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Inauguration of the Boris Lurie Art & Dada Study Center 2019
Janco-Dada Museum | Ein Hod/Israel | Opening: Saturday, July 20, 2019, at 13:00
Exhibition CONFRONTATION: NO!art
Janco-Dada Museum | Ein Hod/Israel | July 20 through November 30, 2019
Notes + Views + Restorer's work + Study center

display dada center ein hod

Special display: Etamar Beglikter, “From Lurie to Lurie”
Greetings: Former Minister, Limor Livnat, Chairperson of The Foundation for the Welfare of Holocaust Victims
Performance: Dina Blich, “Mrs. Sir”, with Mira Menze, Gary Yuhvetz
12:00 Reception and guided tour of the exhibition (Please RSVP to tel. 04-9842350)
This project is made possible through the collaboration with and kind assistance of the Boris Lurie Art Foundation, New York

Welcome to this exhibition. If your eyes and mind serve you well, you will see something new. When viewing this show, please avoid applying aesthetic labels; do not call us realists, neo-dadaists, surrealists. These labels are neither true nor important in today’s context.” –Boris Lurie, 1961 []

This exhibition at the Janco-Dada Museum is dedicated to the artists from the NO!art group, whom we consider close in spirit and motivation to Dada artists. Three years after Boris Lurie’s solo exhibition at the museum, the current exhibition displays a selection of works by the NO!art group. Most of the displayed works are collages and assemblages, while some are based on readymade. All these techniques are also identified with the work of Dada artists. Like the Dadaists, who sought to oppose bourgeois society and its art, the artists in the NO!art group emerged in New York in the late 1950s and early 1960s in protest against art and society.

The works displayed in the exhibition stretch the boundaries of the term “Beaux Artes” by arousing feelings of rejection and disgust: burned dolls, shit sculptures, assemblages made from discarded objects and garbage from the world of consumerism and abundance. The works portray violence, sex and waste and were created out of a desire to protest the ills of human society. Indeed, at the beginning of the second half of the twentieth century when these artists were active, they worked at the margins of the art world and produced these works, fully aware they would have no commercial value and would not adorn the bourgeois homes of contemporary art collectors.

The exhibition includes works by sixteen artists: Boris Lurie’s assemblages made of hair and paint, and reliefs of newspapers and ashes. Sam Goodman’s readymade sculptures are based on garbage and broken objects collected in the street. The large collages by Stanley Fisher center on distorted portraits. The plaster sculptures of Rocco Armento are deliberately damaged. Isser Aronovici’s oil paintings focus on distorted figures. Wolf Vostell’s collages and assemblages combine photographs and objects. John Fischer produced a series of unappetizing sculptures made from bread. The photograph by Yayoi Kusama is part of an installation in which the artist covered furniture with growths that resemble male sexual organs. Dorothy Gillespie produced coffins for animals, Sam Goodman and Boris Lurie’s works are collections of lumps of shit. Jean-Jacques Lebel’s assemblage is based on a castrated body. Stella Waitzkin used polyester molds in the shape of books and other objects that she gathered together in the form of fluid “libraries”. The collection of experimental and innovative films by Aldo Tambellini done directly on film, with no camera, studies motion, electricity, light and black. The painting by Allan D’arcangelo depicts a stormy, female sexual image. Erró created a photographic collage. The distorted clay parts forming the shape of a cross by Susan Long (Harriet Wood) resemble female genital forms or shells. Finally, Herb Brown’s contribution is a disturbing painting of a boy’s face on an advertising poster.

Boris Lurie words quoted here above, attempt to warn the visitors that they are about to view works that may make them uncomfortable. Art critic Galia Yahav noted that for the NO!art group, unlike the other artists from that period such as Rauschenberg for example, the daring lyrical beauty of urban ugliness, the material fragility and the poetics of garbage are also accompanied by critical commitment and sharp anti-war and anti-consumerism protest. These artists made use of the markings of consumer culture to express their exaggerated and aggressive rage toward the system, and their firm objections to everything associated with the obsequious seductiveness and greed of Andy Warhol and his cronies and with the confirmation of American values.

In honor of what would be Boris Lurie's 95th birthday on July 18, internationally renowned filmmaker Rudij Bergmann presents the English and German versions of "The Art of Boris Lurie" at Vimeo, Free of charge on 18 and 19 May 2019 (CET).

[NOTE: They forgot to make a reference to more informative films on Boris Lurie. Especially worth mentioning is the film by Amikam Goldman NO!art man. By the way: The NO!art website get no supported by the Boris Lurie Art Foundation [BLAF]. But BLAF managers use our site for their research without fee for us and without source reference to our pages.]

Boris Lurie, photo by Yonatan Maron 2003
Boris Lurie portrat photographed by Yonatan Maron, 2003
Photo behind: Sam Goodman and Boris Lurie 1960 at Tenth Street, unknown photographer

This film about the art and life of Boris Lurie (1924-2008), has so far only been shown in international museums, festivals and institutions. To mark the 95th birthday of the artist and poet, the film will be made accessible to the general public for the first time.

Boris Lurie himself, Gertrude Stein, President of the Boris Lurie Art Foundation and longtime partner of Lurie, and Peter Weibel, Director of the ZKM Center for Art Art and Media, Karlsruhe guarantee the authenticity of the film.

© Boris Lurie Art Foundation

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Works by Boris Lurie, Sam Goodman, Stanley Fisher, John Fischer,
Rocco Armento, Isser Aronovici, Yaoi Kusama [photo],
Jean-Jacques Lebel and Wolf Vostell.
Photos shot by Amikam Goldman, Tel Aviv.

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See An Example How BLAF-Restorers Work:

Original: ARTIST'S GRAVE, 1964, Object, 24 x 55 x 34 cm
Sam Goodman Artist's Grave

Restorer's work:
restorer's work

Nice what the restorers put in the box!
restorer's work

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The Boris Lurie Art & Dada Study Center

ein-hod working place
This is the working place in the Janca-Dada Museum. Maybe here people can look at
our NO!art websites to get more information because the Boris Lurie book archive
is too small for effective research.

-----Original Message-----
From: מוזיאון ינקו-דאדא
Sent: Mon, Mar 11, 2019 10:04 am
Subject: The Boris Lurie art 7 Dada study center
Dear Gertrude, dear Tony,
Enclosed are photos of the Boris Lurie Study Center in the first phase of placing the sorted material in place. I am also sending you an example of an index computerized card of each document's details (for bibliography search) that we hope, when completed, will be all uploaded to our website.
Thank you very much
Best wishes

books and catalogs

These are all the books on Boris Lurie and NO!art in the Study Center which was sponsered by Gertrude Stein with the millions of her Boris Lurie Art Foundation. --- Photos shot by Amikam Goldman, Tel Aviv.

COMMENT: Here was not considered the extensive NO!material, which I archived during my thirty year co-working with Boris Lurie to bring him and the NO!art again to the light. --- Dietmar Kirves.

Boris Lurie's home at 66th street
Boris Lurie in his living room at 66th Street. Photo by Dietmar Kirves [2001].

By the way: These materials - you see on top - are not in the Ein Hod Archives because unknown peopel destroyed it after Boris' death. Now Gertrude is sitting on her Olymp at Central Park with 85 million dollars behind which she scammed through manipulation Boris Lurie'sLast Will an all Boris ideas are gone.

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