Addresses various phenomena that abetted the "fluxizing" of American art. Noted that the New York-based Fluxus movement began an extended period of dissemination and, in some sense dissolution, around 1967. (RS)

Presents a photographic essay that features photo documentation by Peter Moore of three Wolf Vostell projects produced in New York during the period 1963-64. Notes that Vostell used de-collage techniques as a means to critique broadcast television. (RS)

Discusses George Maciunas' pivotal contributions to the renaissance of SoHo, the New York City community south of Houston Street. Recounts the establishment of Fluxus cooperatives, the history of the FilmMakers' Cinematheque, Maciunas' long struggle with the Attorney General's office, and closes with a description of the February 1978 erotic Flux…

Outlines coincidences between the birth of Dada and the birth of Fluxus. Charts the adoption of similar ahistorical strategies by members of both movements as they attempted to position themselves historically. Questions the assumption that democratization of the arts is the natural result of artistic actions that attempt to break down the line…

Traces George Maciunas' interest in cinema beginning with his work for "Film Culture" magazine in 1955, his methods of producing/making films, his relationship to the main film avant-garde of the sixties and his ideas of cinema. (RS)

Recounts when the Fluxus community first became self-consciously aware of itself during early European concert tours. Provides insights into criteria that delineate European and American Fluxus performances. Discusses use of chance procedure by members of the group, their debts to John Cage, and the relationship between the audience and the…

Discusses the early developmental phase of Fluxus. Addresses the evolution of a Fluxus community and the development of a Fluxus performance sensibility. (RS)

Reviews the life of Henri de Toulouse-Lautrec (1864-1901) and examines how his early experiences influenced his art. (BSR)

Describes European Viktor Lowenfeld's version of the visual-haptic theory. Recounts how Lowenfeld modified the theory while serving as a studio art teacher in a black U.S. college from 1939 to 1946. Compares Lowenfeld's European and U.S. transformations of the theory. (BSR)

Traces the history of influences on the making of Navaho rugs, through a search of the J. L. Hubbell correspondence from 1878 to 1957. Describes changes in colors, design, fibers, construction, and uses of Navaho rugs. (CM)

Examines the theory that the Norman commissioned Bayeux Tapestry carries a hidden message which tells the Anglo-Saxon version of the Norman Conquest. Stresses that studies of this nature demand an interdisciplinary approach. Notes that historical and artistic influences must be considered in determining the artist's intent. (KO)

Discusses the following aspects of the life and art of Harriet Powers (born 1837), a Black quilter from Georgia: (1) subject matter of quilts; (2) African continuity; (3) provenance of quilts; (4) Powers' personal history; and (5) historical context of quilts. (BJV)

Chronicles the professional and personal life of Nancy Elizabeth Prophet, a sculptor of Afro-American and Narragansett Indian descent, who achieved prominence as an artist and a socialite in both France and the United States beginning in the 1920s. (BJV)

Chronicles the life of the author, a Black woman artist, from 1974 to 1979. The essay covers her years in Tampa from 1974-77, her Artist in Residency at Howard University from 1977-78, and her preparations in 1978-79 to leave for Paris, where she would live and work until 1985. (BJV)

Traces the history of Mexican muralism (1920s to 1970s) as an art of advocacy intended to change consciousness and promote political action; shows how it can still be used in an educative manner in schools. Emphasizes the effects of three great muralists (Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros). (LC)