Conception, Benjamin Wuest, 2010

The energy sculpture as explored in my previous blog entry brought up discussion of like minded energy artists such as Travis Freeman whom experimented with creating spaces for meditative realization as explored in his piece "The Meaning of Being" the energy of one hundred meditators. Freeman created a space for meditative concentration and realization as is achieved through the meditative practice of art performance whether it be painting, dripping, cutting acrobatics or simply working with chance by giving up control and allowing movement beyond the conventional laws of the self consciousness through the practice of finding harmony beyond dualism of artist and art, subject and object, being and non-being, emptiness and all forms. Freeman also played with creating spaces for group meet-ups and organizations to gather. Freeman also addresses social structure sculpture and even bridges into the healing power of art through his work "you may lay your head in my lap" which allowed any participator to lay their head in the lap of a complete stranger. This played into the exploration of social sculpture as pioneered by Joseph Bueys whom had concepts concerning the social, cultural and political function of art. Buey believed the power of human creativity and potential for art to bring about revolutionary change.

In 1962 Buey became one of the fist members of the eclectic artist group Fluxus. Fluxus is a global network of primarily minimalist composers and artists that made a switch on what an artist produces to more of a focus on the artists personality, actions and opinion as well as playing an emphasize on the connections of everyday objects and art. They played with these concepts through small pieces or "Happenings" to involving actions in large political rally's.

Happenings as explained by Allan Kaprow, the assembly artist attributed with conducting the first happenings, are "not a new style, but a moral act, a human stand of great urgency, whose professional status as art is less critical than their certainty as an ultimate existential commitment." Kaprow is commenting on conforming to the confinement of catering to a crowd and particularly with respects to monetary gain. Happenings pursued the immaterial as a fun counter to the seriousness of modern Art.

Happenings are events consisting of minimal vague instruction, opening the events to accidents and unintended effects. The audience shifts from spectator into performer, replacing criticism with support, and contributes to the randomness of events as achieved through integrating chance factors which supports Duchamp's notion of the viewer completing the art work. When chaos determines the path the performance will follow, there is no room for failure. When something goes 'wrong', something far more 'right,' more revelatory, has many times emerged. Thus every Happening is fresh, cannot be reproduced and is a priceless work of art blurring the separation between life, art, artist, and audience.

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