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NO!art
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MARTIN LEVITT, (no middle name, the family was too poor) was born on Groundhog's Day in 1926 during a snowstorm in New York. (His father trudged several miles to get to the hospital and came down with Rheumatic Fever several days later; his heart was affected and he died relatively young.). His father, uncles and grandmother were all working artists and designers. They were émigrés from Russia around 1906. Martin Levitt served in the U.S. army in World War II and in the Israeli army in 1948. He went to the Art Students League in New York and worked as an assistant to a famous sculptor. He has since worked as a designer, artist and teacher. His philosophy has been to work and live without harming or exploiting other people or despoiling the planet; whilst drawing, painting and teaching art. He made a series of art filled books including "Poems from the Japanese" (In the MOMA collection) and "Oriental Poetry Illustrated" and "No Single thing Abides" Illustrated.— He died peacefully on November 1, 2017 in Burlington/VT.
2006 SAVING BORIS...FROM HIS ENEMY | Letter, Essex Junction /VT
2004 NO!art MEDALLION FOR DIETMAR KIRVES | Essex Junction /VT
2003 NO!art IN BUCHENWALD | Boris Lurie: Geschriebigtes ..., catalogbook,
Stuttgart | Contribution: ►Cheyenne Bitware ►Boris Lurie NO
1999 LETTER to CARL MAI
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.
