NO!art + About + Artists + Front + Mail + Reload

homepage  <<<  >>>
search and find in the NO!art archives

Art room
Artist limitation
BLAF founded
Gertrude Stein
Lurie art center
Lurie's estate
Lurie's health
Protest vs BLAF
Protest vs Warhol
Stein on Lurie

the strategic
juncture where
artistic production
and socio-cultural
action meet.



composed by Boris Lurie on Jan 27, 2005
Advisory Committee +++ Mission +++ Questions +++ Response

Boris Lurie portrait, Foto: Clayton Patterson
Boris Lurie in his apartement at 66 Str. on April 3rd, 2005. Photo: Clayton Patterson

+ + + + + + + + + + + + + + + + + + + + + +

NOTE: The contract was negotiated by Matthias Reichelt with Boris Lurie without questioning the involved parties and at that time confirmed by Boris with corrections through fax. Therefore, Reichelt is the first member of the board. — Before Boris' death Gertrude Stein was able to change the will [$80 million]. Later Reichelt and Bergmann turned to Gertrude's side, who honors such agents. Later, Gertrude eliminated all former friends of Boris in order to manipulate NO!art in a more merciless manner.

Founder: Boris Lurie
Presidency: Rudij Bergmann, Matthias Reichelt
Economic Supervisor: to be determined
Seat of Foundation: Liechtenstein
Seat of Management: place of residence of the executive president
Advisory Committee: Dietmar Kirves, Gertrude Stein, Charly Rehwinkel

in association with
Aleksey Dayen, Curt Germundson, Amikam Goldman, Rudolf Herz,
Eckhart Holzboog, Armin Hundertmark, Dr. Volkhard Knigge,
Beatrice Lecornu-Hamilton, Max Liljefors, Estera Milman,
Clayton Patterson, Rainer Rumold, Naomi Tereza Salmon,
Arturo Schwarz, Inga Schwede, Klaus Theuerkauf, Sibylle Wittmann

Should a member of the advisory committee distinguish himself in support of NO!art, a member of the presidency has the right to request the individual to make himself available as a candidate as a third member of the presidency. A two-third majority of the advisory committee and the presidency is necessary for the member to be elected as a third member of the presidency as well as the advisory committee.

The decision making process will have to be in written form through mail, email or fax. Personal meetings of the advisors for which the foundation pays honoraria, lodging, food expenses are regrettably impossible.

The Economic Supervisor still has to be found and determined. All decisions with respect to foundation’s estate have to be approved by him as well by at least one member of the presidency. The Economic supervisor can make proposals and has to convince at least one member of the presidency in order implementation.. When the presidency considers buying or selling works of art, or ponders general economic questions they should consult also with the art dealers Armin Hundertmark, Gertrude Stein, Arturo Schwarz as well as the publisher Eckhart Holzboog and Rene Frank, Gianpaolo Bonafomi, Dr. Jo Camponovo and consider their advise in the decision making process.

When historical and current strategic issues are at stake, Dietmar Kirves, Gertrude Stein and Charly Rehwinkel should be consulted.

The founder Boris Lurie will direct the foundation and decide on its policy and activities during his lifetime. He is required to inform the presidency about his decisions. The presidency has to execute Mr. Lurie’s decisions. Boris Lurie has the right to dissolve the foundation at any point, to dismiss the presidency, the executive president and the advisory committee or single members of either group.

Should a member of the presidency resign, the advisory committee and the remaining member(s) of the presidency will have to find and elect a successor from inside or outside the foundation. A two-third majority is required for election to the presidency.

Salaries, Honoraria:
All members working on behalf of the foundation will receive a modest honorarium as well as reimbursements of travel expenses, food and lodging if necessary based on their individual contribution and efforts.
The executive president who conducts the day to day activity out of his apartment is entitled to receive a salary of modest proportions as approved by Mr. Lurie and the presidency. The salary can be changed through a two-third majority of the advisory plus the presidency.

+ + + + + + + + + + + + + + + + + + + +

The Foundation’s Missions:

1. The foundation is cultural and political. The foundation is allowed to interfere in cultural and social affairs.

2. In some instances the foundation can support left-wing radical projects in literature and film.

3. Absolutely no support may be given to careerists solely in pursuit of art world recognition. The support and initiation of revolutionary art and revolutionary culture is at the core of the foundations mission. (This core mission does not exclude the possibility of support for the work of particularly gifted artists in rare individual cases although these works are not deemed radical or revolutionary.)

4. No activities against the state of Israel in its current state is permissible.

+ + + + + + + + + + + + + + + + + + + +


CLAYTON PATTERSON wrote on March 11, 2007 to: Richard Nadelman, Attorney; Martin Levitt; Aleksey Dayen; Konstantin K. Kuzminsky; Gertrude Stein; Estera Milman; Leonid Pinchevsky; Dietmar Kirves; Matthias Reichelt; Eckhart Holzboog; Amikam Goldman; Harriet Wood; Beatrice Hamilton; Charles Rehwinkel

Mr. Richard Nadelman. We need some clarity and definition here.

