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NO!art
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In conversation with BORIS LURIE | neue bildende Kunst, Nr. 1/95, Berlin 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.” . . . ►more

In conversation with ALDO TAMBELLINI | Videodocumentary, Cambridge 2010 | Aldo speaks about Lower East Side, Rental prices, March Gallery, Boris Lurie, NO!art, Political art, Sam Goodman, Stanley Fisher, Jean-Jacques Lebel, Shit Show, Stock Exchange. ►more

In conversation with CHARLES REHWINKEL | Videodocumentary, New York 2014 | We spoke about Boris Lurie as artist and money hunter, his Stuetzpunkt Foundation and his Last Will, about Gertrude Stein as a zerberus in the hospital when Boris Lurie died, Gertrude's Boris Lurie Art Foundation. ►more

In conversation with FRANZISKA BECHER | Berlin | 11-19-2010 | Dietmar Kirves: It was difficult for me to get back into art in 1978. I was fed up with the conventional art scene ‚the muzzle’. I didn't want to have anything more to do with it. During my studies in Kassel in 1963 I participated in documenta III as a press, public and artist advisor. Then, in 1968, I gained experience in the Duesseldorf art scene. At that time a ‚important’ art center in Germany. The whole machinations disgusted me. How it all works. How it is manipulated. Who dies when. When the prices rise. Which collector to court and so on. What art is and who stays outside the door. And that's I left Duesseldorf 1974 for Berlin, the city of the Berlin Wall, to distance myself from the art scene. No one here was interested in art and its manipulation. Berlin was more about social political issues like East-West conflict, autonomous movements, squats, the punk movement, demonstrations and so on. There was no saturated . . . ►more

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