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Stanley Fisher ARTISTS
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ABOUT
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OBITUARY

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Portrait Stanley Fisher

STANLEY FISHER, born in 1926, in New York. Co-founder of the NO!art movement with Boris Lurie and Sam Goodman. He was an agitator and a beatnik publisher at this time. Editor of "Beat Coast East", an anthology of rebellion. His art work is mainly crudely collagistic in form, containing many newspaper clippings and iconic features. Invariably his work focussed on social issues of the time: civil rights, the rights of African-Americans, women and the growing perniciousness of American materialism. Died after 54th years 1980.

2006  REMEMBERING STANLEY FISHER | Essay by George Wallace
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
1995  NO!art | Neue Gesellschaft für Bildende Kunst, Berlin
1988  NO!art anthology | Edition Hundertmark, Cologne
1982  STOP LYING | booklet, The Middle of Silence Gallery, New York
1980  STANLEY FISHER | Mysterious to the End, Essay by Boris Lurie
1965  STANLEY FISHER | Wadell-Grippi Gallery, New York
1963  STALEY FISHER | Stryke Gallery, New York
          NO!show | Getrude Stein Gallery, New York
1961  INVOLVEMENT SHOW | March Gallery, New York
          DOOM SHOW | March Gallery, New York
1960  VULGAR SHOW | March Gallery, New York
          BEAT COAST EAST MAGAZINE | Excelsior Press, New York

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.

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