PETITION AGAINST ANDY WARHOL SPONSORING
SHOW SPONSERD BY BORIS LURIE ART FOUNDATION | CURATED BY JAMES CAVELLO
|THE NATIONAL ARTS CLUB | 15 Gramercy Park South | New York, NY 10003 | Nov 28 - Dec 28, 2012|
By Jan Herman
|published in: arts journal, New York, on December 3, 2012|
Boris Lurie, who died in 2008, was a Holocaust surivor and one of the founders of a radical art protest movement known as NO!art. I've blogged about him before. His close friends Clayton Patterson and Dietmar Kirves are sending around a petition to halt an exhibition of Warhol works that opened last week at the National Arts Club in New York, because it is being underwritten by the Boris Lurie Art Foundation. They note that Lurie "explicitly despised Andy Warhol as a consumerist capitalist sell-out." The exhibition is scheduled to run through ... | read more
STATEMENT BY BORIS LURIE
NO!art is anti Pop-art: Pop-art is reactionary it celebrates the glories of consumer society, and it mocks only at what the lower classes consume the can of soup, the cheap shirt. Pop-art is chauvinistic. It sabotages and detracts from a social art for all.
|Published by Boris Lurie as Flyer for the show "ART and POLITICS", Karlsruhe Kunstverein (Germany 1970)
also in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988
LITERATURE NO!art AND POP ART [SOME EXCERPTS]
BORIS LURIE: SHIT NO! [New York 1970, published in NO!art anthology, Cologne 1988]: ... The pop-art reaction-counterrevolution had not been brought about as yet, their future members busy at the time absorbing ideas - to a large extent from our shows - the art press being in effect closed to us (even the then almost underground Village Voice refused to cover our activities, the editor explaining to me that our stand was too radical), we were obliged to promote our actions ourselves, to become our own information medium. | read more
GREGORY BATTCOCK: ANTI-ART AND OUTLAW-ART[New York 1969, published in NO!art anthology, Cologne 1988]: There is Iittle indication that the Pop-artists were, in the main, completely aware of the very real repressive nature of the capitalist military and industrial alliance. An easy and superficial claim for the relevance of Pop is to present it as a form of social protest. But most of the artists denied that their movement was specifically one of social criticism. They appear to hove claimed simply that they were engaged within the artist's traditional function as witness to the actualities of the social and material environment. Pop art, therefor, is seen as less a movement of social protest than a style well within the mainstream of Western art and the Western artistic heritage. Minimal art, the other major art style of the decade, remains like pop art an "establishment" art form. | read more
HAROLD ROSENBERG: BULL BY THE HORNS[New York 1974, published in NO!art anthology, Cologne 1988]: NO!art reflects the mixture of crap and crime with which the mass media floods the mind of our time. It attacks this mixture through reproducing it in concentrated images. It is Pop with venom added. I think its greatest value is to remind the art world that there are things to be uncomfortable about, whereas Pop glad-handed Madison Avenue as if it were looking for campaign funds. Granted that people flee unpleasant reminders, especially when there's nothing they can do to change the situation, art can only answer, let them. It's not the business of art to get things done but to keep reality on the agenda. Art has been apoliticized since the war not because artists chose to shun politics but because they found a genuine artist can only do what he can do, not what he thinks ought to be done. | read more
MAX LILJEFORS: BORIS LURIE and NO!art[New York 2003, published in: www.heterogenesis.com, Tidskrift för visuell konst, nr. 44, July 2003, Lund (Sweden)]: Now it may happen, that in this young generation having grown up under total (TV) commercialism, and willy-nilly having swallowed "art history propaganda" (like that about Pop Art...) nothing else is realistically possible. "Avant-garde art" is not created only by artists, but as well by the education and formation of the intellectual circles of the time, not to speak of financing by not-disinterested financiers of projects (who, as is natural in business, will only invest in projects which will be most accessible to consumers, in this case, art-consumers.) | read more
CLAYTON PATTERSON wrote on November 22, 2012 | James Cavello curator of the Warhol/Lurie exhibition at the "National Arts Club", James no question that you are a little bit of a rascal.
The Boris Lurie catalogue you printed for the NYC Westwood Gallery Boris Lurie show was fine. The only problem was some of the articles in the catalogue were taken off the NO!art site without out the permission of the copy right holder, or Dietmar the owner of the site. OK what is the big deal over a little thievery- we are all friends? Right?
