examines these two setups to bring to life the Fluxus experience, how it works, and how and why it’s important. She does so by moving out from the art itself in what she describes as a series of concentric circles: to the artists who create Fluxus, to the creative movements related to Fluxus (and critics’ and curators’ perceptions and reception of them), to the lessons of Fluxus art for pedagogy in general. Although it was commonly associated with political and cultural activism in the 1960s, 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. 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 1950s 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. Higgins examines these two setups to bring to life the Fluxus experience, how it works, and how and why it’s important. She does so by moving out from the art itself in what she describes as a series of concentric circles: to the artists who create Fluxus, to the creative movements related to Fluxus (and critics’ and curators’ perceptions and reception of them), to the lessons of Fluxus art for pedagogy in general. Although it was commonly associated with political and cultural activism in the 1960s, 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.

Artists: Eric Andersen Ay-0 Jeff Berner Joseph Beuys George Brecht John Chick Henning Christiansen Robert Filliou Albert M. Fine Henry Flynt Ken Friedman Karl Gerstner AI Hansen Bici Hendricks Geoffrey Hendricks Hi Red Center Dick Higgins Davi Det Hompson Alice Hutchins Jack Coke’s Farmer’s Co-op Joe Jones Per Kirkeby Jane Knizak Milan Knizak Alison Knowles Takehisa Kosugi Shigeko Kubota Carla Liss George Maciunas Larry Miller Olivier Mosset Claes Oldenburg Yoko Ono Nam June Paik Benjamin Patterson Jock Reynolds Willem de Ridder James Riddle Dieter Roth Takako Saito Tomas Schmit Carolee Schneemann Mieko (Chieko) Shiomi Gianni-Emilio Simonetti Daniel Spoerri André Thomkins Jan van der Marck Ben Vautier Wolf Vostell Yoshimasa Wada Robert Watts Emmett Williams La Monte Young

The first ever Fluxus performance took place 50 years ago as part of the International Fluxus Festival of the Newest Music at the Museum Wiesbaden. Now this key moment is being revived here. Within the framework of the jubilee festival, FLUXUS AT 50 aims to reconstruct and reappraise this performance, musical and artistic movement. This catalogue presents Fluxus stories, motifs and methods using objects, musical scores and images from that period. Reworking the original festivals led to the exposure of a lot of myths, but it still didn’t detract from the fascination of the Fluxus idea in itself, which back then spread out from Wiesbaden to change the world Artists Alison Knowles, Ben Patterson, Ben Vautier, Dick Higgins, Emmett Williams, Geoffrey Hendricks, George Brecht, George Maciunas, Joe Jones, Joseph Beuys, Milan Knizak, Nam June Paik, Philipp Corner, Robert Fillou, Takako Saito, Wolf Vostell

Exhibition catalogue published in conjunction with the nine month traveling Fluxshoe exhibition from 1972 to 1973. Includes contributions by Joseph Beuys, George Brecht, Robert Filliou, Dick Higgins, Yoko Ono, Endre Tot, Ben Vautier, Wolf Vostell, Henry Flynt, Jean-Claude Moineau, Carolee Schneemann, Robin Crozier, Mick Gibbs, Joe Jones, Giuseppe Chiari, and many others. Introduction by Kyosan Bajin. All text in English.

Originally published in 1972 by the Nigel Greenwood Gallery, Book as Artwork 1960/1972 was the first catalogue devoted to the then new medium of the artist’s book and it remains a canonical reference (though one that, due to its scarcity, is not as well known as it should be). This publication started as an article and a list of about 80 artists’ books which appeared in 1970 in the first issue of the Italian magazine Arte. Not long after it was translated and published in Interfunktionen. Then in 1972 the Nigel Greenwood Gallery in London mounted an exhibition of artists’ books and issued a catalogue with an updated text by Celant and a greatly expanded bibliography (now nearly 300 titles) jointly compiled by Celant and Lynda Morris. The exhibition was the first of its kind and the catalogue a genuinely historic publication. Grounded in the media studies of Marshall McLuhan and philosophical writings of Herbert Marcuse, Celant’s analysis of the medium has the feeling of a definitive statement. He lays out exactly what makes the medium important while noting the historical trends and key individuals that led to its rapid development after 1960. Significantly, the history Celant wrote in 1972 is much broader than the overly simplistic Dieter-Rot-in-Europe-and-Ruscha-in-America origin myth of the artist’s book that has gained currency since. Besides Ruscha and Rot, Celant’s text emphasizes the early influence of John Cage but he also encompasses into the narrative such disparate or overlooked elements as the Zaj group in Spain and Arte Povera in Italy, as well as work related to Fluxus, Art & Language, Land Art, Pop, Minimalism, Conceptualism, etc. The bibliography includes books that range from the iconic to the virtually unknown by Vito Acconci, Carl Andre, Alison Knowles, Richard Hamilton, Piero Manzoni, Joseph Kosuth, John Latham, Andy Warhol, Bob Law, Yoko Ono, Michelangelo Pistoletto, Henry Flynt, Hanne Darboven, Dan Graham, Dick Higgins, Joel Fisher, Athena Tacha, John Stezaker, Gianfranco Baruchello, Jose Luis Castillejo, Sol Lewitt, Robert Morris, Stanley Brouwn, Edouardo Paolozzi, Bruce Nauman and Bruce McLean, to name just a few of the artists whose work is cited. With this new edition it is possible to regain the perspective of 1972. It was a period when, as Celant describes it, the “the rules used for the identification of the art object were destroyed” and thus “medium became significant in itself.” Artists’ books were emblematic of the new multidisciplinary approach taken by the era’s avant-garde and, as that approach continues to be the predominant mode among artists working today, it is increasingly clear that artists’ books have been, and continue to be, integral to the practice of art in the contemporary era.

