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About
Filmportrait
Paintings
Sculptures
† Obituary
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
ROCCO ARMENTO, born in 1924, in New York. 1947-54 studies at the Art Students League, New York, Grand Chaumière School, Paris, Mechanics Institute, National Academy of Design and Wagner College, New York. 1961-65 teacher at the School of Visual Arts, New York. Works with different materials. Since 1956 different one-man-shows and participations in the March shows at Tenth Street, New York, in the Brata Gallery, Tananger Gallery, Gertrude Stein Gallery and in the Block Museum, Chicago. | Died on December 30, 2011 in Woodstock.
1961 INVOLVEMENT SHOW | March Gallery, New York, April
1963 NO SHOW | Gallery Gertrude Stein, New York
1988 NO!art anthology | Edition Hundertmark, Cologne
1995 NO!art | Neue Gesellschaft für Bildende Kunst, Berlin
2001 NO!art and the Aesthetics of Doom | Block Museum, Evanston, IL
Contribution: ►Torso #1
2002 NO!art and the Aesthetics of Doom | UIMA, Iowa City
2019 ROCCO ARMENTO PRINTS | BCMT Showroom, Kingston, NY
NO!art involved artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
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". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