But I have to admit your next little deviation off the beaten path of credibility is a little different. This time I would have to say- for someone who publicly represents Boris Lurie and NO!art- well at this moment in time I will not express my disappointment in your sterling character and your ignorance about the subject you are representing.
I mean really-- you must know by now- one of the fuels that keep Boris motivated to keep the NO!art fires burning was his contempt for Andy Warhol and everything he stood for. This Andy Warhol show you curated is a complete desecration of the memory of Boris Lurie and all HE stood for.
Question: Do you and Gertrude really hate Boris Lurie so much that you would do such an injustice to his memory? What is the profit for shitting on Boris's grave?
I mean really James Cavello the stupidity of this show reaches a new low in profiteering off of dead artists. And not to forget the damage you may be doing to the reputation of the National Arts Club. After all the drama the Club has been thorough in the last couple of years- do they really need to be associated with this shit?
I suggest the it could be a wise move for the National Arts Club to look up Boris Lurie. Go to the NO!art site- http://www.no-art.info/ read what Boris stood for.
Boris survived the Holocaust , but he could not survive the deep of hatred Gertrude has for Boris. I mean really. All this bullshit on the Foundation page about saving the history of Boris-- they do not have much so they have to steal it off the NO!art site. Go to the NO!art site and look up Boris's resume- then go to that fake NO!art Foundation site - they cannot even get his resume right. Then do a comparison of information on Dietmar's NO!art site and the Foundations site. Dietmar is poor and struggling yet he has built an intellectual monument to Boris and NO!art. Gertrude, somehow, not sure how, was able to work with Boris's lawyer and take control of Boris's estate which turned out to be worth 88 millon dollars- and all Gertrude can do is steal- make a cheap site and pay institutions to show his work. Then take note of the fact that DIetmar has the mother load Boris Lurie archive. I have the video and photo Boris archive. Gertrude's whole connection to NO!art was a couple of exhibitions in the 1960's.
Anyway Mr. James- you must be getting a nice sized pay check out of his whole deal. How much is it worth it to pour shit on the memory of a holocaust survivor? My hunch is there are two profits here-- one a fee from the Foundation and the other a % of the profit in the selling of the Warhol images. I can hear the thoughts that went off in your head when you and Gertrude came up with this scheme: -- Oh boy. oh boy, oh boy, I love the smell of money, money money- smells like shit but I love, love love it all the same- Oh boy, oh boy, oh by,-- Can't do anything with it-- but I love it just the same-- oh boy oh by oh boy- I love to rub it over my balls then smell it with by nose-- oh boy oh boy oh boy- I love the smell of money.
Anyway- I hear your voice in my head saying: NO! big deal right? We are all friends right? We are all friends right? NO! big deal right? To which I answer: Sure right! NO! big deal! Ya right! Who cares about the memory of a dead guy- he is dead anyway- a dead guy anyway? Right? Wrong! Dietmar and I care and care a lot. Boris was our friend. We loved and respected him and all he stood for. Yes we care a lot.
If you cannot see the wrong in what you are doing there is nothing I can say to change you. History will sort this out- make no mistake Dietmar is diligent about keeping a record of the history of NO!art, You are a part of that history, Compare the hits the NO!Art site gets and the fake Foundation gets.
AS a last word- I offer a little tip- not my cup of tea- but I get a feeling you will like it-- next time as a special, special, treat- rub the money over your asshole then smell it--- some people smell G-d, others smell shit. Let me guess what you will smell. Hopefully it will not be Gertrude's hand.
Happy thanksgiving- instead of turkey may I suggest pork nuts- may help give you the strength needed to pull off this disgusting deed coming out of Gertrude's deviant mind.
DIETMAR KIRVES wrote on November 22, 2012 | dear clayton, life is life. when we are dead we can't control what they do with our art works. you know boris intention was to bring disruption with NO!art in the art world against cultural manipulation. but now all the money makers and riches like gertrude manipulate it in her own sense with boris works. all curators engaged by gertrude look for money and the profit and success. the boris lurie art foundation [blaf] try out to make more money with boris works which he leaves behind. you know how dogs blaf when you meet them.
lets do a big NO!art show against this manipulation. maybe i get chance at a UK location next time.
the fight must goes on. but how long?
best from berlin
p.s.: excuse my bad english.
JAMES CAVELLO wrote on November 23, 2012 | Clayton, Sorry to douse your enmity on Thanksgiving:
1.In the 2010 exhibition catalogue we published of Boris Lurie 'early work', we were pleased to provide printed credit to Dietmar and his public website. We were very appreciative when we met him at our gallery. Maybe you should go back and read the copyright credits carefully in the catalogue.
