PRINT October 1982


ARTISTS MAY TALK ABOUT the relationship between art and life (note Robert Rauschenberg’s 1959 statement, “I try to act in that gap between the two”)1 and never leave the subject of painting or sculpture; or they may put their talents to practical use (cf. the Bauhaus) and attempt to transform their environment by means of idealized objects. When lifestyle itself is made into art, it is assumed a priori that the art is enhancing the life, not the other way around. But in his work for Fluxus George Maciunas not only took an “art attitude” toward every aspect of daily living, but, by inversion, was also willing to transform even seeming trivialities into esthetic fodder. The literature, performances, and objects of Fluxus are rife with examples of such material as treated by a variety of artists; but by force of training as well as by personality, Maciunas exercised almost total control in

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