Boris in Riga, Latvia
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The Last Generation Before the Internet. Their Lives
Latvian National Museum of Art
This group exhibition deals with the recent past when the search for oneself and others took place in an analogue instead of a digital environment.
Russian Edition of “House of Anita” in Moscow Book Fair
Борис Лурье – Дом Аниты
Перевод Ю. Кисина, В. Нугатова
Translated by Julia Kissina, Valery Nougatov, and Alexandra Koroleva
Foreword by Terence Sellers and Julia Kissina
International Fair for High-quality Books non/fictio№19
29 November – 3 December 2017
Central House of Artists
10 Krymsky Val. Moscow
Noted as one of the top 10 books in the fair!
Catalog from Boris Lurie in Habana
Catalog for Boris Lurie in Habana 2017 exhibition, Museo Nacional de Bellas Artes, Havana, Cuba. Published by Boris Lourie Art Foundation. Spanish-English; 180 pages.1st Edition of 2000: 1000 in hardcover with DVD of the documentary "The Art of Boris Lurie" directed by Rudij Bergmann, and 1000 paperback.
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.