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Three Years Before Boris Lurie Died

TAGGED Stuetzpunkt Foundation composed +++ Foundation's Mission +++ Clarity and Definition +++ Shoah and Pin-Ups +++ Boris' Health Performance

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Stuetzpunkt Foundation
composed by Boris Lurie on Jan 27, 2005

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

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 Schwartz, 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 Schwartz 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.

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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.

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We Need Some Clarity and Definition

CLAYTON PATTERSON wrote on March 11, 2007 to Richard Nadelman, Attorney + Martin Levitt [1] + 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 believe 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 [2] 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 [3] 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 show. I think Eckhart may have delivered this art work to the exhibition. It was through documenting an Art Party Pravda exhibition [4], 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. 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.

FOOTNOTES:
[1] Comment: "Capitals are my comment.... I found your letter to be a brlliant exposition! But, you are telling a phyton not to a swallow the entire gazelle it stranged. Pulling Nadelman away from his feast is an impossible task. A lecture on ethics is totally wasted. I venture to say that Boris committed financial suicide by getting a cheap lawyer. They are often the most expensive in the long run. Boris outwitted himmself! If there is anything realistic that I can do to salvage Boris' art work, please let me know! I only hope he is feeling no pain in the hospice!" - a sad Martin Levitt. (NO!art archives)
[2] See the Filmdocumentary by Matthias Reichelt and Reinhild Dettmer-Finke SHOAH UND PINUPS, DER NO!ARTIST BORIS LURIE, Freiburg (Germany) and New York 2006.
[3] Comment: "A film about an old man who was persuaded of a documentary during his illness in old age. The film misses any information about the co-founders of the NO!art movement like the artists Sam Goodman and Stanley Fisher, by whom and with whom he became known as NO!artist. Likewise, lack of any information on his former girlfriend and gallery owner Gertrude Stein, who promoted him in the 60's, the gallery owner Janos Gat, who organized the recent exhibitions of him in New York, and his many friends he motivated to a NO!art involvement. It lacks information about his friend Dietmar Kirves who promoted him in germany since the early 80's. It also lacks any information about the NO!art webpage which operated with Boris' financial support since 2000. See www.no-art.info. There have done already better films about Boris Lurie such as that of Rudij Bergmann "Lurie Portrait" and that of Amikam Goldman "NO art Man!" (2003) and the one by Naomi Tereza Salmon "optimistic - disease-facility" (2003). See the video streams on NO!art website https://borislurie.no-art.info/filmography.html
There is no evidence of his poetic work "Geschriebigtes-Gedichtigtes", which was published in a comprehensive book on the occasion of his exhibition at the Buchenwald Memorial. The artistic work of Boris Lurie consists only a few works which touch on the subject "Shoah and Pinup". They have no pictorial relation to the Iraq war as it mentions a german newspaper which was influenced by the German filmmakers. His work is rather dominated by the motto that "NO!art occupies the strategic juncture where artistic production meets socio-cultural action. NO!art targets are the hypocritical intelligentsia, capitalist culture manipulation and consumerism. NO!art aims total unabashed self-expression in art leading to social involvement." Nothing about this told us the film.
It proves here again that filmmakers who have access to public event places can launch documentaries which only fragmentarily draw a picture of a person that does not correspond to reality. It is curious to see how hanger-ons work on the Holocaust want to become more importance through. What does that actually mean: Shoah and Pinup? Lets itself deal with such a subject so cheap? Unfortunately, Boris Lurie can not say anything more about this film, because he can no longer communicate with us. He is presently in a hospice after a heavy stroke". - Dietmar Kirves, Berlin
"The comment is correct. Everything really controversial and relevant for the politics and art of today does not appear in the film. Read better therefore the book Boris Lurie, Seymour Krim: NO!art, Cologne / Berlin 1988". - Wolfgang Roelen, Berlin  |  Source: https://borislurie.no-art.info/filmography/2006_reidefi-reichelt-de.html#no-art_headquarters (in German)
[4] ART PARTY PRAVDA, Groupshow against homeless, New York 1994; see https://patterson.no-art.info/gallery/1994-08-04_pravda.html

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SHOAH and PIN-UPS: The NO!-Artist Boris Lurie, 2006

