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Portrait Herbert Brown

HERB BROWN, born in 1923, in Lynn, Massachusetts. He studied art in Max Beckmann's class in New York from 1949 to 1952.|He was in group and one man shows in the March-exhibitions in the Tenth Street and in Gertrude Stein's NO!art gallery with over painted subway advertisement posters. His atelier burned down in 1966 and he lost about 900 works. Since 1970 involved in scenic design. Passed away on Thanksgiving night (11/24/11) at the age of 88.  homepage

2010  Paintings AND VIDEO Works FROM THE 1960s | BLT Gallery, New York
2009  WISER THAN GOD | BLT Gallery, New York
2007  THE GENESIS OF MY EARLY MULTIMEDIA TELEVISION ART,
          Interview, New York

2003  NO!art in BUCHENWALD | Boris Lurie: Geschriebigtes ..., Stuttgart
          Contribution to the catalog book:  You don't have to be a Jewish
2002  NO!art and the Aesthetics of Doom | Museum of Art, Iowa City, IA
2001  NO!art and the Aesthetics of Doom | BLOCK Museum, Evanston, IL
          Contribution:  FUCKING
1998  SUBWAY POSTERS | Janos Gat Gallery, New York
1995  NO!art | Neue Gesellschaft für Bildende Kunst, Berlin
          NO box | Edition Hundertmark, Cologne
1988  NO!art anthology | Edition Hundertmark, Cologne
1965  SUBWAY POSTERS OVERPAINTED | Gertrude Stein Gallery, New York
1961  INVOLVEMENT SHOW | March Gallery, New York, April

NO!art involved Artists: ARMENTO + 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.

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