Exhibition in Havana
Due to the damage caused by Hurricane Irma, we have moved back the opening date of the exhibition to October 6
6 October to 19 November 2017
Museo Nacional de Bellas Artes
Catalog from 2015 Paris exhibition
From the exhibition "Boris Lurie NO!art"
22 October to 22 December, 2015
Galerie Odile Ouizeman, Paris
Letter from Mitchell Lieber
"At January's show in NY I saw his painting of three women and immediately thought of the photograph of women just before they were shot at Skede in Liepaja, Latvia. I had seen a photocopy of it in Boris Lurie's papers a few days earlier at the warehouse. I understand it hung on his wall. It seemed to me that he was influenced by this photo's terrible image and the women in his family who met the same end at Rumbula."
Rumbula’s Echo Update
Rumbula’s Echo is a documentary about genealogy, an overlooked part of the Holocaust, and what we all lose as a result of genocide. This is about the place in Latvia where Boris Lurie's family—mother, sister, grandmother and girlfriend—were murdered by the Nazis. Since newsletters have been sporadic, the latest newsletter features highlights from 2014 through mid 2017.
2nd Showing: The Art of Boris Lurie documentary
Lecture: The Holocaust and the Problem of the Visual Representation
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.