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© Photo by ►N.T. Salmon
Born July 18, 1924, in Leningrad, Russia. Together with his parents he moved to Riga in 1925/26. Captured by the Germans 1941 and suffered in the ghettos and concentration-camps of Riga, Salapils, Stutthof and Buchenwald-Magdeburg in Germany. Emigration to USA in 1946. Lived in Paris from 1954 to 1955. Founded together with Sam Goodman and Stanley Fisher the NO!art movement in 1959 at March gallery in the Tenth Street in New York. Since 1978 he collaborates together with Dietmar Kirves for continuation the NO!art movement. They realised successively the first NO!art anthology, the NO!art show in Buchenwald, more NO!art exhibitions, and also the NO!art website. Boris Lurie died on January 7th, 2008, in New York.
SEE WHAT HAPPENS AFTER BORIS LURIE'S SAD DEATH: ►Gertrude Stein pursue with her ►Boris Lurie Art Foundation [BLAF] an exhibition strategy which works extremely against Boris Lurie's ►IDEAS, against his ►LAST WILL and against his projected ►STUETZPUNKT FOUNDATION. See therefore more on the ►MANIPULATION page.
2023 ART AFTER THE SHOAH | Ludwig Museum Budapest
2022 NO COMPLACIENTE | Museo National, Mexico City
ART AFTER SHOAH | Ludwig Museum Koblenz/Germany
ART AFTER SHOAH | Kunsthaus, Berlin-Dahlem/Germany
EXTERMINATE, FORGET, REPRESS
Symposium Ludwig Museum Koblenz
LURIE'S LYRICS | Munich Kammerspiele
NEO-EXTRA-ACTIVISM–Protocols for Buen Vivir
The Vélez Cultural & Educational Center, New York
2021 FRACTURE FEMINITY
Aby Warburg Foundation's Science Award, Hamburg
2020 BORIS LURIE IN AMERICA
Center for Contemporary Political Art, Washington/DC
2019 BORIS LURIE ART CENTER | Janco-Dada Museum, Ein Hod/Israel
2018 FLASHES OF THE FUTURE
Groupshow, Ludwig Forum, Aachen/Germany
2017 BORIS LURIE: ANTI-POP | Neues Museum, Nuremberg
LIFE AFTER DEATH | Westwood Gallery, New York
INVENTING DOWNTOWN | Grey Art Gallery, New York
2016 BORIS LURIE: ADIEU AMERIQUE | camera, Torino (Italy)
HOUSE OF ANITA | Novel, Boris Lurie Art Foundation
BORIS LURIE NO | The Janco Dada museum, Ein Hod (Israel)
THE ART OF BORIS LURIE | Video by Rudij Bergmann
NO COMPROMISES | Jewish Museum, Berlin
2015 BORIS LURIE | Galerie Odile Ouizman, Paris
UNORTHODOX | Jewish Museum, New York
2014 BORIS LURIE: KZ ‒ KAMPF ‒ KUNST
NSDOK Memorial to Nazi Victims, Cologne
BORIS LURIE RETROSPECTIVE
Museum Wolf Vostell, Malpartida/Spain
2013 THE THREE PROPHETS | The Box, Los Angeles
BORIS LURIE THE 1940s | Studio House, New York
ART AGAINST ART: YESTERDAY AND TODAY
Zverev's Center, Moscow
BORIS LURIE THE 1924-2008 | (e)merge, Washington,DC
2012 NO!art OF THE 60s - BORIS LURIE (1924-2008)
Kennedy Center, Florence
BORIS LURIE NO! | David David Gallery, Philadelphia
BORIS LURIE ART REFERENCE ROOM | Tel Aviv Museum of Art
BORIS LURIE: NO!art | Westwood Gallery, Art Southampton
BORIS LURIE: NO!art | Westwood Gallery, Art Miami
2011 THE ART OF BORIS LURIE | Chelsea Art Museum, New York
BORIS LURIE: NO!art | Westwood Gallery, Art Miami
BORIS LURIE: NO!art | Westwood Gallery, Art Hamptons
BORIS LURIE: NO!art | Pierre Menard Gallery, Cambridge, MA
2010 BORIS LURIE: NO!art | Westwood Gallery, New York
NO!art INFRINGEMENT | Gertrude Stein Counsel, New York
SAYING YES TO NO! | Review by Douglas Century, Art news, New York
2009 POINTING | Dietmar & Boris: hear us in German
►Temporaere Kunsthalle, Berlin
NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
