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    the strategic
    juncture where
    artistic production
    and socio-cultural
    action meet.



Estera Milman: One-on-One. "NO!art" and the Aesthetics of Doom: Dialog with Boris Lurie, 2000/2011. | This four part, real-time dialogue between NO!art founder, Boris Lurie, and cultural historian, Estera Milman, took place in 2000 as a documentary component of the National Endowment for the Arts-funded, retrospective exhibition, "NO!art and the Aesthetics of Doom." Curated by Estera Milman, the exhibition opened at the Mary and Leigh Block Museum of Art, Northwestern University, in November 2001. The show was singled out by The Chicago Tribune as the antithesis of "comfort art" in the immediate post 9/11 Chicago artworld and described by the Chicago Reader as "one of the best exhibits of 2001." The video was edited for public viewing in 2011. more

David Katz: Boris Lurie. The artist as provocateur, 2005. | Earlier this year, along with photographer, archivist, gallery owner and friend Clayton Patterson, I interviewed Lurie as he recuperated from quadruple bypass surgery at a friend’s Park Avenue apartment, while his chaotic and art-crammed East Village apartment was being renovated. His recent inclusion in a group show at the Clayton Gallery & Outlaw Art Museum, New York, entitled The 80’s: 326 Years of Hip, along with Taylor Mead, Mary Beach and the late Herbert Huncke, three other notable octogenarian artists, served to refocus attention on the raw energy and the uncompromising nature of his art." The video was edited for public viewing in 2011. more

Max Liljefors: Boris Lurie and NO!art, 2003. | In New York, in the late 1950's, an independent, anti-establishment art movement evolved around The March Gallery, one of several artists' co-operative galleries at that time on Tenth Street on Eastern Manhattan. The group was originally called The March group, but was later renamed as NO!art - the phrase "NO!" often occurring in their artworks, signalling social indignation and protest. Probably the most left-radical art movement in New York, NO!art never became part of the established art scene, as other emerging movements of that period - Pop Art, Minimalism, Neo-dada, etc. - but remained outside it and has basically been ignored by art history ever since. Recent years, however, has witnessed a growing interest in NO!art, manifested in retrospective exhibitions, conferences etc., particularly in Germany and the United States. " The video was edited for public viewing in 2011. more

Megaklés Rogákos and Janos Gat: Not Mince Matters, 2000. | “Megaklés Rogakos: How long have you been living in the US? Boris Lurie: I have been living here since the end of World War I. A long time since 1946. MR: I was looking into your biography and read that you spent time in a concentration camp. How long was it? BL: It was long time! 4 Years. MR: It must have been hell. BL: The curious thing is that last year (1999) there was an exhibition of my work at the Buchenwald Memorial in Germany. There will be a book coming out called “Poetry” with illustrations from that exhibition and by many other artists. " The video was edited for public viewing in 2011. more

Alan Murdock: Interview with Boris Lurie, 1999. | While thinking about the concept of the individual in society I remembered an article I conducted with Boris Lurie of the NO!art movement. Two days ago I posted part of the article, originally printed in The Daily Iowan newspaper. Following is the interview conducted for that article between Boris Lurie and myself. " The video was edited for public viewing in 2011. more

Dietmar Kirves: Interview with Boris Lurie, 1995. | “It is extremely difficult to produce a kind of art that history will pass over in silence, that the art magazines will dismiss, that will embarrass collectors and be offensive to most other artists. The Lurie-Goodman-Fisher activities in the March Gallery and later in the Gertrude Stein Gallery succeeded in achieving this large negative.” (Brian O’Doherty, 1971). In the 60s founders of NO!art Boris Lurie, Sam Goodman and Stanley Fisher developed a provocative alternative to the “optimism of the cheerful Pop production” (Wolf Vostell) by radically performing SHIT SHOW 1964 at March Gallery, New York and at the Gertrude Stein Gallery later. A today really ignored chapter of American art has arisen after the experience with the Holocaust and the disgust concerning the affirmative practice of art, a “strategic juncture where artistic production meets socio-cultural action.” " The video was edited for public viewing in 2011. more

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