For the past few decades, the latest trends in the art world have been moving away from the traditional forms of art such as painting or sculpture. Nowadays, the void created by those forms of representation has been partially filled by other forms such as installation art, performance art, and film. In addition, these forms do not share the philosophies of the more traditional forms. Such an example of these so called 'non-traditional' forms can be found in the Fluxus movement developed in the 1960s. Fluxus was an "interactive paradigm of art-making based on what was called 'events.' Positioned somewhere between performance and sculpture, the event pivoted on a limited number of actions which were so simple, and so closely related to everyday life, that they could easily escape notice" (Joselit, 117). This paradigm signifies a rupture with predefined notions of what constitutes art . . .
Joselit, D. (2003). American Art Since 1945. London, UK: Thames & Hudson Ltd
For the past few decades, the latest trends in the art world have been moving away from the traditional forms of art such as painting or sculpture. Nowadays, the void created by those forms of representation has been partially filled by other forms such as installation art, performance art, and film. In addition, these forms do not share the philosophies of the more traditional forms. Such an example of these so called 'non-traditional' forms can be found in the Fluxus movement developed in the 1960s. Fluxus was an "interactive paradigm of art-making based on what was called 'events.' Positioned somewhere between performance and sculpture, the event pivoted on a limited number of actions which were so simple, and so closely related to everyday life, that they could easily escape notice" (Joselit, 117). This paradigm signifies a rupture with predefined notions of what constitutes art . . .