2.I am not receiving $1 for this exhibition, actually I have donated much of my own resources. My role at the NAC is Volunteer status.
3.At this time there is no sale planned for the Warhol drawings, it may travel to museums and in the end may be donated.
4.The Warhol exhibition is between two non-profit arts organizations, the NAC is not receiving any payment, only the delivery of a curated historic exhibition.
5.The parallel in this exhibition between Boris Lurie and Andy Warhol is their early drawings on 'dance'. I have exhibited many of Boris Lurie's dancehall drawings with an overwhelming response from the public. I have received emails from individuals who viewed our exhibitions and thereafter researched Boris Lurie. They have thanked us for providing an introduction to the legacy of an artist who not only experienced the horror of the holocaust, but the adversity of the art world. Their admiration is for Boris Lurie, the artist, who never stopped his pursuit and passion for art.
Andy Warhol also experienced rejection and criticism from the art world, his dance series reflects an unobtainable pursuit. In this exhibition the dance drawings from 1955 to 1967 evolve over the years into symbols with a cryptic visual language. There are no pop art images or soup cans, only simple ink line drawings.
6.It is sad that you feel the need to send out these emails, Clayton Patterson, thinking you appear to be righteous, intelligent and justified. You should get your facts straight, Clayton. Your vile descriptions of money show where you are focused, you must be disappointed that it has no registration here.
Clayton Patterson,by the way, thank you for the email on Thanksgiving, it makes me realize what I have to be thankful for.
CLAYTON PATTERSON wrote on November 23, 2012 to James Cavello:
My goal is to stop tis exhibition from happening. and - This is not what the NAC needs right now. More unhealthy controversy. This is a mess- a shit storm in the making!!!! thx cp
Clayton, Sorry to douse your enmity on Thanksgiving:
Oh not a problem I could not think of a better thanksgiving surprise, surprise, surprise. At least you have the guts to respond.
I will give you a nod for that.
1. In the 2010 exhibition catalogue we published of Boris Lurie 'early work', we were pleased to provide printed credit to
Dietmar and his public website. We were very appreciative when we met him at our gallery. Maybe you should go back and
read the copyright credits carefully in the catalogue.
I do remember that time-- and Dietmar is a loyal NO!artist.He has little money and could hardly afford to stay in NYC. He is not a big fan of NYC. He came all the way from Germany to NYC to see that show. He came because it was a NO!Art show and he felt it was his duty to come. He has that catalogue in the archives.
Question:where did the photos and the articles in the catalogue come from? Was permission asked? Does public mean one can just take something off the internet without permission and use it as their own? Check the copy rights on that…
How much of the catalogue would exist if not for Dietmar’s work?
Dietmar has spent most of his adult life working on NO!art. You have seen the list. Gertrude has almost nothing from the past of Boris’s. She has her convoluted stories about her relationship with Boris. Go through the NO!art site. That is where the history is located. Dietmar has created an amazing archive. But instead of giving any kind of support to Dietmar you just take the work off the site.
She could have given Dietmar a BLAF BLAF grant for all the work he has done.
Read all that that nonsense on the BLAF BLAF site about saving NO!art- and blah blah blah-- all lies.I will say this one more time Dietmar has years worth of communications with Boris- background information on the shows, photographs, and on and on. I have hours of video and a good number of photos of Boris. Got him press and gave him shows. Introduced him to Art Party Pravda and Leonid Pinchevsky which opened a door to a whole Russian creative community that gave him friendship and great joy. I got Boris’s obit into the NY Times, in DER SPIEGEL, in Jan Herman’s arts Journal. Gertrude paid for a death notice. Later I got a message saying how Gertrude got the obit into the NYT. Where does the lying stop?
Questionwhere can we find this BLAF BLAF cache to save Boris’s and NO!art life story hidden?In Gertrude's mind? Oops I thought you people were diligently trying to save Boris’s and NO!art history.
My my my- aren't you the Grand Wizard- you gave a thank you to Dietmar in the catalogue -Golly Mr. Dillon that has to be worth more than a pound gold. Hmmm let's see how stupid Dietmar really is- we use his material without asking him- we take credit for work he has done. DIetmar is not stupid- he is brilliant- he did not want to start a fight He wanted to collect as much NO!art information as he could and take it back and put it in the archive. You can see his earlier response about what he thinks of the situation.
