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INDEX 1980—1989
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

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EXHIBITIONS:

Feel-paintingFEEL-PAINTINGS | Gallery Hundertmark, Cologne 1988 |  These works continue my "Feel-paintings" from the early 1950's and on. - "Feel-paintings" are made by touching, caressing, almost "carving," as if to appear two-dimension-like, beating, scratching-a physical engraving of the emotionally loaded moment, with both hands, all fingers, elbows, fists, pressing against the surface-and leaving traces on paper or canvas (or other surfaces.) - A physical activity is imbedded the "maker," into the dimension of Infory, and carried out by movements of his arms and finger-muscles. If the first result is not satisfying, the canvas can undergo a second act, or more blind "Feel-treatment," or it can be thrown out. Usually it is the first imprint which is satisfactory. - The expressive power of the realized image seems to be defined by the force of the emotional stirring (an active or a passive one) preceding the physical act. - "Feel-painting" is antagonistic ... more

GRAFFITI-ART - Nassauischer Kunstverein, Wiesbaden (Germany) 1989

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BOOK:

NO!art, book coverNO!art - PIN-UPS - EXCREMENT - PROTEST - JEW-ART | edited by Boris Lurie and Seymour Krim, Köln 1988 | Anthology with contributions by Aragon, Aronovici, Ashton, Ayden, Battcock, Brown, Brunelle, Clert, Dawson, D'Arcangelo, De Hirsh Margules, Or-Ner, Erro, John Fisher, Stanley Fisher, Gassiot-Talabot, Gillespie, Gilman, Goertz, Goodman, Hess, Janco, Kahlke, Kline, Krim, Kusama, Lebel, Lurie, de Micheli, Micheline, O'Doherty, Picard, Rosenberg, Barry N. Schwartz, Emanuel K. & Reta Shaknove Schwartz, Schwarz, Simon, Stein, Stuart, Toche, Vostell, Waitzkin, Wisniewski and Wolfe. more

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WRITINGS:

STANLEY FISHER, MYSTERIOUS TO THE END (1926-1980) | Essay by Boris Lurie | New York 1980 | It was 1960 or 1961 when Comrade Stanley blew in on a sand cloud out of the wind-swept Brooklyn Sinai Desert onto the 10th Street Coop-gallery scene. The Jew-Beduin had been wandering the wilderness almost the full prescribed forty years, his icy blue eyes pointed towards the Promised Land of Manhattan; not only to conquer it, but like David to extend the righteous domain to all the heathen America. - Such a quaint and contradictory desert bird I had never seen before. The Brooklyn lower middle-class schoolteacher and devoted family man seemed hardly the type to wrap himself in the Prophet's mantle to arouse, accuse and smite. But he had been to Normandy in the War, with the Medics. He must have seen much of injured bodies, for his later NO!art collages were based on the grafting of photo faces onto faces and bodies onto bodies. more

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