Visible Language, Fluxus Issues by Saul Ostrow

Part of the Editor's Choice series.

BOMB 100 Summer 2007
100 Summer 2007

Abrons Art Center
Feb 1, 6:30pm

Visible Language

Courtesy of the Rhode Island School of Design.

I have come across a double find: first, a special two-part issue of the journal Visible Languageon Fluxus, edited by Fluxus historian Owen Smith and Fluxus artist Ken Friedman; and second, no less exhilarating, the journal itself. Published by the Rhode Island School of Design since 1967, Visible Language is “concerned with research and ideas that help define the unique role and properties of written language.” What better journal in which to analyze a movement that both exploited and assaulted language? Visible Language may be an academic publication, but the guest editors neither eulogize nor objectify their subject, instead approaching it as a living tradition.

For those who do not know, Fluxus sought to challenge the institutionalization and standardization of modernism. Kicked off and named by George Maciunas, its principal organizer and booster, Fluxus had a particular attachment to the notion of the artist as trickster and art as a laboratory for unbridled cultural and political experimentation. Declaring war on convention, the market, and institutions as well as on the disengagement of art and culture from everyday life, Fluxus poets, composers, writers, filmmakers, dancers, and visual artists produced multiples, readymades, events, and performances that often required little more traditional skill than a sense of humor, bravado, and dead seriousness.

Smith and Friedman bring to their subject an insider’s view. Smith writes on “Teaching and Learning about Fluxus: thoughts, observations and suggestions from the front lines,” and together they discuss “The Dialectics of Legacy.” They have also compiled three important mini-anthologies, including texts by a pair of second generations: “Fluxkids” including Hannah and Jessica Higgins (daughters of Dick Higgins and Alison Knowles) and Clarinda and Mordecai-Mark Mac Low (daughter and son of the multimedia poet Jackson Mac Low); and a group of artists who are developing Fluxus in new directions, if not adopting the mantle of “neo-Fluxus.” Rather, they demonstrate that Fluxus continues to offer artists a model for how art might serve as a form of social protest against conformity and standardization, characterized by serious play and ingenuousness.

Visible Language Volume 39, issue 3: “Fluxus and Legacy” and Visible Language Volume 40, issue 1: “Fluxus after Fluxus” were published by the Rhode Island School of Design in 2005 and 2006, respectively.

Clive Phillpot by Ashley McNelis
Flat Time House
Writing Anti-Stories: an Interview with Roberta Allen by John Zinsser
Catskills Postcard

“When we really like a book, it’s often because its rhythm is similar to our own—to our heartbeat, our breathing, the way we walk. I think that’s what draws us to certain writers and not to others even though we know they are great.”

Nina Katchadourian by Mónica de la Torre​
Katchadourian Nina 01

Embracing boredom and creative constraints, Katchadourian tells of in-flight artwork and other conceptual projects.

Anne Garréta’s Not One Day by Youmna Chlala

If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.

Originally published in

BOMB 100, Summer 2007

Featuring interviews with Chuck Close, Kara Walker, Mamma Andersson, Howard Norman, Peter Nadas, Bela Tarr, Benedict Mason, and Kate Valk.

Read the issue
100 Summer 2007