In all your fake thank-you generosityyou brush as side the truth and think a thank-you will over look all the work Dietmar has done for Boris and NO!art. A shortened version Dietmar is the one person most responsible for all of what happened for Boris in Europe. Gertrude comes in with a song and a dance abut how she is the great savior of NO!art.
So you ask Gertrude what to do about Dietmar- hey I got an idea- let's thank him in the catalogue.I think a thank-you in the catalogue is in order. Please. Stop playing stupid. Stop acting like you have shown Dietmar some kind of respect or generosity for the years worth of work he has done.
Gertrude is a buyer and seller of art other people have made valuable.She has created nothing. Show me one thing she has done for Boris or NO!art in the last 30 years. Let's compare the work that Dietmar, Gertrude, Ami, and myself has done for Boris and NO!art- let’s lay it on the table.
This is how you as a dealer treat artists?Gertrude I already know who she is and now we know who you are. I have no idea why you are involved in this mess. Or why you would bring in NAC.
Here is another one of Gertrude's stupid ideas.She wants to donate money to the Tel Aviv Museum library. The scheme is to put a Boris Lurie plaque on the door of a reference room for Israel artists only. Sound great. Right? Gertrude tells the Director of the library about her open sex life with Boris- and the woman is lead to believe that Gertrude is some kind of family member. Beyond that the librarian knows very little about Boris Lurie or NO!art. I mean what kind of material does Gertrude have to donate to the library? And in fact, the Director does not even seem to like Boris or his work.
Question- When Schwartz donated his important20th century art collection to the Tel Aviv Museum- out of all the work- and Boris’s work was part of it- how much of Boris’s work did the museum decide to keep?
Of coursethe Director has to accept the donation- a plaque on the door not really a big deal- besides nobody knows or cares about who this unknown person is anyway. I mean how much Boris Lurie or NO!art research material is in this library? You go to a hospital- the lobby says Dr. Bologna on the wall- how many people actually ask- who is Dr. Bologna?
This is all about smoke and mirrors and fake generosity.
No different than the Chelsea Museum show.Here I learned a new trick. Museums have rooms in the building one can rent out. You rent a space. Tell everyone you have a show in a Museum, which is true, but not as people think and now you have more resume material.
Oh boy! Oh boy! oh boy!Look at the resume and legacy we are building here- please. Eventually the chickens will come to roast- and what better day than Thanksgiving to have a roast chicken?
You must really believe we are pathetic idiots.
With millions of dollars at your disposal this is all you people can come up with? Not good. Not good.
2. I am not receiving $1 for this exhibition, actually I have donated much of my own resources.My role at the NAC is Volunteer status.
Oh please save me from your generosity.Like that takes away your responsibility for making this show happen. There is a hook in there somewhere for you- the down the road sale- the tax right off or something. You have already proven your generosity with the thank-you to Dietmar.
Is this $1 like the Bloomberg $1? We can see what his $1 trick produced.
Much of- meaning what? Most of the Warhol’s are yours and the rest are Gertrude’s?
If you cannot comprehend what an insult this show is to the memory of Boris, or to Ami,or Dietmar, or me, or all of what Boris Lurie stood for- then leave the room. You know nothing about Boris Lurie or NO!art.
3. At this time there is no sale planned for the Warhol drawings,it may travel to museums and in the end may be donated.
OH so the plan is to take this shit show parade around the country to museums.Since you cannot legitimately get Boris any shows- let’s keep his name on the check and use Warhol as the tool to drag Boris’s legacy into the shit pit wherever we can. Isn’t that sweet? Let’s see- I can be the curator on this show and I will bet, since it is Warhol, we can get this into the “Warhol Museum” Ya- we have a plan. Please!!!! Stop it. Leave Boris Lurie and NO!art out of your diabolical plans. Why not just take Warhol around the world? Because nobody will pay for this? Or nobody cares? How do you make this work you cannot sell valuable? Have a traveling shit show.
4. The Warhol exhibition is between two non-profit arts organizations,the NAC is not receiving any payment, only the delivery of a curated historic exhibition.
Will we have finally found a place where we can agree.No question that this show will have a history- only I do not think it is the history that will be beneficial to the NAC. You probably are so deep into this stupidity that you think you have discovered the gate to heaven.
I say think about this history. Saving history is an activity thatDietmar and I have spent years working on. And make no mistake what you are doing is a serious slap in the face to all of us, as well as, to what NO!art stands for. And what is your gain? Think about this. Sometimes an idea is not as good as it first appeared.
