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After Boris Lurie’s death (2008) and the change of his will by Gertrude Stein with the establishment of the Boris Lurie Art Foundation [BLAF], several reviews are published by free riders and art historians mostly repeating the same elements according to the taste of the BLAF without NO!art. They used our archives, copied and reproduced documents without citing the source. Therefore, only the essential reviews are listed here in our index. ►more
[2021]
FRACTURE. FEMINITY, THE BROKEN GAZE, AND THE AFTERLIFE OF THE SHOAH IN BORIS LURIE'S WORK | By Katharina Sykora, Hamburg/Germany: In 2021, with its annual theme "Images as Actors of the Political," the Warburg House offers the space to examine political image phenomena and to discuss questions of the current significance of political images in a global context . . . ►more
[2018]
ON BORIS LURIE | By Gertrude Stein, Krakow: Boris was born in Leningrad in 1924. When Lenin died, Stalin stopped the five-year-plan, so Boris’s father, who was a businessman, lost all his money and he knew that under Stalin he’d be murdered, so they went to Latvia with the children, when Boris was a few months old . . . ►more
[2010]
SAYING YES TO NO! | By Douglas Century, New York: In January 2008, the painter Boris Lurie lay dying of kidney failure in a New York hospital, with a large poster of Joseph Stalin positioned at the foot of his bed. Few outside Lurie's intimate circle could have suspected that the Russian-born Holocaust survivor—one of the founders of the NO!art movement—had been leading a double life. ... ►more
[2008]
BORIS LURIE R.I.P. | By Jan Herman, New York: The epigraph on ►NO !artMAN a major 2001 dcumentary about Boris Lurie, who died earlier this month, says it all: "In a time of wars and extermination, aesthetic exercises and decorative patterns are not enough." Those are Lurie's words, and now they might as well serve as his epitaph. ►more
BORIS LURIE, A FOUNDER OF THE NO!art MOVEMENT DIED | By David H. Katz, New York: In the late ’50s Lurie began to produce ambitious works related in complex ways to his wartime experiences. Along with Sam Goodman and Stanley Fisher, he founded NO!art in 1959, “out of desperation,” he said, both with the state of the art world and the world at large. ►more
BORIS LURIE LEADER OF A CONFRONTATIONAL ART MOVEMENT | By Collin Moynihan, New York: A 1962 etching by Mr. Lurie, for instance, combined a swastika and a Star of David. A 1959 work, “Railroad Collage,” superimposed an image of a partly dressed woman over another image of corpses stacked on a flatbed rail car. ►more
[2005]
BORIS LURIE'S "NO!art" AND THE HOLOCAUST | By Jan Herman, New York: Today, when the liberation of Auschwitz-Birkenau is recalled with "the mournful whistle of an imaginary death train," the little-known No!art art of Boris Lurie looms like a signal from the remembered depths.... ►more
BORIS LURIE: UNEASY VISIONS, UNCOMFORTABLE TRUTHS | By David H. Katz, New York: Boris Lurie is an East Village artist, writer, poet and Holocaust survivor who, for more than 60 years, has expressed uncomfortable truths about the nature of art, history and ... ►more
ETHICS AND AESTETICS: BORIS LURIE'S RAILROAD COLLAGE | By Beatrice Howell, London: In 1963 the Russian born, American-based artist Boris Lurie produced Railroad Collage, a mixed media collage juxtaposing an enlarged copy of the iconic Liberation photograph from the concentration camps of Nazi Germany with the symbol of ... ►more
[2002]
MIRRORING EVIL: NAZI IMAGERY. Recent Art at Jewish Museum, New York City | Preface by Jeanne Pearlman: Kleeblatt’s catalogue essay is significant in giving evidence to his interest in the role of art in demystifying the realm of the forbidden and taboo, particularly as it pertains to how those taboos form Jewish identity. He is most eloquent, however, when he describes the paradox inherent in the early work of Boris Lurie, a Russian-born Buchenwald survivor. ►more
[2001]
