Fluxus Experience

This work explores the influential art movement Fluxus. Daring, disparate and 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 favoured 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); and to the lessons of Fluxus art for pedagogy in general.