5. The parallel in this exhibition between Boris Lurie and Andy Warhol is their early drawings on 'dance'.I have exhibited many of Boris Lurie's dancehall drawings with an overwhelming response from the public. I have received emails from individuals who viewed our exhibitions and thereafter researched Boris Lurie. They have thanked us for providing an introduction to the legacy of an artist who not only experienced the horror of the holocaust, but the adversity of the art world. Their admiration is for Boris Lurie, the artist, who never stopped his pursuit and passion for art.
With all this passion and exuberance you have gotten for thisBoris Lurie exhibition then why did you have to stick Warhol in there? And as far as emails and research being done on Boris Lurie and NO!art- let’s compare your list to the number of responses the Dietmar NO!art site gets. Talk to Dietmar about how many researcher inquires he gets on his site. You may be surprised at how many research people have reached out to Dietmar. In fact, I will bet you and your little Gang of 4 has gone to the site and looked for material. I will bet you have told others about the site. Where else do you have to send them to? To the mini skinny tiny weenie BLAF BLAF site? Million of dollars and such a vacant space?
Yes NAC should think about this show- no question there will be a history attached to this show.
Andy Warhol also experienced rejection and criticism from the art world,his dance series reflects an unobtainable pursuit. In this exhibition the dance drawings from 1955 to 1967 evolve over the years into symbols with a cryptic visual language. There are no pop art images or soup cans, only simple ink line drawings.
Oh please stop with this justification nonsense.Like Warhol was some starving puppy. You are using both Warhol and Boris here. Warhol is not my concern, that is up to the Warhol people, but how you are desecrating the name of Boris Lurie and NO!art is my concern.
6. It is sad that you feel the need to send out these emails, Clayton Patterson, thinking you appear to be righteous, intelligent and justified. You should get your facts straight, Clayton. Your vile descriptions of money show where you are focused, you must be disappointed that it has no registration here.
PleaseI have not even started my campaign yet- as I said- I was so stunned by this showI have to think for awhile about how I am going to go forward. You are the people who brought this insult to us. We never asked for this. My focus is starting to be around this show and does NAC understand what they are getting into. My disappointment is on how little you understand what Boris stood for.
Clayton Patterson,by the way, thank you for the email on Thanksgiving, it makes me realize what I have to be thankful for.
Good! Good! Goodie! I am thankful that you are thankful for this bucket of shit you are starting to produce.Life at Sea is Hard- no question.
And you are right- this debate needs a little intellectual stimulation-so I am going to slowly widen out the numbers of people on this email list-- I am going to, slowly mind you, start to include more writers, intellectuals, radicals, historians, journalists, artists, and others into this debate. Let's see where others stand on this debate-
Here is a note I left on Boris’s condolence page
see NY Times obit Saturday January 12th- 08
for Boris-we will never give up, we will never give in, we will never quite- the struggle continues- our voices will eventually be heard and the message will be understood - you will be remembered- the struggle continues.
we love you brother-
and yes yes yes -- happy thanksgiving. Happy everything- happy travels- happy happy happy happy- oh yes let's all be happy.
ABOUT NATIONAL ARTS CLUB [NAC]
The National Arts Club was founded in 1898 by Charles de Kay, the literary and art critic for The New York Times for 18 years. He and a group of distinguished artists and patrons conceived of a gathering place for artists, patrons and audiences in all the arts. American art at the turn of the century had begun to look inward for inspiration, rather than to Europe, and the American art world was alive with energy. As The National Arts Club moved into its first home in a townhouse on 34th Street, American art had found a new home.
Location: The National Arts Club is located in the historic Tilden Mansion. 15 Gramercy Park was built in the 1840's and its original flat-front, iron-grilled appearance matched the style of the houses still maintained on the west side of Gramercy Park. Samuel Tilden acquired 15 Gramercy Park in the 1860's, and in the 1870's gave the house a massive overhaul. Tilden hired Calvert Vaux, a famed architect and one of the designers of Central Park to "victorianize" the facade with sandstone, bay windows and Gothic Ornamentation. John LaFarge created stained glass ceilings for the inside of the mansion, and Italian wood carvers made the fireplaces. Glass master Donald MacDonald wrought a unique stained glass dome for the building. All of this prompted architect Philip Johnson to call the mansion, "among the most beautiful in New York." Spencer Trask and the Board of Governors acquired the Tilden Mansion in 1906 as the new home for the National Arts Club.
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