ALTHOUGH I UNFORTUNATELY HAVE NOT READ GOETHE, BUT I DID GET A FEEL OF HITLER EVIL. | Preface by Volkhard Knigge, Weimar/Germany: From December 1998 until spring 1999, the Buchenwald Memorial showed a retrospective of Boris Lurie's visual art works in its art museum. Although Lurie's first works were created shortly after the end of the war, this was his first comprehensive solo exhibition in Germany. There had previously been two exhibitions devoted to NO!art, which included works by Lurie as a founder of this artistic movement that emerged in New York in the second half of the 1950s: in 1973 at Galerie René Block and in 1995 at the Neue Gesellschaft für Bildende Kunst Berlin. In 1988, Edition Hundertmark, Cologne, had published an anthology on "NO!art" designed as an artist's book by ►Dietmar Kirves and edited by Boris Lurie and Seymour Krim ►more
[1999]
"EVERYMAN" BORIS LURIE | By Martin Levitt, Essex Junction/VT: Boris is a fascinating storybook, on life in the Concentration Camps. He spent his youth as a prisoner of the Nazi´s. He was so young and innocent he was chosen to sweep the guards office and consequently was able to save his fathers life with a simple erasure. ... ►more
[1998]
ANDY WARHOL'S POOR BROTHER | By Rudij Bergman, Weimar/Germany: Arrived in New York over fifty years ago. Art wasn't a big business back then. That came later, but Boris Lurie, the immigrant from Europe, never had anything to do with it. However, in relevant circles he was, remained and is, like Otto Dix, famous and notorious. ►more
BORIS, EPISTOLARY POEM | By Matthias Reichelt, Berlin/Germany: You black-clad hermit of 66th Street. You, Nighthawk, turn night into day and seek sleep among stacks of newspapers, Holocaust literature and stock market dispatches, while Giuliani's surface-polished Manhattan goes about its daily business. Your dark rented apartment, located just below street level but not yet a basement, you regularly leave only to pick up the New York Times, the old aunt, or now and then to go to your studio in the - now hyped by the yuppies - Lower East Side. ►more
[1997]
BORIS LURIE'S NO!art | By Sarah Schmerler, New York: Boris Lurie's art is not pretty. It does not conform to imposed formal criteria, to the accepted notions of taste - either good or bad. It does not conform to any rules ... ►more
[1995]
ANTI-FASCIST ANTI-POP | By Harald Fricke, Berlin: "Howl" is written in crude brush letters on the canvas. Allen Ginsberg's motto as graffito in a thicket of gesturally muddled colors. The 1959 painting is by no means intended as an homage: the colors do not shimmer psychedelically, but appear dull, dull or simply dirty gray. The areas at the bottom of the picture look like fermented blood; they are more reminiscent of slaughterhouse walls than of jauntily painted messages of the Beat generation. ... ►more
[1972]
GOODMAN & LURIE AND CO. | By Erje Ayden, New York: It is difficult for me to write about art which is not personally important to me although I'm aware that "it's important" in a larger sense. The piece here I have attempted to collage came out of a visit I had with Seymour Krim. We discussed briefly the meaning and influence (if any) of the so called Shit Show which on other occasions used titles such as NO!show, Doom-Show, NO!art, etc. ... ►more
[1963]
ABOUT BORIS LURIE | By Gertrude Stein, New York: The work of Boris Lurie is powerful stuff. He feels that the ivory tower cannot substitute for real involvement in life; art is an instrument of influence and stimulation ... ►more
[1962]
AN AMERICAN REBELLION, LURIE AND GOODMAN IN MILAN | By Mario de Micheli, Milan: The intellectual groups that are taking a position of revolt against established society are getting to be more numerous from day to day. ... ►more
INTRODUCTION TO THE ITALIAN SHOWS | By Thomas B. Hess, New York: Sam Goodman and Boris Lurie are true Social Realists. Deeply involved with political and social issues, they have decided to work as citizen-artists, to become Responsible, ... ►more
