PRESS RELEASE: The Robert F. Kennedy Center for Justice and Human Rights in conjunction with the Boris Lurie Art Foundation is proud to present a NO!ART exhibition of Boris Lurie’s art of the 1960’s. On June 21, the RFK Center’s Florence Office will host an opening reception for the exhibition, which includes a survey of Lurie’s work represented by 27 pieces.
In her welcome letter to the Boris Lurie exhibition, ►Kerry Kennedy, President of the Robert F. Kennedy Center for Justice & Human Rights states, “During some of the most tumultuous decades in our history—years that saw governments struck down and rebuilt, and in which cultural understandings of race, ethnicity, gender, and poverty were fundamentally re-shaped by global paradigm shifts—Lurie never let the world forget that when we see human rights violations in front of us, saying ‘NO!’ is the only acceptable answer.”
Lurie was born in Leningrad in 1924, and died in New York in 2008. His family fled the country after Lenin’s death and the rise of Stalin, settling in Riga, Latvia. Boris Lurie attended German-speaking schools until the Nazis forced him and his family into concentration camps. From 1941-1945, Lurie and his father were moved to various concentration camps, including, Stutthof and Buchenwald. His grandmother, mother, and sister, were executed by the Nazis amid the 1941 massacre at Rumbula, a seaside district near Riga. Lurie’s experience as a young adult in the concentration camps deeply affected both his view of the world and the direction his art would take.
Subsequent to their liberation by Stalin’s troops, Lurie and his father were liberated and came to America. Lurie had shown an interest in art from an early age and in New York he worked on his own, creating and developing as an artist. It was during this time in New York that he met many other artists, intellectuals, and like-minded individuals.
Lurie had his inaugural show in Milan at the ►Arturo Schwarz Gallery more than 50 years ago. That show was condemned, praised, reviewed, and discussed, and it made an imprint on the avant-garde anti-establishment movement. Upon his return to New York, he organized the Doom Show at the March Gallery, located in a neighborhood filled with young artists new to the city. Gertrude Stein then moved the exhibition to a gallery uptown, which was considered the established artist section.
John Wronoski, Curator of Lurie’s exhibition in Boston, MA, writes, “Lurie’s subjects were always implicitly historically, socially, and politically informed, but in 1959, when he befriended Sam Goodman and Stanley Fisher, his work became more aggressive and would be infused with social criticism. They founded the NO!ART Movement as a reaction against what they viewed as the debased avant-garde of Abstract Expressionism and its social and political dis-engagement, a resistance that would become all the more strident with the rise of Pop Art. NO!ART insisted that art again address the real world. NO!ART called for an art dealing with difficult truths, such as imperialism, racism, sexism, consumerism, and nuclear proliferation, and leading to social action.”
The NO!ART exhibition will be at the Robert F. Kennedy Center for Justice and Human Rights at Le Murate in Piazza delle Murate, Florence, Italy from June 8 to July 31, 2012. The exhibition is open to the public from 12 to midnight from Monday to Sunday. Free admission.
Curator: Meaghan Baron is the Senior Communications Strategist for the Robert F. Kennedy Center for Justice and Human Rights. Her work focuses on organizational messaging, media relations, and speechwriting for the Center's senior leadership. Before joining the RFK Center in 2012, Ms. Baron was the Senior Writer & Editor for the William J. Clinton Foundation. From 2008-2010, she was the Speechwriter to Manhattan Borough President Scott M. Stringer, and prior to that, worked with a poverty justice non-profit, New York Lawyers for the Public Interest, on fund reporting, website language, and community organizing for health care access. Ms. Baron holds a B.A. in philosophy from Georgetown University.
Meaghan Baron: 515 Madison Avenue, Suite 718 | New York, NY 10022
Tel: (917) 284-6358 ►firstname.lastname@example.org
Press-office: Propaganda Mordini press | tel. +39 342 5829365
Comment by ►Dietmar Kirves [NO!art headquarters east]: The writing style of "NO!ART" is absolutely wrong. Boris Luries wish was always to write "NO" with big letters and "art" with small letters. Because NO is the important message, not the manipulated art. In all our publications you will find the correct spelling "NO!art". People who use other notations has never understand the aims of NO!art and what NO!art means. | ►more on manipulation page
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VIEWS in the SHOW
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BORIS LURIE STATEMENT (1961)
catalog page 23
Welcome to this exhibition. If your eyes and mind serve you well, you will see something new,.. When viewing this show, please avoid applying aesthetic labels; do not call us realists, neo-dadaists, surrealists.
These labels are neither true nor important in today's context. Formalist distinctions do not apply here. Aesthetics are generally viewed as a fixed, solid entity: we look upon it as the Reflection of changing reality. The ivory tower is no substitute for involvement in life. In a time of wars and extermination, aesthetic exercises and decorative patterns are not enough ...
We are not abstract, non-objective, representational, alone-rather, we are all of it: we want to use all inventions, Past or present, without discrimination as to 'styles'.