You are the person in the position of power, responsibility, leadership, and authority. I be<lieve that it is your responsibility to give us a little focus, clarity, leadership and direction

Is Matthias [Reichelt] is in charge of Boris's art? What is Matthias's role? What is this nebulous Boris thing- is it a foundation... if so how many parts does the foundation consist of - is there a board- who is on it? What are the goals of whatever this is? Is there a mission statement? What is the purpose of this whatever it is? Define what this, whatever it is- organization? Are there rules and by-laws? Meetings? Minutes? Money spent or allocated? Who is getting paid, how much and why? Who decides who works and who does not?

If Matthias is the art director, I would like to have Matthias define what direction he is going to moving Boris's art. writings, and legacy in. Does Matthias have writers lined up to develop books, or papers, or to write essays on Boris and his creative endeavors. Is Boris's only importance to Matthias, connected to the holocaust and the fact that Boris is Jewish. How is Matthias going to define NO!art. Who was in NO!art. When did it begin and when did NO!art end, or did it end? Or is Matthias going to separate Boris into his own separate place? Is Matthias mostly going to concentrate on the holocaust and Boris, and the fact that Boris is a Jew? Is Matthias going to be dealing with Boris's politics?

I ask these questions for a number of reasons. What instigated this email was a call from Kim. She was extremely upset that the movie stated that she no longer worked for Boris and that she had throw out valuable Lurie photos. As most of us know, Kim has again been working for Boris, and her position is, she never threw out any photographs.

No sure why Matthias would want to portray Kim in this unflattering light, or why he did not contact Kim directly about this fact. He choose to place both Estera and myself in an adverse light. It seems that Gertrude's intuition about Matthias and the film were in fact right on the money. If Matthias does have a place on this Boris, whatever it is, then Matthias is representing Boris.

If Matthias is a significant player in this Boris- yet to be defined by Mr. Nadelman—then Matthias should make his case about the film. Why he did not fact check with Kim about her employment and the photograph issue. Should Mr. Nadelman be expected to explain the relationship between the film and the - yet to be defined thing. . .

The film attempts to lay out and define who Boris is, and who the people are around Boris... these definitions are made by a member of the yet to be defined by Mr. Nadelman. Did Boris pay any money, or give charity of any kind, or contribute in anyway, to the making of this film- beyond just being in it? Did Boris ever have a chance to see and understand the development, direction, how the film was progressing?

I also differ with Matthias's screen impression of Boris. Giving the impression that Boris was a doddering old man, puttering with art, a man of leisure, and only concentrating on Wall Street, implying his only fixation was on money. Portraying Boris as only interested in, and fixated on money, other than being a little bit of a cliché, is wrong. Boris, in the later part of his life, was active as a writer. He was a poet and a writer of fiction. Boris's most recent book, published by Eckhart, is Boris's writings. Poetry and writing is one of the main reasons that Boris was connected to Aleksey. Boris in the last 5 years or so, finished The House of Anita. A book that he had worked on for years. I believe that Aleksey facilitated the translation of the House of Anita into English.

Boris was interested in writers, poets. Boris introduced me to several Russian literary people- poets, publishers, and story tellers. Boris and I hung out with some of these young literary people- some published magazines. Went to Brooklyn cafe's. How a part of this literary connection started- I got a art work of Boris's included in an Art Party Pravda exhibition. I think Eckhart may have delivered this art work to the exhibition. It was through documenting an Art Party Pravda exhibition, that I met and became involved with Leonid Pinchevsky and the radical Russian Art Party Pravda. I introduced Boris to Konstantin K. Kuzminsky. I got Harold Hudson Channer to do a program on Boris, and then another program on Boris and K.K. Kuzminsky. Boris loved Kuzminsky. Kuzminsky is a major, well respected Russian editor, poet, artist. From Kuzminsky came the Russian literary connection. And there were several. I believe Aleksey also came by way of Kuzminsky. Aleksey set up and did some poetry readings at my place. Boris, always came to the Russian poetry reading. Boris loved the poetry. He was enamored with that whole scene. Aleksey, became the conduit for this last literary period of Boris's active life. I believe Aleksey got some articles on Boris published. There was nothing in the film about Eckhart, Alexis, or Boris's literary period. Why not?

There was no mention of Dietmar in this film. Why not? If not for Dietmar... non of the present day Germans would have even known about Boris. What is Matthias's role in Boris's affairs? We need to get a proper history done of Boris.

Matthias's version is way off track. It is simplistic and not correct. It makes Boris into an incidental character, which he is not. The film is weak. I was upset at the end of the movie discussion period, when Matthias stated that Boris has seen his day. That Boris is no longer an influence. That there are no young people interested in Boris and NO!art. When I brought out the fact that I had shown Boris's books and works to many people, including the younger generation, and found many interested parties, Matthias blew this off. How does Matthias think Ami came into the picture? I introduced Ami to NO!art and Boris. Ami made a historically significant film on Boris. NO!art MAN. Boris also loved Ami's film. There were several younger literary types who admired Boris. Aleksey is a younger person who very much admires Boris.