This book focuses on Swiss artist John Armleder’s (born 1948) early Fluxus-related works with Ecart, a group Armleder cofounded with Patrick Lucchini and Claude Rychner in Geneva in the late 1960s. The Ecart Group published artists’ books, presented exhibitions and performances, and opened a bookstore/gallery that is considered to be “one of the most important alternative spaces in Europe in the 1970s” (Ken Friedman). Ecart was particularly important in Europe during the 1970s and 1980s, not only as an independent publishing house, but also because it introduced in Switzerland (and sometimes in Europe) a large number of leading artists of the era, including Joseph Beuys and Andy Warhol. Ecart also worked with artists such as Dick Higgins, Lawrence Weiner, Annette Messager, Daniel Spoerri, Giuseppe Chiari, Maurizio Nannucci and Ben Vautier. This volume is co-published with the Charles H. Scott Gallery, Emily Carr Institute of Art & Design, Vancouver.

The journal Source: Music of the Avant-garde was and remains a seminal source for materials on the heyday of experimental music and arts. Conceived in 1966 and published to 1973, it included some of the most important composers and artists of the time: John Cage, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, and many others. A pathbreaking publication, Source documented crucial changes in performance practice and live electronics, computer music, notation and event scores, theater and installations, intermedia and technology, politics and the social roles of composers and performers, and innovations in the sound of music.

Contains contributions by George Brecht, Claus Bremer, Earle Brown, Joseph Bryd, John Cage, David Degener, Walter De Maria, Henry Flynt, Yoko Ono, Dick Higgins, Toshi Ichiyanagi, Terry Jennings Dennis, Ding Dong, Ray Johnson, Jackson Mac Low, Richard Maxfield, Malka Safro, Simone Forti, Nam June Paik, Terry Riley, Dieter Rot [Dieter Roth], James Waring, Emmett Williams, Christian Wolff, and La Monte Young. 2 loose sheets laid in (musical score and perforated sheet); 2 mounted envelopes plus contents (performace scores) are missing.

Described in “The Century of Artists’ Books” as “a journalistic acount of a series of performances of a single piece. The book begins with a description of ‘the identical lunch’ which consists primarily of ‘a tunafish sandwich on wheat toast with lettuce and butter, no mayo, and a large glass of buttermilk or a cup of soup.’ These were eaten ‘many days of each week at the same place and at about the same time.’ After this description, and a reproduction of a restaurant check for the same (total, with tax, $1.68, for two) there follows a series of accounts of the performance of this ‘identical lunch’ by Susan Hartung, John Giorno, Dick Higgins, Vernon Hinkle, and others. Many of these accounts have dates, some identify the place and circumstances and difficulties or rewards of the performance. The accounts are recorded in different formats – perhaps by the original performers – using typewriter, typesetting, handwriting, and so forth. The book collects records of lunches which both are and are not identical” (345-346).