Totality is seen as a composite of all aspects: limiting, purist, puritanical approaches are rejected. We are not playful! We want to build art and destroy it, but we say exactly what we mean ... at the expense of good manners. You will find no secret language here, no fancy escapes, no hushed muted silences, no messages beamed at exclusive audiences. Art is a tool of influence and urging. We want to talk, to shout, so that everybody can understand. Our only master is truth ...
New frontiers … old frontiers. Is it true it only took one man to awaken the world? … Eichmann alive ... Eichmann dead … who cares for Eichmann? Now they tell us all about the concentration camps. Bergen-Belsen has been turned into a beautiful park. Thousands kept on starving after the liberation … Was it right to kidnap Eichmann - International law? Who brought the capture about One man? … Look down. What do you see? Count the dead! Count the living? What do you hear? Silence. How can they be counted? ... Millions worth of publicity … We have absolutely nothing to sell! Some people get very uncomfortable in their cages ... nothing seems as credible as before (the ghosts start their parade in New York) … Even the Dead have been in hiding, so long, deprived of the right of self-expression. They are much more at peace now that the newspapers have remembered them. But it only took one determined man to accomplish all this ... Buried, covered up, sick, moldy consciences open up! Man might be helpless, but faith has moved a mountain. Fresh air blows through these putrid canyons, platitudes and sophistries, Deceit! Conceit! Lies.
ATTENTION: This document has been copied without reference from webpage
also published in the anthology: ►NO!art, Edition Hundertmark, Cologne 1988, page 39.
WORKS IN THE SHOW:
CLICK ON TITLE TO SEE ARTWORK
01. NO (BABY LOTION) | n.d. | Collage | 30 x 70 inches
02. NO's WITH SKULL AND CROSSBONES | n.d. | Oil on plywood | 25 x 23¾ inches
03. ALTERED MAN SERIES | 1963 | Oil and collage on paper, mounted on canvas | 29¼ x 23¾ inches
04. NO POSTER | 1963 | Silkscreen framed in lucite | 28¾ x 22¼ inches
05. NO WITH PINUP FLOWERS | 1962 | Collage on masonite | 21½ x 31½ inches
06. NO-RECORD | 1962 | Vinyl with oil mounted on board | 14 14 inches
07. ON NO | n.d. | Oil on canvas | 22 x 24 inches
08. UNTITLED NO | n.d. | Oil on canvas | 14 x 19½ inches
09. NO WITH LINOLEUM | 1962 | Oil on linoleum on board | 18¾ x 24¾ inches
10. UNTITLED NO | 1963 | Stencil paint and paper mounted on unstretched canvas | 22½ x 30 inches
11. LOINS OF PORK | 1962 | Paint and collage on canvas | 76½ x 109¾ inches
12. SILVER NO | 1962 | Oil on canvas | 22½ x 24 inches
13. NO | n.d. | Ceramic tile, oil paint on masonite | 6¼ x 12¼ inches
14. NO SPRAYED | 1963 | Spray paint on masonite | 22 x 20½ inches
15. SMALL NO | 1963 | Assemblage on cardboard | 18 x 14 inches
16. NO BLACK AND SILVER | 1963 | Oil paint on canvas board | 16 x 20 inches
17. BACK FROM WORK | 1946 | Oil on canvas mounted on masonite | 19½ x 27¼ inches
18. NO WITH DRIED PAINT | 1963 | Assemblage, paper, oil paint, dry paint on wood | 17½ x 18½ inches
19. UNKNOWN | n.d. | Collage with linoleum tile | 11 x 16¼ inches
20. HENRY CABOT LODGE | 1963 | Election poster and oil mounted on canvas | 29 x 23 inches
21. NO PAINTING | 1962 | Oil on cut cardboard | 25¼ x 22¼ inches
22. SOLD GOLD | n.d. | Assemblage rubber material mounted together | 12½ x 28¾ x 1¾ inches
23. UNTITLED | n.d. | Assemblage mat with photo | 20½ x 28 inches
24. IMMIGRANT'S NO!BOX | n.d. | Assemblage wood trunk, paint with photos and paper | 24 x 40 x 25 inches
25. NO!SUITCASE | n.d. | Assemblage and material and photos | 20 x 40 x 24½ inches
26. NO STENCIL | n.d. | Assemblage cardboard, pictures oil paint on canvas board | 24½ x 18 inches
27. UNTITLED | 1963 | Oil on paper collage on cardboard | 16¾ x 14½ inches
front and backside | paperback | 61 pages
Boris Lurie, the War, and NO!art - Claude Horvath | page 5
Introduction - Gertrude Stein | page 7
Introduction - Kerry Kennedy page 9
Profile in Resistance: RFK Human Rights Award Laureates | page 11
BORIS LURIE STATEMENT (1961) - Boris Lurie | page 23
What Kind of Times Are These by Adrienne Rich | page 25
Images | page 26
Table of Contents | page <56 br>
Acknowledgements | page <58 br>
About The Robert F. Kennedy Center for Justice and Human Rights | page 61
INTRODUCTION BY GERTRUDE STEIN:
More then 50 years ago, Boris Lurte had his inaugural show in Milan at the Arturo Schwarz gallery. That show was condemned, praised, reviewd, discussed and made an imprint for the avant-garde anti-establishment movement. Upon his return to the United States, the Doom show was presented at the March Gallery, on East 10th Street, in the young artists neighborhood, predating the NO!art movement, which I took to uptown Manhattan to the established artist section. It was a black basement gallery and we had the now famous NO SHOW, with our mission statement which fought for an end to genocide, prejudice, art related cabals, consumerism, artist repression and other points of contention with the establishment. Boris was a victim of the holocaust, having been imprisoned for 4 years with his father, while his sister, mother and gandmother were executed amid the 1941 massacre at Rumbula, a seaside district near Riga, Latvia. In steadfest opposition to injustices, great and small, such as these, the Boris Lurie Art Foundation is dedicated.
