Every profession has its own history in which the accumulation of knowledge is the basis to push the frontiers into the unknown. Dali and Picasso are two masters who stand at the vanguard of two opposite approaches to art in the Twentieth Century: To use that accumulated knowledge and build upon it, or to discard it.
Dali embraced all the science of painting as a way to study the psyche through subconscious images. He called this process the Paranoiac Critical Method. As any paranoiac, the artist should allow these images to reach the conscience, and then do what the paranoiac cannot do: Freeze them on canvas to give consciousness the opportunity to comprehend their meaning. Later on, he expanded the process into the Oniric-Critical Method, in which the artist pays attention to his dreams, freezing them through art, and analyzing them as well. As Freud said, "A dream that is not interpreted is like a letter that is not opened."
Picasso took the opposite approach to art. He inherited the gusto for ugliness, scandal and chaos of the Dada movement and the automatic surrealists. Picasso rejected the craft to become "primitive," deciding that the ingenuity of childhood is the basis of art. To him this meant that the less the artist is preoccupied with his craft the better his art. To Dali, however, the "ingenuity of childhood" meant keeping an open mind and maintaining the curiosity and excitement of the child throughout one's life, not painting as a child.
F luxus - An art movement begun in 1961/1962, which flourished throughout the 1960s, and into the 1970s. Characterized by a strongly Dadaist attitude, Fluxus promoted artistic experimentation mixed with social and political activism, an often celebrated anarchistic change. Although Germany was its principal location, Fluxus was an international avant-garde movement active in major Dutch, English, French, Swedish, and American cities. Its participants were a divergent group of individualists whose most common theme was their delight in spontaneity and humor. Fluxus members avoided any limiting art theories, and spurned pure aesthetic objectives, producing such mixed-media works as found poems, mail art, silent orchestras, and collages of such readily available materials as scavanged posters, newspapers, and other ephemera. Their activities resulted in many events or situations, often called "Aktions" -- works challenging definitions of art as focused on objects -- performances, guerilla or street theater, concerts of electronic music -- many of them similar to what in America were known as Happenings.
In Latin and other languages, "Fluxus" literally means "flow" and "change." Similarly, the related English word "flux" is used variously to mean "a state of continuous change," "a fusion," and "a gushing of fluid from a body."
According to George Maciunas, Fluxus intended to "purge the world of bourgeois sickness... of dead art," to "promote a revolutionary flood and tide in art, anti-art, promote non art reality..." and to "fuse the cadres of cultural, social, and political revolutionaries into a united front and action."
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