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
Wild Boys, Bad Boys, Outsiders, and Originals | with Aldo Tambellini, Angel Orensanz, Apocalyn, Boris Lurie, Baba Raul Canizares, Ben Morea, Candy Darling, Charles Gatewood, Clayton Patterson, Cochise, Dash Snow, Eddie Menuau, Elsa Rensaa, Herbert Huncke, Horisei, Jerry Pagane, Manwoman, Nico Ponce de Leon Dios, Taylor Mead, Red Spot, Robert Parker, Shawn Mortensen, Spider Webb, Peter Missing and Surreal Hazard. - Clayton Gallery | August 2005 ►more
BORIS LURIE'S "NO!art" AND THE HOLOCAUST J. Herman, NYC
BORIS LURIE, UNEASY VISIONS, UNCOMFORTABLE TRUTH
David H. Katz, NYC
BORIS LURIE'S RAILROAD COLLAGE | Beatrice Howell, London
MY STORY ON NO!art by Konstantin K. Kuzminsky, Hancock/NY
POEMS FOR THE NO!art SITE by Aleksey Dayen, New York
THE ARTIST AS PROVOCATEUR by David H. Katz, New York
RESPONSE TO DAVID H. KATZ (1) by E. Milman, New London, CT
RESPONSE TO DAVID H. KATZ (2) by E. Milman, New London, CT
RESPONSE TO ESTERA MILMAN by Clayton Patterson, New York
NEWSLETTER # 7 - December 2005 | NO!art goes ON | Since the beginning of NO!art in New York in 1960 the artistic material has grown to a voluminous archive. Meanwhile we have integrated almost the whole NO!art archive into our website. An index of involved artists can be found on the ►INVOLVEMENT page.
We have also installed a ►SEARCH MACHINE especially for our NO!art pages. So you can look for artists, works, authors, texts, titles, manifestos, words, sentences, and so on.
Now we are preparing lifestream shows and actions by individual artists or artist-groups on our site. That means, that you can see in real time works, actions and/or readings on each computer connected with the World Wide Web. We will send emails for the events. Advanced notices can be found under the ►NEWS page
As the NO!art movement is in permanent change it is necessary to update our web site continuously in your browser. Please select the function "automatically" for further visits
View NO!blog about behaviors at the NO!art front in the present world ►mindshots.
Welcomes correspondences from anywhere on this globe.
With greetings from the NO!art movement
My NO!art chronicle
by Konstantin K. Kuzminsky
Hancock, NY [in Russian] 2005
Kuzminsky: My NO!art chronicle (in Russian), Hancock/NJ, 2005 | 1. Seite
Review by Alexander Merfelder:
"Boris Lurie, Geschriebigtes ..."
Published in: Wissenschaftlicher Literaturanzeiger, Gießen, 02.24.2005
If you don't know Boris Lurie, the first thing that confuses the reader is the layout of the book: black and yellow and a typeface reminiscent of Fraktur do not fit at all to a current publication. In the book itself then word-violent, ambiguous, linguistically playful; bitter.
The basic attitude of the NO!art network, in which Lurie is woven, manifests itself in the pictures, portraits, and installation photographs printed in the book (all of which are in black and white): "Where is the great artistic deed? Not necessarily, hardly, rarely in so-called art" (p. XI). Lurie, from this understanding, can call Hitler an "artist." Thus, the man who was persecuted by the Nazi regime and escaped from the murder pits (p. XVI) grants his own persecutor one of his greatest wishes: to understand the inmates and victims of the death camps as a "happening" (p. 10) or "Flactar Ensemble" (p. 12) "by Adolf Hitler" (ibid.) as an "art act" and to make it at all approximately comprehensible for us who are born later. In general, NO!art does not spare its viewers: cruelty and sexuality merge into uncontrollable basic human attitudes, death as an economic factor is just as conscious to the artists as the sale of values, belligerence and bloodlust. The frightening thing about such works of art is that one has to agree with them. "Where shall we fill the fears / when mother bones are so / splintered" (p. 119) Lurie writes for a world in which people have become strangers to each other, or better: have renounced their humanity for each other.
Lurie seems to have singled out National Socialism not as the culmination of mutual inhumanity, but as its materialization and starting point. Hopefully, Lurie is mistaken here. The "evolution that abandons its children" (work by D. Kirves, p. 144) can perhaps be restrained after all - the necessary sensitization for this is laid in NO!art in any case.
The psychological principle of confronting violence by holding up a mirror to it, as it were (the act as such or its victims) is not necessarily new, but it is quite successful; although the artistic forms of expression in the NO!art movement are too divergent to allow uniform characteristics to be discerned, they collide with such immediacy on the viewer, who imagines himself safe, that they cause fear and shivers. Inconceivabilities have been captured in images and with them the incomprehensibility and helplessness in the face of the self-dehumanization of man, by no longer seeing man in the value of a human being. Through the deprivation of the humanity of others, this act falls back on the perpetrator himself, who thereby also loses his human qualities. He himself becomes the (helpless) victim of his own deed. Lurie and his colleagues have succeeded impressively in depicting these complex processes in art. The image and the texts of the catalog, published here for the first time, have an "unpolished tone" (p. XV) that everyone should definitely rub against.►mehr
►BRAINSHOTS: Shadow + Profit Abuses Life + Lokking Out + Capitulation Anniversary + Black Moon + Landing Lie + Castrated Philosophers + Deep Impact + Horor Attack + Beautific Views
►FEEDBACK: Poor ancient Boris + Working with Boris + Benefit for breast cancer + A lullaby