Tittenhurst Park

This Tittenhurst Park blog is dedicated to John Lennon's home in Sunningdale, near Ascot, Berkshire between 1969 and 1971. The aim is to gather as much material relating to the estate as possible - obviously with the emphasis on the Lennon-era, but also concerning Tittenhurst Park as it was before and after John Lennon's ownership. In addition, there will be posts about and associated with the Beatles, plus any other rubbish I feel like. The blog is purely meant for the entertainment of anyone (assuming there is actually anyone) who, like me, has an unhealthy interest in one particular Georgian mansion. Those with anything interesting to contribute in the way of links, photos, scans, stories etc. please do contact me: tittenhurstlennon@gmail.com
(Legal: this blog is strictly non-commercial. All material is the property of the photographer/artist/copyright holder concerned. Any such who wishes a picture etc to be removed should contact me and I will do so. Alternatively, if someone is happy to see their photo on here, but would like a credit/link then let me know and I'll be happy to provide one).



Begun in the early 1960s when composer-cum-entrepreneur George Maciunas up and left New York for West Germany, Fluxus was entirely unlike any earlier art collective. Truly international and interdisciplinary in scope, its members hailed from all over Europe, the Far East, and the Americas, and included John Cage, Carolee Schneemann, Joseph Beuys, Nam June Paik, and Yoko Ono. Fluxus members were brought together with the intention of creating both collaborative and individual performance-oriented Concept art -- usually anti-rational, one-time sound/theatrical performances that ended with some material remainder such as recordings, photographs, and aesthetic objects. Taking cues from Duchamp, Dadaist experiments, and the post-war artistic scene at Black Mountain College, Fluxus pieces invited chance occurrence (in part through audience participation), the performers often being unsure of the final results of their activities on stage. Indeed, it was a kind of Fluxus philosophy to say that the performer, rather than being an ultimate source of expression, was instead the very element that destabilized the work and could potentially render it indecipherable. Their work was, well, in flux.

(Click the Fluxus title)

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