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About
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NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
AL D'ARCANGELO, born June 16th 1930 in Buffalo, New York. He was an American Artist and Printmaker, best known known for his paintings of highways and road signs. His reputation as a Pop artist was established in 1963 with his series of paintings of American highways and signs, an example of which includes US Highway 1, Number 5. He was involved in the NO!art movement at Tenth street in the Sixties. Died on December 17th 1998 in New York City, New York. ►https://www.allandarcangelo.org/
2009 Paintings 1962 - 1982 | Mitchell-Innes & Nash Gallery, New York
2002 NO!art and the Aesthetics of Doom | Iowa Museum of Art, Iowa City, IA
2001 NO!art and the Aesthetics of Doom | Block Museum, Evanston, IL
1978 Paintings of the early sixties | Essay
1995 NO!art | Neue Gesellschaft für Bildende Kunst, Berlin
1988 NO!art anthology | Edition Hundertmark, Cologne
1961 Float and Masks | Car Event with Sam Goodman, New York
1961 Involvement show | March Gallery, New York
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.
