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Title: The Fluxus Reader by Ken Friedman, Edited by: Ken Friedman ISBN: 0471978582 Publisher: John Wiley & Sons Pub. Date: 04 November, 1998 Format: Paperback Volumes: 1 List Price(USD): $70.00

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Average Customer Rating: 5

Rating: 5
Summary: An important resource for anyone who needs current research
Comment: From Umbrella, vol. 22, no. 1 (April 1999): The Fluxus Reader,edited by Ken Friedman (London, Academy Editions, 1998) is a mostwelcome addition to the growing Fluxus literature, one which puts Fluxus into the scholarly pursuits of present and future scholars. It took three decades to fulfill the request of George Maciunas to do a "history" of Fluxus. But this book is more than a history; it gives a theoretical basis for the study of Fluxus, amplifies the known sources and expands upon the ideas and theories of artists, scholars and theoreticians. The influx of new Fluxus scholars, the younger scholars, has given new insights into a movement that over the more than 30 years has become part of the history of art. The book is divided into History, Theory, Critical perspectives, a transcript of the videotaped Interview with George Maciunas, Two Fluxus theories: one by Ken Friedman and one by Dick Higgins, and a chronology, a list of selected Fluxus art works and related primary source materials, and a list of selected Fluxus sources and related secondary sources. There is much in this volume compacted so the lists are fine for my eyes, but might require a magnifying glass. But the book is indeed the first comprehensive overview on this challenging and controversial group.

Judith A. Hoffberg, Editor & Publisher, Umbrella

Rating: 5
Summary: An outstanding survey of a major modern art movement
Comment: This is the first widely useable source on Fluxus, an experimental group of artists and composers whose work in the 1960s reshaped the art of our times. Experimental in the extreme, these artists were controversial and contemplative, sometimes contentious and often cooperative. Their number included many central figures in contemporary art. Nam June Paik, the founder of video art and the man who named the information superhighway, was one of the best known. So were Joseph Beuys, Emmett Williams, Dick Higgins, and La Monte Young. I recommend this book to anyone who wants to understand the philosophy of an exciting but confusing moment in art history. A thorough documentary section supports the book. The chronologies and bibliographies are particularly valuable. They make this book a necessary companion to anyone who hopes to make sense of the exhibition catalogues and artist books that have been the only source of information on Fluxus until now. An exciting team of scholars wrote this book. They range from the distinguished senior scholars such as Stephen Foster and Estera Milman to articulate new voices such as Ina Blom and Craig Saper. The book is edited by Ken Friedman, once one of the central figures in Fluxus, and now a management professor. If you are interested in intermedia, video, performance art, or happenings, this book is a must-read.