Fluxus

A selection of general literature on Fluxus that guides our research:

  • Allsopp, Ric, Ken Friedman and Owen Smith, eds. 2002. Performance Research: On Fluxus, Vol. 7, No. 3 (September).
  • Anderson, Simon. 1983. Fluxus: Early Years and Close Correspondences. MA thesis, Royal College of Art, London.
  • Armstrong, Elizabeth. 1993. “Fluxus and the Museum.” In In the Spirit of Fluxus, edited by Elizabeth Armstrong and Joan Rothfuss, 13-21. Minneapolis: Walker Art Center.
  • Baas, Jacquelynn. 2011. Fluxus and the Essential Questions of Life. Chicago: University of Chicago Press.
  • Becher, Jürgen, and Wolf Vostell, eds. 1965. Happenings, Fluxus, Pop Art, Nouveau Réalisme. Hamburg, Germany: Rowohlt.
  • Block, René. 1983. 1962 Wiesbaden Fluxus 1982: Eine kleine Geschichte von Fluxus in drei Teilen. Wiesbaden, Germany: Harlekin Art.
  • Block, René, and Tobias Berger. 2002. “What Is Fluxus?” In What’s Fluxus? What’s Not! Why / O que é Fluxus? O que não é! O porquê, edited by Jon Hendricks, 38–43. Rio de Janeiro: Centro Cultural Banco do Brasil; Detroit, Michigan: Gilbert and Lila Silverman Fluxus Collection.
  • Blom, Ina. 1993. The Intermedia Dynamics: An Aspect of Fluxus. MA thesis, University of Oslo.
  • Daniels, Dieter. 1991. “Vier Fragen an John Cage.” Fluxus—Ein Nachruf zu Lebzeiten, Kunstforum, Nr. 115: 214.
  • Decker, Edith. 1988. Paik Video. Cologne: DuMont.
  • Dezeuze, Anna. 2016. “Brecht for Beginners.” In George Brecht Events: A Heterospective, edited by Alfred Fischer, 20-32. Ludwig Museum: Cologne.
  • Dezeuze, Anna. 2014. “Origins of the Fluxus Score.” Performance Research: A Journal of the Performing Arts, Vol. Nr. 7, 3:78-94.
  • Dörstel, Wilfred, Rainer Steinberg, and Robert von Zahn. 1992 “The Bauermeister Studio: Proto-Fluxus in Cologne 1960–62.” In Fluxus Virus, edited by Christel Schüppenhauer, 56–67. Cologne: Gallery Schüppenhauer.
  • Dumet, Marie. 2017. Corporate Imaginations: Fluxus Strategies for Living. Oakland: University of California Press.
  • Flynt, Henry. “Concept Art.” 1963. In An Anthology of Chance Operations, Indeterminacy, Improvisation, Concept Art, Anti-Art, Meaningless Work, Natural Disasters, Stories, Diagrams, Music, Dance, Constructions, Compositions, Mathematics, Plans of Actions, edited by La Monte Young, n.p. New York: La Monte Young and Jackson Mac Low.
  • Filliou, Robert. “GOOD-FOR-NOTHING-GOOD-FOR-EVERYTHING (c. 1962).” In Theories and  Documents of Contemporary Art: A Sourcebook of Artists’ Writings, edited by Kristine Stiles and Peter Howard Selz, 854. Berkeley: University of California Press, 2012.
  • Friedman, Ken, ed. 1988. The Fluxus Reader. Chichester: Willey and Sons.
  • Feldman, Julia Pelta. 2011. “Perpetual Fluxfest: Distinguishing Artists’ Records from Artworks in the Gilbert and Lila Silverman Fluxus Collection Archives.” In Artists’ Records in the Archives: Symposium Proceedings, 31–34. New York.
  • Harren, Natilee. 2020. Fluxus Forms: Scores, Multiples, and the Eternal Network. Chicago and London: The University of Chicago Press.
  • Harren, Natilee. 2022. “The Eternal Metabolic Network: Fluxus, Food, and Ecofeminism.” In Living Matter: The Preservation of Biological Materials in Contemporary Art, edited by Kendra Roth and Rachel Rivenc, 55–63. Los Angeles: Getty Conservation Institute.
  • Hendricks, Jon, ed. 1981. Fluxus Etc.: The Gilbert and Lila Silverman Fluxus Collection. Bloomfield Hills, MI: Cranbrook Academy of Art Museum.
  • Hendricks, Jon, ed. 1983a. Fluxus Etc. / Addenda I: The Gilbert and Lila Silverman Collection. New York: Ink & Press.
  • Hendricks, Jon, ed. 1983b. Fluxus Etc. / Addenda II: The Gilbert and Lila Silverman Fluxus Collection. Pasadena: California Institute of Technology and Baxter Art Gallery.
  • Hendricks, Jon, ed. 1988. Fluxus Codex. Detroit: Gilbert and Lila Silverman Fluxus Collection in association with H. N. Abrams, New York.
  • Higgins, Dick. 1967 “Statement on Intermedia (1966).” In De-coll/age, edited by Wolf Vostell. Frankfurt and New York: Typos Verlag and Something Else Press.
  • Higgins, Dick. 1978. A Dialectic of Centuries: Notes towards a Theory of New Arts. New York: Printed Editions.