Where is Matthias getting his information from?
Matthias publicly concluded that I am just some incidental guy in an obscure small space, in this unimportant neighborhood, that both the LES and Clayton really do not amount to much of anything, and has no connection to anything note worthy. Matthias can classify me in whatever way he wants. But he is mistaken to marginalize me too much, or to make too little of my reach, respect, or connections.

Yes, Matthias is right about the fact that I am an outsider in the art world.
True. That outsider position has been my choice. And it his choice to demean and underestimate who I am. I will say that he knows nothing about me. As an outsider I am a legendary fighter. And I have been involved in some historic battles with the system. I do not lose very often. I am still here to fight another day.

Boris, for me, is one of the most important artists of the 20th century.
Boris was not my mentor. I got Boris press, the most recent was the London Jewish Journal. I introduced Boris to artists and people of interest. Put him in shows. Boris put me in shows, books, and introduced me to some amazing people. We are two artists. We fought a lot, laughed a lot, shared a lot. We were friends. Comrades.

I will not tolerate Boris being classified as some incidental artist
from the 20th century and is only interesting because he survived the holocaust, is Jewish, and fixed on money. Matthias sees me as some marginal figure, fine. I would like Mr. Nadelman to clarify what Matthias's position is with regard to Boris's art and estate.

What is the Boris Team?
What is the meaning and legal standing of those papers, signed by Boris, that included my name and Gertrude name. Does Estera have a place in this- yet to be defined by Mr. Nadelman? Is Kim included in any of this yet to be defined by Mr. Nadelman. Or Charlie Rehwinkel? What is Aleksey's position in all of this? What is Martin's position in NO!art and the estate? What is Gertrude's position and authority. What is Mr. Nadelman's position and authority. Is there a board as Matthias suggested at the Anthology Film Archives screening. What is this board? Who is on it? Is there a mission statement?

What power and authority does this board have?
I think that the time has come to get a little clarity. Muddy waters breeds mysterious and nasty creatures... clarity baring light... light heals.. we need some light.

+ + + + + + + + + + + + + + + + + + + +


Richard Nadelman wrote on Apr 10, 200 to: "Clayton Patterson" and Cc: "Gertrude Stein", Subject: Boris

Dear Clayton:
This e-mail is in response to some of the questions you raised in your e-mail of March 17, 2007, but I am not qualified to comment on the film.

Per a power of attorney which Boris signed in 2003, Matthias Reichelt and Dietmar Kirves were given sole authority over Boris’ art if Boris becomes disabled. By a letter to me in October, 2005, Boris eliminated Kirves, so that Matthias has the sole power of attorney over the art. In that same letter he told me to delete all references (in his Will) to Gertrude. This was accomplished when Boris signed his last Will in December, 2005. On October 11, 2005 Boris sent another letter to me, at my request, wherein he designated the Board members of the Stuetzpunkt foundation which Boris established in 1991. Matthias is one of the Board members. The others are Rudij Bergmann, Eckhart Holzboog, Charles Rehwinkel and Aleksey Dayen. Gertrude has copies of these letters. The Board has met both formally and informally and has adopted by-laws and purposes consistent with Boris’ directives. While Matthias usually acts in consultation with the Board, he has the legal right to act on his own. The same power of attorney designates me as being in charge of Boris’ financial affairs. In the event that I am unable to serve, he appointed René Frank (now deceased) and Dan Rapoport as my alternates.

The so-called "Boris Team" or "Friends of Boris" was an ad hoc construct of René. No "member" has any legal authority whatsoever over Boris’ art and no "member" has any right to interfere with the disposition, preservation, exhibition or restoration of his art. I told this to René a few weeks before he passed away. Boris has selected his foundation Board and designated by power of attorney Matthias as his agent to deal with his art. Neither you nor Gertrude has the authority to contact any museum with regard to Boris. Reasonable suggestions are certainly welcome but not in any way binding on Matthias, the Board or upon me.

I am asking you (and Gertrude) to respect Boris’ wishes and to let his designees act in Boris’ best interest. If you have any questions, please feel free to call as I do not have the time to engage in a continuing exchange of e-mails.

Richard Nadelman

+ + + + + + + + + + + + + + + + + + + +

About Richard Nadelman: He was born on 03/01/1936. Before moving to Richard's current city of New York, NY, Richard lived in Manhattan NY. We know that Richard's political affiliation is currently a registered Democrat; ethnicity is Middle Eastern American; and religious views are listed as Jewish. Currently, Richard is married. David Nadelman, Babette Nadelman, Jessica Nadelman, Kathleen Morton and Abbe Rosenbaum, and many others are family members and associates of Richard. Richard's reported annual income is about $50 - 59,999; with a net worth that tops Greater than $499,999.

return to top