Until the day he died, in January 2008, he dreamed of a foundation to address these problems. We worked toward this for 50 years, and upon his death, I organized and fought for a meaningful art message that would encompass what Boris struggled to bring to fruition his entire life. This is stated in the 1961 mission statement; we have had many exhibits, and the one Moscow, Russia was the show he unquestionably would have most appreciated.
Please remember that, though some of these works are a half century old, they are just as current to a new generation.
Gertude Stein | BorisLurieArtFoundation.org | Director
Boris Lurie Art Foundation | 50 Central Park West | New York, NY 10023 | borislurieart.org
23-02 49th Avenue, 6th Floor | Long Island City, New York 11101 USA
Claude Horvath + Ronald Morosan + Joe Ruffin + Anna Salamone + David Stein + Gertrude Stein + Monica Carbone + Donatella Baggio Betti + Jean Zirnmermann
Special thanks to our Board of Directors for the support Dr. Geo Campanovo + Dr. William F. Pepper + Gertrude Stein + Peter Sprenger + Anthony Williams
Very special appreciation goes to The City of Florence, Italy and the Honorable Matteo Renzi - Mayor of Florence, for providing the venue that hosts this exhibition and to the people of their city whose support this show possible.
June 20, 2012 04:51 | Why do you write always NO!art in wrong writing style? Why do you ask John Wronoski for information about NO!art? He was never in personal acquaintanceship with Boris Lurie since 1966. I was a friend of Boris Lurie and worked together with him for more than thirty years to bring NO!art to the light again, published with him the first NO!art anthology, and started the NO!art pages in the world wide web in 1999. — ►Dietmar Kirves [Leader of Eastern Front NO!art movement]
June 20, 2012 04:52 | NO!art is anti worldmarket-investment art. Artworldmarket-investment art equals cultural manipulation. NO!art is against all artworldmarket "salon" art. .. so ... what happends here? ... we are the movement! — ►Dominik. Stahlberg [NO!artist]
June 21, 2012 16:56 | NO!art Western Front ►Clayton Patterson (USA) and ►Dietmar Kirves (Europe). Boris oversaw the work on the website. Gertrude Stein NYC art dealer and her gang of 3 has spent a good deal of time trying to destroy the NO!art Movement. Non of the people on this corrupt NO!art Foundation have any connection to NO!art. I was shocked to see the Robert F. Kennedy Center For Justice and Human Rights was working in partnership with the corrupt Boris Lurie Foundation to produce a NO!art show at the Robert F. Kennedy Center. I contacted, by email, Ms. Meaghan E. Baron- the Senior Communications Strategist for the Robert F. Kennedy Center for Justice and Human Rights. email@example.com. NO! response. I wonder how much they paid the Kennedy Center to do this show? The struggle for justice continues- the fight never ends-thanks — ►Clayton Patterson [Leader of Western Front NO!art movement]
Report by a VISITOR
DOMINIK STAHLBERG: About Lurie Show in Florence | Carrara/Italy | 6/21/2012
Detail of an exhibited artwork by Boris Lurie
Now you can forget all your old ideas. What a show, what a catering, what a nice team, such beautiful women! Boris Lurie, an elite exhibition. He would have not like it. Photographing and video recording is strictly prohibited! Lurie as an angel of peace, as a world savior. Lurie as a resistance against all evil in the world.
►Dr. Campanovo, a co-director of the Boris Lurie Art Foundation(BLAF), orated with a "wonderful" text. A very serious man with a very more serious face. A banker, a shark. He donated 15,000 Euros in the name of BLAF to the Kennedy Center, without a smile ... cool type. Boris would have loved him ... The curator, praised as the same.
Too bad that no one of them has ever met Boris ...
The catalog, a single bad NO NO NO NO!
The only good man at the opening was ►Paolo Baratella, invited and flown in from northern Italy. He told of his meeting with Boris in the 60s in his studio. He wondered why he was invited, there should be people who would know much more better Boris. I know for example ►Dietmar Kirves, who worked togetther with Boris Lurie more than 3o years to push the NO!art. Yes, that surprised us too!
That was the first show, according to curator of ►works by Boris in Europe (WTF!) —
We, the NO!artists have to organize us now! The BLAF is trying now to re-write the story of us and of Boris. The BLAF tries to destroy us! I drove back home with bad energy, so bad that the engine of my car broke down ... For this too .. thanks again BLAF! ►Dominik Stahlberg - NO!artist