By Bernd Evers, Jon Hendricks, Astrit Schmidt-Burkhardt, George Maciunas
George Maciunas--artist, gallerist, and entrepeneur--is usually credited because the inventor of Fluxus. as well as enhancing and designing the 1st anthology entitled Fluxus in 1960, he additionally provided the paper and funds for printing. by means of 1961 Maciunas had moved from manhattan to Germany to flee his collectors. This publication facilities round 3 dozen diagrams of background designed by means of Maciunas among 1953 and 1973 as a visualization of chronological causality. Maciunas tried in a variety of how you can draw an image of heritage utilizing dates, proof, strains, and vectors--the outcome, as a variety of black and white illustrations all through this quantity testify, is medical and even as artistically attention-grabbing.
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Extra info for Maciunas’ Learning Machines: From Art History to a Chronology of Fluxus
The chronological knowledgescapes which Maciunas completed between 1953 and 1954 were a means of understanding the microhistorical processes of European history (pl. 2, 3, 4). Only the three-part Chronology of Russian History: 867–1950 covered a much more ambitious period of time (pl. 5), and it is here that we see Maciunas trying to grasp history in its totality. Here, his coordination of vast amounts of data at first attempt did not advance beyond the early stages, and was successful only later, after Maciunas had immersed himself in his study of art history at NYU.
But while Reinhardt’s lists were to a large extent based on Julia B. De Forest’s bestselling Short History of Art (New York 1881), we still know relatively little about Maciunas’ reading matter. Most of his encyclopedic knowledge was presumably gained from reference works and books about art history. What we do have are various preparatory studies for an art history diagram. These take the form of lecture notes and other notes jotted down while reading, which the art history student Maciunas pieced together to create text-image collages (pl.
To glorify it,” and “3. 81 That “literature and all other arts [have] to serve the cause of the State,” as the diagram tells us, had long since become a matter of course for Fluxus. Even the “Forced Humour” that the diagram dates with 1930 and ascribes to the later Nobel laureate for literature Mikhail Alexandrovich Sholokhov appears to live on in the much vaunted Fluxus humor, by means of which the world was to be made a better place. In the diagram, however, Maciunas also exposes the limits of Soviet arts and culture policy, which not only instrumentalized artists, but also committed them to a priori self-chastisement.