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NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
ALLAN KAPROW, born in 1927, in Atlantic City, New Jersey. 1946-52 student of art-history and philosophy. First one-man-show in New York in 1953. Since 1958 environments and Happenings in USA and Europe. Was already in 1960 in the shows of the March group in the Tenth Street in New York. Many publications. — Died 2006. ►wikipedia
1961 INVOLVEMENT SHOW | March Gallery, New York
1963 NO!SHOW | Getrude Stein Gallery, New York
1988 NO!art anthology | Edition Hundertmark, Cologne
1995 NO! | Neue Gesellschaft für Bildende Kunst, Berlin
2001 NO!art and the Aesthetics of Doom | Block Museum, Evanston, IL
2002 NO!art and the Aesthetics of Doom | Museum of Art, Iowa City, IA
2003 NO!art IN BUCHENWALD, Boris Lurie: Geschriebigtes ..., catalog book
Contributions: ►WORDS + ►TREE
2007 ART AS LIFE | Haus der Kunst, Munich
ART AS LIFE | Van Abbemuseum, Eindhoven/Netherlands
ART AS LIFE | Kunsthalle Bern/Switzerland
ART AS LIFE | Museo di Arte Contemporanea di Villa Croce, Genua/Italy
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.
