By Jane Hayward, Mary B Shepard, Cynthia Clark

This complete two-volume catalogue covers the exceptional choice of English and French medieval stained glass within the Metropolitan Museum of artwork in manhattan. Written by way of curator Jane Hayward, is posthumously released as half I within the Corpus Vitrearum united states sequence and represents the end result of Haywards pioneering paintings within the box, from the years instantly following global battle II, whilst Hayward first journeyed to France to review medieval stained glass with Louis Grodecki and Jean Lafond, to the month sooner than her loss of life in 1994.

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More importantly, the Stockhausen incident suggests a model for thinking about Fluxus as politically multiple and socially elastic in terms of its avant-garde heritage. Each artist had three options - to demonstrate against Stockhausen and thereby to maintain ties to Maciunas (though the former would not necessarily be predicated by a desire for the latter), to participate in the concert and thereby maintain a group identification that preceded identification with Maciunas, and to do both, thereby occupying a dynamic middle ground If each option is transferred to a definition of Fluxus, then the first would illustrate the Maciunas-based paradigm which, as I have stated, locates Maciunas at the fulcrum of Fluxus; the second - a historically based definition of the group allows for some other contemporary (to the 1960s) practice, as embodied in the person of Stockhausen; and the third - a present model - where the historic ties preclude but do not necessarily preempt current and future identification.

7 The changing and varied interpretations were disseminated by two interconnected spheres of activity closely affiliated with Fluxus Correspondence Art and small-press publishing both of which were inextricably associated with `Fluxshoe'. The rise in popularity of Artists' books, an increasing use of the international postal system as medium, and the widespread diffusion of Fluxus ideas outside the gallery system occurred simultaneously but not coincidently. Fluxus was formed around publishing, and sympathetic ideas were promoted from the beginning by efforts such as Vostell's dollage and Something Else Press.

However, he continued to expand the Fluxus canon almost up to his death, including such media pranks as Twelve Big Naines, of April 1975; the development of the Fluxlabyrinth, and the continuing tradition of New Year reunions - a tradition disparaged by Tomas Schmit as `jokey parties with coloured drinks and manipulated food'. Perhaps Maciunas would also have cavilled at the twentieth anniversary in Wiesbaden, which offered an ironic celebration of Fluxus' advance toward Art History. Spread throughout the town, occupying not only the museum where Fluxus had begun, but a local Kunstverein and another commercial gallery, Harlekin Art, whose owner, Michael Berger, was one of the sponsors of the occasion.

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