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INDEX 2000

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 : The catalog book for the Boris Lurie exhibition at the Weimar-Buchenwald Memorial has been in preparation since 1998. In collaboration with Dietmar Kirves in Berlin, Boris Lurie edits his texts from New York under the title "Geschriebigtes/Gedichtigtes". An extensive correspondence is conducted in order to also involve Lurie's friends with picture contributions to the book. The original volume of 80 pages grows to more than 400 pages. Difficulties arise to justify the size and also the planned Fraktur typeface finds little approval. The fax machines in New York and Berlin run hot. Every text is changed and corrected several times.

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NO!art IN THE WORLD WIDE WEB
NO!art first webpage at start on February 20th, 2000
Start with publication the NO!art movement in the world wide web
on February 20th with monthly support by Boris Lurie

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WRITINGS:

BORIS LURIE, NOT MINCE MATTERS | Interview by Megaklés Rogákos and Janos Gat | New York | Could you generally describe the origins of the ‘No Art’ movement? Basically, it was a reaction against what’s going on in the cultural world and the general condition of the art in America, with certain references also to the Holocaust, which was a subject that nobody touched at the time. Exhaustion with commerce, sex and stuff like that.  more

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BACKGROUND:

Estera Milman, news itemIS THE UI TRYING TO CENSOR THIS WOMAN? Museum of Art employee Estera Milman thinks so anyway, which is why she’s decided to make a federal case out of it. | Review by Brendan Wolfe | in: icon news, Iowa City | Estera Milman says she's being censored. She says it's the University of Iowa that's doing the censoring, and in the name of academic freedom and intellectual independence, she's filed suit in federal court. She also says the UI lost out on a major, groundbreaking art exhibit because of it and may even have risked future federal funding. That much of the story is easy, even sensational if you take the word of New York City avant-garde artist Martha Wilson. She sees a comparison as old as the Sistine Chapel in this question of whether "the donor has a right to say something about the content of an artist's work. It's like Michelangelo's situation with the pope," she says. "And Michelangelo made it clear for all of art history that he would not be controlled." more

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brainshotsBRAINSHOTS: Counterstrike + How Shit Happens + Rich and Poor + Remaining Anonymous + Sun Activity
 
 

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FeedbackFEEDBACK: Spring + Boris film + ManWoman + Webbittown + Displacement show
 
 

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