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INDEX 1960—1969
1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | 2019 | 2020 | 2021 | 2022
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?
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EXHIBITIONS:
BORIS 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? . . . ►more
VULGAR SHOW | March Gallery, New York 1960 | with Stanley Fisher, John Fischer, 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 ... ►more
FLOAT & MASKS, Car event
organized by Sam Goodman
and Allan D'Arcangelo
Lower East side, New York 1961
►more
DOOM 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 . . . ►more
INVOLVEMENT SHOW | March Gallery, New York 1961 | An iconoclastic scouring of our world gone mad. A satirical declaration of independence against uncommitted and the shallow common place. 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. ►more
BORIS LURIE & SAM GOODMAN: DOOM Show | Gallery La Salita, Rome 1962 | Goodman and 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 . . . ►more
LURIE & 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 . . . ►more
BORIS 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 . . . ►more
NO 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 . . . ►more
BORIS 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 . . . ►more
AMERICAN WAY OF DEATH | Champagne Gallery, New York 1964
SAM 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 . . . ►more
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EDITIONS:
►Boris Lurie: Stars of David on Swastika, artoftheprint, 1962
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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
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NOTE: Not all past activities are translated in English. Please switch therefore to ►GERMAN VERSION with other contributions.
