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Portrait Wolf Vostell

WOLF VOSTELL was born in 1932 in Leverkusen, Germany. He was an important German artist after the Second World War. In 1959 he incorporated a television set into one of his works, Deutscher Ausblick (1959), which is part of the collection of the Museum Berlinische Galerie in Berlin. He was one of the pioneers of video art and the Happening and Fluxus movement. He is also famous for converting big American cars into sculptures of modern art such as Concrete Traffic (Chicago, USA), Ruhender Verkehr (Cologne, Germany), Beton-Cadillacs (Berlin) or VOAEX (Spain). Died 1998 in Berlin.

Wolf Vostell Estate + Virtual gallery + wikipedia

2022  ART AFTER THE SHOAH | Kunstmuseum, Den Haag [NL]
ART AFTER THE SHOAH | Kunsthaus Dahlem, Berlin [D]
ART AFTER THE SHOAH | Ludwig Museum, Koblenz[D]
ART AFTER THE SHOAH | Museum of Contemporary Art, Budapest [HU]
WERKSCHAU ZUM 90. GEBURTSTAG
Museum Morsbroich, Leverkusen [D]

2018  FLASHES OF THE FUTURE | Ludwig Forum, Aachen [D]
2003  NO!art IN BUCHENWALD
Boris Lurie: Geschriebigtes/Gedichtigtes, Stuttgart [D]

2002  NO!art and the Aesthetics of Doom
Iowa Museum of Art, Iowa City [USA]

2001  NO!art and the Aesthetics of Doom | Block Museum, Evanston, [USA]
1998  NO!art SHOW No 3
mit Lurie, Kirves, and Patterson | Gat Gallery, New York [USA]

1995  LETTER TO BORIS LURIE | NO!art catalog, Berlin
1988  NO!art anthology | Edition Hundertmark, Cologne [D]
1977  NO BLOOD ... PLEASE | Letter to Boris Lurie, Berlin [D]

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.

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