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LIL PICARD known also as the "MUSE OF THE AMERICAN AVANT-GARDE" and the "GRANDMOTHER OF THE HIPPIES," Picard, a native of Germany, traveled in the Berlin dada circles before escaping the national socialist government with her husband and immigrating to the United States in 1936. In the late 1950s and '60s, she was a member of the NO!art collective, as well as a friend and collaborator to many artists associated with North American Pop Art. An artist and a journalist, Ms. Picard wrote for avant-garde and political weeklies in Germany until she immigrated to the United States in 1937. She has had numerous one-woman and group shows here and in Europe — her first one-woman show in the United States being in 1958. Since 1964, she has created many Happenings. Currently, Ms. Picard is a regular contributing critic on the American scene for a number of German newspapers and periodicals, including Kunstforum International and is a contributing editor for Andy Warhol's Interview. From 1955 through 1981 Picard had 15 solo exhibitions of paintings, sculptures, watercolors and drawings, collages and assemblages in the United States and West Germany. In addition, her work was included in more than 40 group shows, most notably the two-part landmark exhibition "New Forms -- New Media" at the Martha Jackson Gallery in New York and "12 Evenings of Manipulations" at the Judson Gallery (1960). She later became an activist affiliated with the art-based anti-Vietnam War movement in New York.—Died 1994 in New York.
2011 A PEEK INTO NEW YORK COUNTERCULTURE VIA LIL PICARD
University of Iowa
2010 LIL PICARD AND COUNTERCULTURE NEW YORK | Grey Art Gallery, NYC
2002 NO!art and the Aesthetics of Doom | Iowa 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
1988 NO!art anthology | Edition Hundertmark, Cologne
1978 RETROSPECTIVE | Neuer Berliner Kunstverein, Berlin
1970 YES & NO Thoughts | Essay
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.
