BORIS LURIE NO!
25 JUN - 15 OCT 2016
Janco Dada Museum, Ein Hod, Israel
This exhibition centers on six series chosen from Lurie’s wide-ranging body of works, in an attempt to underscore both the explicit and the implicit connections of his oeuvre to the Dada movement and to Marcel Janco.
No Compromises! The Art of Boris Lurie —major exhibition in Berlin
26 FEB - 31 JUL 2016
Jewish Museum Berlin
Translations from the German press
The Jewish Museum Berlin is dedicating a major retrospective show to Boris Lurie and his radical artistic examination of the 20th century. Lurie is an artist who demanded political relevance from art and the art market. His much-discussed and controversial works accuse society of shirking coming to terms with its crimes against humanity by packing evidence of them between advertising and everyday banalities.
New hardcover edition of House of Anita
Outlaw American Art: 1945 - 2016
The Warehouse on the 55th Street
The Architect Julian von der Schulenburg has built a storage space for Boris Lurie works.
Text by Lisa Silbermayr, photos by Dean Kaufman
Boris Lurie at CONTEXT New York
The controversial, misunderstood and rejected art of Latvian artist, Boris Lurie at Art New York
A Monstrous Nudity: Reflections of Nazism, Concentration Camp Imagery and Obscene Figures in Contemporary Art
Essay by Nathan Réra
A New & Better World: The history of Boris Lurie, the Аvant-garde Artist and Stalinist, and his supporter Gertrude Stein
Boris Lurie: In the Footsteps of an Outsider
Boris Lurie: In the Footsteps of an Outsider by Rudij Bergmann
1994 New York Press "Lost Art"
John Strausbaugh visits Boris's studio.
Art in America review of Aldo Tambellini
NO-Art: An American Psycho-Social Phenomenon
Article available by Emanuel K. Schwartz and Reta Shacknove Schwartz
Leonardo, Vol. 4, No. 3 (Summer, 1971), pp. 245-254
About Boris Lurie
Boris Lurie was the avant-garde incarnate. NO!art, the movement he founded with Sam Goodman and Stanley Fisher in 1959, was a reaction against what they viewed as the debased avant-garde of Abstract Expressionism and its social and political dis-engagement, a resistance that would become all the more strident with the rise of Pop Art. NO!art insisted that art again address the real world; it called for an art dealing with difficult truths, such as imperialism, racism, sexism, and nuclear proliferation, and leading to social action. Lurie’s highly controversial work, sometimes combining imagery deriving from the Holocaust with samplings from popular culture, advertising, and girlie magazines, alienated critics and curators and was ignored by the art establishment. Lurie deplored what he called the “investment art market,” and he resisted its blandishments at every turn, rarely showing his art after the seventies and almost never offering it for sale.
Excerpt from exhibition catalogue of “NO! Boris Lurie” at David David Gallery, Philadelphia, PA, 2012.