Exhibition catalogue published in conjunction with Prospect 69 held September 30 – October 12, 1969. Conceived of and organized by Konrad Fischer and Hans Strelow. Edited section by Seth Siegelaub incorporates interviews with Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner conducted individually by themselves. rovides an overview of participating galleries and their artists.
Artists include Bernd & Hilla Becher, Hanne Darboven, Jan Dibbets, Bruno Gronen, Michael Heizer, Sol LeWitt, Richard Long, Reiner Ruthenbeck, and Niele Toroni. Additionally includes full-page images or projects by Robert Smithson (Mirror Displacement, Portland Isle, England, 1969), Charles Ross, Markus Raetz, Jean-Frédéric Schnyder, Jannis Kounellis, Eliseo Mattiacci, Stanley Brouwn, Alighero Bottti (1/2 page), Emilio Prini (1/2 page), Giuseppe Penone (1/2 page), Pier Paolo, Calzolari (1/2 page), E.P. Butler (1/2 page), Eric Orr (1/2 page), James Lee Byars (1/2 page), Paul Cotton (1/2 page), Hans Haacke, Lynda Benglis, Ron Cooper, Doug Wheeler, Giorgio Griffa, David Prentice, a double-page centerfold of blue stripes by Daniel Buren, Dennis Oppenheim, ZAJ-Gruppe, Dick Higgins, Joseph Beuys (photo by Ute Klophaus, David Lamelas, and 13 “Information” pages with advertising

References : “Seth Siegelaub : Beyond Conceptual Art” by Leontine Coelewij, Sara Martinetti, Marja Bloem, Julia Bryan-Wilson, Jo Melvin, Götz Langkau, Matilda McQuaid, Alan Kennedy, Seth Siegelaub. Köln and Amsterdam, Germany / Netherlands : Verlag der Buchandlung Walther König / Stedelijk Museum, 2016, pp. 176-179. “Six Years, The Dematerialization of the Art Object from 1966 to 1972 : A Cross-Reference Book of Information on Some Esthetic Boundaries . / edited and annotated by Lucy R. Lippard.” by Lucy R. Lippard. Praeger Publishers Inc., NY / DC : Praeger Publishers Inc., 1973, pp. 113 – 115.

Published from 1967 to 1969 in seven limited mimeographed editions, 0 to 9 was edited by artist Vito Acconci and poet Bernadette Mayer. Seeking to explore the relationship between language and the page, Mayer and Acconci brought together the pioneers of 1960s experimental poetry and conceptual art. Sol LeWitt, Adrian Piper, Dan Graham, Ted Berrigan, Clark Coolidge, Robert Barry, Les Levine, Robert Smithson, Hannah Weiner, Emmett Williams, Dick Higgins, Yvonne Rainer, Aram Saroyan, Bernar Venet, Alan Sondheim and the editors themselves are but a few of the artists and writers who appeared in 0 to 9.~When considered as a whole, the chronological development of 0 to 9 provides a key understanding to, and perhaps the only exhaustive investigation of, the interstices between the concept-driven poetry of the late 60s and the pioneering formation of conceptual art. 0 to 9 was the first to publish the works of Dan Graham and Adrian Piper, as well as Sol LeWitt’s “Sentences on Conceptual Art” and Jackson Mac Low’s first poem series governed by chance operations, the “Biblical Poems.”~0 to 9: The Complete Magazine, 1967-1969 collects early works by more than 70 renowned artists and poets and provides a glimpse into the poetics of Vito Acconci.

The AC Institute is pleased to announce the reissue of “Essaying Essays: Alternative Forms of Exposition” a collection originally compiled and edited by Richard Kostelanetz. First published in 1975, Essaying Essays is a view into the revolutionary aesthetic of the late 1960s and early 1970s. The content of this edition runs the gamut from the avant garde to concrete writing to the Fluxus movement. The wide array of contributors includes Vito Acconci, W.H. Auden, John Baldessari, John Cage, Dick Higgins, Lucy R. Lippard, Ad Reinhardt, Richard Serra and Robert Smithson (in addition to many others). Given that much of what is contained this volume cannot be found elsewhere, the reprinting of this collection will prove to be an important scholarly resource for researchers in this area.

Dispensing with the official role and elitist nature of the conventionally conceived art object, Fluxus artists’ books sought to occupy more clandestine, subversive positions by shirking conventional modes of conception and distribution, breaking all commercial ties and operating as salvos in the struggle to bridge art and life. These books offered artists fuller autonomy in the production of their own work and opportunities for broader distribution, and became central to the amorphous movement. Using inexpensive printing processes such as stenciling, photocopying and offset printing, Fluxus artists became their own publishers, gallerists and curators. As books took on the character of events, expected to do more than merely contain thoughts and images, they exceeded the structure of the traditional book format and mutated into boîtes, containers, binders and boxes. Fluxbooks, the first detailed study of the artist’s book within the Fluxus movement, presents Fluxus as the site of some of the most productive and irreverent transformations of the book medium in art history. Drawing on the Luigi Bonotto Collection and including works by George Maciunas, Wolf Vostell, John Cage, Alison Knowles, Dick Higgins, George Brecht, Allan Kaprow, Jackson Mac Low, Gyürgy Ligeti and many others, this extensively illustrated volume presents the publications with minimal critical commentary, allowing the books themselves to narrate their nature and development.

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