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About
Biography
Review
Works
† Obituary
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
PAUL GEORGES, born in 1923 in Portland, OR to a Greek father and Jewish mother, and emerging to prominence in the mid-1950s as one of the New York School artists, Paul Georges, who studied with Fernand Léger and Hans Hofmann, sought to bring the energy of Abstract Expressionism to representational painting. He fearlessly explored a number of genres including narrative painting, self-portraiture, still life, landscape, and political allegory, and achieved a highly distinctive style.—Died in 2002. ►Paul George Foundation ►wikipedia
2003 NO!art in Buchenwald | Boris Lurie: Geschriebigtes ...,
catalog book, Stuttgart
Contributions: ►THE MUGGING OF THE MUSE + ►RECLINING NUDE
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.
