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NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
JEAN-JACQUES LEBEL, born in 1936, in Paris, France. Worked as an artist and art-critic and organized exhibitions in the dadaistic movement together with Arturo Schwarz and others. Social-political assemblages, collages and performances. Took part in the Involvement Show and the Doom Show 1960/61 at March Gallery in New York. — Lives in Paris.
2018 FLASHES OF THE FUTURE | Ludwig Forum, Aachen/Germany
2012 RECYCLER, DÉTOURNER | Gallery Louis Carré, Paris
2007 TRÈS "LOW TECH ..." | Gallery Louis Carré, Paris
2005 ART & POLITICS: Erró, Fahlström, Köpcke, Lebel | Schloss Morsbroich,
Leverkusen
2004 PERMUTATIONS | Gallery 1900-2000 and Gallery Louis Carré, Paris
2003 NO!-ON SHOW | Gallery Berliner Kunstprojekt, Berlin
NO!art in BUCHENWALD | catalogbook, Stuttgart
2002 NO!art and the Aesthetics of Doom | UI Museum of Art, Iowa City, IA
2001 NO!art and the Aesthetics of Doom | Block Museum, Evanston, IL
1995 NO! | Neue Gesellschaft für bildende Kunst, Berlin
NO!art in Retrospect | The Dark Ages are Back!, Essay
1988 NO!art anthology | Edition Hundertmark, Cologne
1963 NO SHOW | Gallery Gertrude Stein, New York
1961 INVOLVEMENT SHOW | March Gallery, 10th Street, 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.
