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NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
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.
