Artist-Run Galleries in New York City, 1952–1965
The first show ever to survey this vital period from the vantage point of its artist-run galleries—crucibles of experimentation and innovation that radically changed the art world. Including work by Boris Lurie.
Boris Lurie LIFE AFTER DEATH
Boris Lurie. Adieu Amérique
Article about Boris in Jewish Currents
The article is titled "BORIS LURIE AND NO!ART."
“In a time of wars and extermination, aesthetic exercises and decorative patters are not enough.”–Boris Lurie
We need Outlaw Art now more than ever before – The Villager
An article by Aan Kaufman, author of “The Outlaw Bible of American Art,” has just been published in the downtown publication The Villager.
"A true visionary, for a time, Lurie and his movement caught the attention of such art world notables as Tom Wolfe, Harold Rosenberg and Dore Ashton. But his star faded due, in no small part, to his shocking frankness about the savagery and root causes of the Holocaust. He left behind a wealth of great paintings and today interest in his iconoclastic work is again on the rise internationally."
BORIS LURIE NO!
Extended: 25 JUN - 23 NOV 2016
Janco Dada Museum, Ein Hod, Israel
This exhibition, held on the centennial of the Dada movement, centers on six series chosen from Lurie’s wide-ranging body of works, in an attempt to underscore both the explicit and the implicit connections of his oeuvre to the Dada movement and to Marcel Janco.
Domus article: Warehouse Gallery
"The gallery designed by Julian von der Schulenburg to show, store and manage Gertrude Stein’s collection is a programmatic hybrid of an art storage and exhibition space." An article from the architecture magazine Domus.
No Compromises! The Art of Boris Lurie —major exhibition in Berlin
26 FEB - 31 JUL 2016
Jewish Museum Berlin
Translations from the German press
The Jewish Museum Berlin is dedicating a major retrospective show to Boris Lurie and his radical artistic examination of the 20th century. Lurie is an artist who demanded political relevance from art and the art market. His much-discussed and controversial works accuse society of shirking coming to terms with its crimes against humanity by packing evidence of them between advertising and everyday banalities.
New hardcover edition of House of Anita
Outlaw American Art: 1945 - 2016
The Warehouse on the 55th Street
The Architect Julian von der Schulenburg has built a storage space for Boris Lurie works.
Text by Lisa Silbermayr, photos by Dean Kaufman
Boris Lurie at CONTEXT New York
The controversial, misunderstood and rejected art of Latvian artist, Boris Lurie at Art New York
A Monstrous Nudity: Reflections of Nazism, Concentration Camp Imagery and Obscene Figures in Contemporary Art
Essay by Nathan Réra
A New & Better World: The history of Boris Lurie, the Аvant-garde Artist and Stalinist, and his supporter Gertrude Stein
Boris Lurie: In the Footsteps of an Outsider
Boris Lurie: In the Footsteps of an Outsider by Rudij Bergmann
1994 New York Press "Lost Art"
John Strausbaugh visits Boris's studio.
Art in America review of Aldo Tambellini
NO-Art: An American Psycho-Social Phenomenon
Article available by Emanuel K. Schwartz and Reta Shacknove Schwartz
Leonardo, Vol. 4, No. 3 (Summer, 1971), pp. 245-254
About Boris Lurie
Boris Lurie was the avant-garde incarnate. NO!art, the movement he founded with Sam Goodman and Stanley Fisher in 1959, was 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; it called for an art dealing with difficult truths, such as imperialism, racism, sexism, and nuclear proliferation, and leading to social action. Lurie’s highly controversial work, sometimes combining imagery deriving from the Holocaust with samplings from popular culture, advertising, and girlie magazines, alienated critics and curators and was ignored by the art establishment. Lurie deplored what he called the “investment art market,” and he resisted its blandishments at every turn, rarely showing his art after the seventies and almost never offering it for sale.
Excerpt from exhibition catalogue of “NO! Boris Lurie” at David David Gallery, Philadelphia, PA, 2012.