  • Higgins, Hannah. 1994. Enversioning Fluxus: A Venture into Whose Fluxus Where and When. PhD dissertation, University of Chicago.
  • Higgins, Hannah. 2002. Fluxus Experience, Berkley: University of California Press.
  • Higgins, Hannah. 2022. “Fluxus with Tools.” In Object—Event—Performance: Art, Materiality and Continuity since the 1960s, edited by Hanna B. Hölling. New York: Bard Graduate Center.
  • Higgins, Dick, and Hannah Higgins. 2001. “Intermedia. With an Appendix by Hannah Higgins.” Leonardo, Vol. 34, Nr. 1 (February): 49-54.
  • Holdar, Magdalena. 2023. Fluxus as a Network of Friends, Strangers, and Things : The Agency of Chance Collaborations. Leiden & Boston: Bril.
  • Hölling, Hanna B. 2015. Revisions—Zen of Film. New York and Chicago: Bard Graduate Center, University of Chicago Press.
  • Kellein, Thomas. 1994. Fluxus. Basel: Kunsthalle Basel.
  • Knapstein, Gabrielle. 2002. “Fluxus.” In DuMonts Begriffslexikon zur zeitgenössischen Kunst, edited by Hubertus Butin, 86–90. Cologne: DuMont.          
  • Lushetich, Natasha. 2014. Fluxus and the Practice of Non-Duality. Amsterdam/New York: Rodopi.
  • Maciunas, George and Larry Miller. 1983. “Transcript of the Videotaped Interview with George Maciunas, March 24, 1978 by Larry Miller.” In Fluxus Etc. /Addenda I: The Gilbert and Lilia Silverman Collection, edited by Jon Hendricks. New York: Ink & Press.
  • Miller, Larry and George Maciunas. 1983. “Transcript of the Videotaped Interview with George Maciunas by Larry Miller, March 24, 1978,” in Addenda I, 10–28.
  • Hendricks, Jon. 2013. “Watch Out! All Is Not What It Seems to Be.” MoMA’s Post: Notes on Modern and Contemporary Art around the Globe, February 15, 2013, accessed May 20, 2020.
  • Elligott, Michelle, Miki Kaneda, Julia Pelta Feldman, Gretchen Wagner, 2013. “Archival Workshop at MoMA.” MoMA’s Post: Notes on Modern and Contemporary Art around the Globe, February 15, 2013, accessed May 20, 2020.
  • Phillpot, Clive. 1988. “Fluxus: Magazines, Manifestos, Multum in Parvo.” In Fluxus: Selections from the Gilbert and Lila Silverman Collection, edited by Clive Phillpot and Jon Hendricks, 9–16. New York: Museum of Modern Art.
  • Phillpot, Clive, and Jon Hendricks, eds. 1988. Fluxus: Selections from the Gilbert and Lila Silverman Collection. New York: Museum of Modern Art.
  • Richter, Dorothee. 2011. “Fluxus: Kunst gleich Leben? Mythen um Autorschaft, Produktion, Geschlecht und Gemeinschaft.” PhD dissertation, University of Bremen.
  • Riegl, Alois. 1903. Der moderne Denkmalkultus, seine Wesen und seine Entstehung. Wien und Liepzig, W. Braumüller.
  • Robinson, Julia. 2008/9. “From Abstraction to Model: George Brecht’s Events and the Conceptual Turn in the Art of the 1960s” October No. 27 (Winter).
  • Robinson, Julia. 2008/9. “From Abstraction to Model: George Brecht’s Events and the Conceptual Turn in the Art of the 1960s.” PhD dissertation, Princeton University.
  • Robinson, Julia. 2008. “Maciunas as Producer: Performative Design in the Art of the 1960s.” Grey Room, No. 33 (Fall): 56-83.
  • Ruhé, Harry. 1976. Fluxus: The Most Radical and Experimental Art Movement of the Sixties. Amsterdam:“A.”
  • Schüppenhauer, Christel. 1992. Fluxus Virus. Cologne: Gallery Schüppenhauer.
  • Shop, Caroline Lilian. 2018. “Active Duty.” Artforum International, Vol. 56, No. 6 (February): 167-173.
  • Schmidt-Burkhardt, Astrit, ed. 2003. Maciunas’ Learning Machines: From Art History to Chronology of Fluxus. Berlin: Gilbert and Lila Silverman Fluxus Collection / Vice Versa, Berlin.
  • Smith, Owen. 1998. “Developing a Fluxable Forum.” In Friedman, The Fluxus Reader, 3–21.
  • Sohm, Hans, ed. 1970. Happening und Fluxus: Materialien. Cologne: Kölnischer Kunstverein.
  • Spielmann, Ivonne. 2005. “History and Theory of Intermedia in Visual Culture.” In Intermedia: Enacting the Liminal, edited by Hans Breder, Klaus-Peter Busse, 131-138. Dortmund: Dortmunder Schrifte zur Kunst.
  • Zycherman, Lynda A. 1995. “Is Fluxus Fluxing and/or Should it be Conserved?” In From Marble to Chocolate: The Conservation of Modern Sculpture, edited by Jackie Heuman, 121-129. London: Archetype Publications Ltd.
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