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PLOT: Art has ended. The world and being collapsed. Who are you? In this void, invisibility is seminal. Drink emptiness. Drink brinks. Swill on fathoms. Who are we? The earth is a line drive single to the slaughterhouse. How that spinal column of A-bombs sprawled among letter boxes and limbs delights the indoor eye, swindles passports into paradise. Vice. Vulgar? This is the beginning of the new death rattle in overt covert pervert keys. Do you expect marriage to be marriage, carriage to be carriage? Think invisibility. Drink rotations. Lengthen skyward. Art has reached escape velocity from the self, it plummets into bedrooms, boudoirs, brothels, banks, bedlams, and A-bombs. Where else. Into taxis, taxidermists, tabernacles, tarantulas, tubas and telephones. At one time man confronted speeds of light, and people swilled above their house-tops, pyramids were formed and megaliths, Noah's arcs. Now inertia is in flames. Can we confront again the speed of death in H-bomb blasts and retain our corpse of clay or must we watch the kaleidoscope of paint immured in motion sickness of that final day?

EHIBITIONS:

Lurie: Les Lions, 1960, flyerBORIS LURIE: LES LIONS | March Gallery, New York 1960 | Everybody hangs girlie pictures on their walls now; not only people working in shops and garages, but even families occupying expertly designed up to date modern apartments. The walls of a child's room is hung with pinups to educate him to meet the menace when he grows up. Why was not my play-den decorated with pinups? For years I have been buying girlie magazines. I study them with determined thoroughness. I try to figure out what beauty I like best and why. What masterpieces! Who is my Queen Superior? | more

Vulgar Show Poster, 1960VULGAR SHOW | March Gallery, New York 1960 | with Stanley Fisher, John Fisher, Sam Goodman, und Boris Lurie | Art has ended. The world and being collapsed. Who are you? In this void, invisibility is seminal. Drink emptiness. Drink brinks. Swill on fathoms. Who are we? The earth is a line drive single to the slaughterhouse. How that spinal column of A-bombs sprawled among letter boxes and limbs delights the indoor eye, swindles passports into paradise. Vice. Vulgar? This is the beginning of the new death rattle ... | more

Float & Masks, 1961, detailFLOAT & MASKS, Car event
organized by Sam Goodman and Allan D'Arcangelo
Lower East side, New York 1961

Doom Show Poster, 1961DOOM SHOW | March Gallery, New York 1961 | with Fisher, Goodman, Lebel, and Lurie | The time has come when outrage overwhelms the petty fears of habit and complacency. The stupid and humiliating powers-that-are have forced themselves into a culdesac which makes the nazi crematoriums relatively innocuous. These leaders, stubborn in their stupidity and contempt, refuse to relinquish their powers and admit their criminal behavior, for consecrated criminal behavior has become a way of life, right down to the brutalization ... | more

Involvement Show Poster 1961INVOLVEMENT SHOW | March Gallery, New York 1961 | A new art show at the March Gallery presents an iconoclastic scouring of our world gone mad. A satirical declaration of independence against uncommitted and the shallow common place. It is an exciting show, a show in which Involvement and Innocence become the sacred symbols of survival. ... | with Aronovici, Armento, D'Arcangelo, Brown, Ferró (Erro), John Fisher, Stanley Fisher, Gilman, Goodman, Graves, Gillespie, Joans, Kaprow, Kusama, Lebel, Logan, Lora, Long (Harriet Wood), Lurie, Mishorit, Rothenberg, Stuart, Tyler, Wisniewski und Lee Zack.

Doom, Rome 1962, catalogBORIS LURIE & SAM GOODMAN: DOOM Show | Gallery La Salita, Rome 1962 | Sam Goodman and Boris Lurie are true Social Realists. Deeply involved with political and social issues, they have decided to work as citizen-artists, to become Responsible, to move their studios - their art, their lives, their references - into the idea-logical arena. They turn the aesthetic inside-out to discover its ethical viscera, ligaments, heart, dung. Lurie with his grimed up pinup nudes (the erotics of the underprivileged), Goodman tinkering with mashed celluloid babies, ... | more

Lurie & Goodman, Milan 1962, catalogLURIE & GOODMAN | Gallery Schwarz, Milan 1962 | The intellectual groups that are taking a position of revolt against established society are getting to be more numerous from day to day. Boris Lurie and Sam Goodman showing at present at the Schwarz Gallery offer us proof that an identical process takes place in the figurative arts. We did encounter in work of American artists showing here some symptoms of rebellion and opposition - but here the case is quite different. Here revolt becomes the centre of the poetry, the principal and exclusive reason behind the inspiration. ... | more

Lurie Show, New York 1963, ProspektBORIS LURIE | Gallery Gertrude Stein, New York 1963 | The work of Boris Lurie is powerful stuff. He feels that the ivory tower cannot substitute for real involvement in life; art is an instrument of influence and stimulation. He does not want to converse, he shouts out loud, so that everyone understands. He takes as his symbol the “girly” picture, America's home-grown brand of pornography. Repudiating conventional manners, he shakes up the viewer; at any cost he strives to make us take heed of our reality, Lurie forces upon us the bitter vision of the cruelly smiling, heartless advertising pin-up girl. ... |   more

NO Show Poster, 1963NO SHOW | Gallery Gertrude Stein, New York 1963 | This moment is a record of things the present has known before - but not quite this way! This is a carnival of the other side of the "Sight Circus", an adjective used by Huelsenkamp and Tzara. Tristan hated the "Gemuetlichkeit" of old post World War One become encrusted with a hypocritical smile; and Huelsenkamp hated such atmosphere that turned communications and relations between friends weary. Such passed-by moment is now resurrected in a state of protest - and it's not made to please! |   more

NO POSTERSBORIS LURIE: NO POSTERS | Gallery Gertrude Stein, New York 1964 |
1) The meaning of the NO-Posters was seen and recognized, and the overprinting executed in March, 1963.
2) The NO-posters are entirely printed on the offset press. And there is no handwork whatsoever in their execution. Whatever "composition" has resulted is of purely accidental character.
3) The basic of the NO-posters are rejected or faulty paper-sheets, or paper-sheets used for cleaning of the printing presses. |  more

AMERICAN WAY OF DEATH | Champagne Gallery, New York 1964

NO sculpture show, detailSAM GOODMAN: NO SCULPTURES | Gallery Gertrude Stein, New York 1964 | This one, their newest exhibition, which opened the other night at the Gertrude Stein Gallery in a very elegant townhouse at 24 E. 81st St. And so it came to pass that 75 years of Modern Art led at last with invincible logic to Goodman-Lurie seated on the floor of a gallery just off Madison Avenue amid 21 piles of sculpted mammal dung. Not designed to look vaguely like mammal dung, or more or less like mammal dung, or abstractly like mammal dung. |   more

EDITION:

Boris Lurie: Stars of David on Swastika, artoftheprint, New York 1962

WRITINGS:

SPASM by Stanley Fisher, New York, 1959
NOTES by Sam Goodman, New York, 1967
I ACCUSE by Jean Toche, New York, 1968
PARTNERSHIT by Isser Aronovici, New York 1969
MERDE, ALORS! by Dore Ashton, New York, 1969
ANTI-ART AND OUTLAW-ART by Gregory Battcock, New York 1969

NOTE: Not all past activities are translated in English.
Please switch therefore to  GERMAN VERSION with other contributions.
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