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About
Biography
Review
Works
† Obituary
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
DOROTHY GILLESPIE, born 06/29/1920 in Roanoke, Viginia. Studies at Maryland Institut of Art in Baltimore and at Art Students Legue in New York. Was involved in the March Group and put contributions to the Involvemt show in 1961. Designed together with Sam Goodman the American Way of Death show in 1964. Was director of the Art and Community Institute at New School of Social Research in New York. Died on September 30, 2012 in Coral Gables/FL. She was 92. ►homepage
1961 INVOLVEMENT SHOW | March Gallery, New York, April
1964 AMERICAN WAY OF DEATH with Goodman | Champagne Gallery, New York
1988 NO!art anthology | Edition Hundertmark, Cologne
1995 NO!art | Neue Gesellschaft für Bildende Kunst, Berlin
1997 OUTDOOR Sculpture ENVIRONMENT | Rockefeller Center, New York
2001 NO!art and the Aesthetics of Doom | Block Museum, Evanston, IL
2002 NO!art and the Aesthetics of Doom | Iowa Museum of Art, Iowa City, IA
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.
