NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". An example would be the Italian painter De Chirico, who dated his late paintings with early years, on the basis that the idea had come to him at that early date, but he got around to executing it only at the later date ‒ quite valid, in my opinion ‒ yet the art market hated it, for practical reasons of creating confusion about monetary value. That is, in my opinion, the main and real reason for art historians and critics insisting on this untrue measure. ►Boris Lurie, 2003.
NO!art arised 1960 in New York
NO!art is a nonprofit movement
INVOLVIERTE KÜNSTLER: Rocco Armento + Isser Aronovici + Enrico Baj + Paolo Baratella + Herbert Brown + Ronaldo Brunet + Bruno S. + Günter Brus + Krum Chorbadzhiev
BIOGRAPHICAL RESEARCH: Dietmar Kirves, Berlin; Estera Milman, New London, CT (USA); Inga Schwede, Leipzig (Germany).
TRANSLATIONS: Nicole Becker, Dietmar Kirves, Felix Kirves, Mathilda Wolf, Berlin.
THANKS to the photographers Pasha Antonov, Lordville (USA); Martin Blake, Berlin; Rudolph Burkhardt, New York; Amikam Goldman, Tel Aviv; Bob Harris, Venice; Dietmar Kirves, Berlin; Volkhard Knigge, Weimar; Christian Larrieu, Paris; Susanne Lattek, Berlin; Vincenzo Mastrangelo, Sapri (Italy); Clayton Patterson, New York; Naomi T. Salmon, Weimar; Jon Schneeberg, New York; Natalia E. Woytasik, Sapri (Italy), and all unknown photographers.
NO!art logo design: Ronaldo Brunet 1978
NO!artsound: George "Bongo Joe" Coleman (November 28, 1923 – December 19, 1999) was an American street musician who was recognized for performing with a makeshift drum kit manufactured from oil drums. Considered both an inspired and novelty act, Coleman developed a unique percussion sound as he toured popular tourist attractions in Texas but preferred to perform on the streets rather than lucrative stage venues.
Copyright by the Artists, Authors, Editors and Photographers.