Female Iconoclasts: Yoko Ono
Articles and Features
By Shira Wolfe
&#;Art is like breathing for me. If I don&#;t do it, I start to choke.&#;
Yoko Ono
Who is Yoko Ono?
Artland’s article series “Female Iconoclasts” celebrates female artists who were among the most boundary-breaking iconoclasts of our time; women who defied social conventions in order to pursue their passion and contribute their unique vision to society. The focus of this week’s edition is Yoko Ono, the famous multidisciplinary contemporary artist, but also musician and peace activist who made significant contributions to Fluxus, conceptual art and performance art. Her “Bed-in for Peace” with late husband John Lennon remains one of the most famous performative peace actions of all time, and her feminist messages continue to inspire people around the world today.
Biography of Yoko Ono
Event Scores and Instruction Paintings
Yoko Ono was born into a wealthy banking family in Tokyo in Her father had been a concert pianist but gave this life up to become a banker. Ono herself studied piano from a young age and in when her family moved to the United States, she enrolled at Sarah Lawrenc
Summary of Fluxus
Emerging in the s and operating globally, Fluxus was an interdisciplinary and experimental approach to art that emphasized blending different artistic media and breaking down traditional boundaries between art and everyday life. Fluxus artists encouraged a playful and open-minded approach to art-making, creating a wide range of unconventional works, often using ordinary objects and actions to challenge traditional notions of art and engage audiences in interactive experiences. George Maciunas, the primary founder and organizer of the movement, described Fluxus as, "a fusion of Spike Jones, gags, games, Vaudeville, Cage and Duchamp".
While the vast majority of Fluxus artists conformed to some, if not all, of the main themes of the movement, many held contrasting ideals and different individuals viewed Fluxus in different ways, leading to significant variation. As filmmaker George Brecht stated, "In Fluxus there has never been any attempt to agree on aims or methods; individuals with something unnamable in common have simply coalesced to publish and perform their work." For some Fluxus artists, even the act of defining the movement was seen as restrictive and
Manifesto I
FLUXUS: MAGAZINES, MANIFESTOS, MULTUM IN PARVO
By Clive Phillpot
George Maciunas’ choice of the word Fluxus, in October , as the title of a magazine for a projected Lithuanian Cultural Club in New York, was too good to let go when that circumstance evaporated. In little more than a year, by the end of , he had mapped out the first six issues of a magazine, with himself as publisher and editor-in-chief, that was scheduled to appear in February and thereafter on a quarterly basis, to be titled Fluxus.
The projected magazine might well have provided a very interesting overview of a culture in flux. Maciunas planned to include articles on electronic music, anarchism, experimental cinema, nihilism, happenings, lettrism, sound poetry, and even painting, with specific issues of the magazine focusing on the United States, Western Europe, Eastern Europe, and Japan. Although its proposed contents reflected a contemporary sensibility, its emphasis on the publication of essays on those topics suggests that the magazine would have been relatively conventional in presentation. But the seeds of the actual Fluxus magazine that was eventually published were nonetheless pre
Summary of George Maciunas
George Maciunas was a figurehead, organizer, and galvanizing force more than an artist in the conventional sense. However, he also helped to bring about a radical shift in our perceptions of what art was and could be which meant that the activities he undertook came to be viewed as inherently artistic in and of themselves. The primary polemicist, in-house critic and curator of the Fluxus movement, Maciunas surpassed his Dada influences by proselytizing for a form of art entirely integrated with everyday life, such that the boundaries between the two could not be fixed. He also helped to devise many of the media and means of production - from the modern artists' co-op to the idea of the Happening - which made that mode of creativity possible. In this sense, his influence on the contemporary art world cannot be overstressed. It is evident in the work of many of the commercial behemoths of contemporary art, from Marina Abramović'sbody art to Damien Hirst's advertising-as-art philosophy.
Accomplishments
- George Maciunas was the driving force behind the Fluxus movement: a fact for which he is not always credited, partly because of the movement's very e
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