MATTHIAS REICHELT wrote on Apr 18, 2006: Liebe Kolleginnen und Kollegen, liebe Freunde, hiermit möchte ich Sie/Euch darauf hinweisen, dass der Film, mit dem ich Ihnen/ Euch lange in den Ohren lag unter dem Titel "Shoah und Pin Ups. Der NO!artist Boris Lurie" bald fertig gestellt sein wird. Der Film ist von Reinhild Dettmer-Finke (Regie) und in Zusammenarbeit mit mir entstanden. Ab heute ist eine Webpage mit dementsprechenden Informationen freigeschaltet:
http://www.borislurie-derfilm.de/
Über Ihr/Euer Interesse würden wir uns sehr freuen.
Falls Ihr Fragen haben solltet, die über die Informationen auf der Webpage hinausgehen, so könnt Ihr Euch entweder an Reinhild Dettmer-Finke (info@defi-filmproduktion.de) oder an mich wenden. Über Previews werde ich Euch rechtzeitig informieren.
Mit herzlichen Grüßen Matthias Reichelt

Reinhild Dettmer-Finke with Boris Lurie in coonection
Producer Reinhild Dettmer-Finke and Boris Lurie in New York 2005

SHOAH AND PIN-UPS is a film about breaking a taboo. In his work the 80-year-old New York NO!artist, Boris Lurie, brings together what doesn't belong together: gassed corpses and the naked, the Shoah and pin-ups. It¹s not perverted art, but a comment on a perverted society, says Lurie, and he draws a line from the Shoah to the war in Iraq. Lurie would have liked to have painted comfortable, comforting things, like the Impressionists did, but something kept him from doing so. And that something is what this film explores. The search takes us via Riga and Buchenwald to the New York of the 50s and 60s, when NO!art developed as an reaction to Pop Art. Boris Lurie¹s motto is NO! to the expectations of the art market, NO! to bourgeois estehtics, NO! to victim mentality. A film about the timeless/timely questions of remembering, and about coping, through art, with the extermination of the Jews. video in German

COMMENT by Dietmar Kirves: A film about an old man who was persuaded of a documentary during his illness in old age. The film misses any information about the co-founders of the NO!art movement like the artists Sam Goodman and Stanley Fisher, by whom and with whom he became known as NO!artist. Likewise, lack of any information on his former girlfriend and gallery owner Gertrude Stein, who promoted him in the 60's, the gallery owner Janos Gat, who organized the recent exhibitions of him in New York, and his many friends he motivated to a NO!art involvement. It lacks information about his friend Dietmar Kirves who promoted him in germany since the early 80's. It also lacks any information about the NO!art webpage which operated with Boris' financial support since 2000. See www.no-art.info. There have done already better films about Boris Lurie such as that of Rudij Bergmann "Lurie Portrait" and that of Amikam Goldman "NO art Man!" (2003) and the one by Naomi Tereza Salmon "optimistic - disease-facility" (2003). See the video streams on NO!art website   https://borislurie.no-art.info/filmography.html

There is no evidence of his poetic work "Geschriebigtes-Gedichtigtes", which was published in a comprehensive book on the occasion of his exhibition at the Buchenwald Memorial. The artistic work of Boris Lurie consists only a few works which touch on the subject "Shoah and Pinup". They have no pictorial relation to the Iraq war as it mentions a german newspaper which was influenced by the German filmmakers. His work is rather dominated by the motto that "NO!art occupies the strategic juncture where artistic production meets socio-cultural action. NO!art targets are the hypocritical intelligentsia, capitalist culture manipulation and consumerism. NO!art aims total unabashed self-expression in art leading to social involvement." Nothing about this told us the film.

It proves here again that filmmakers who have access to public event places can launch documentaries which only fragmentarily draw a picture of a person that does not correspond to reality. It is curious to see how hanger-ons work on the Holocaust want to become more importance through. What does that actually mean: Shoah and Pinup? Lets itself deal with such a subject so cheap? Unfortunately, Boris Lurie can not say anything more about this film, because he can no longer communicate with us. He is presently in a hospice after a heavy stroke".

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Boris Lurie's Health Performance Before He Died

MARTIN LEVITT wrote on Feb 6, 2006: I spoke to the floor nurse at the hospital and she told me
Boris has the power of speech. The only problem seems that he only says incomprehensible things.
It appears to the staff that his mind is not functioning correctly or cogently.

From the description I got Boris has had a stroke (due probably to his age and tobacco use) and may be in very "Deep Water". I don't expect that we will have any more chats with the cranky, but clever Boris Lurie. So sad. Boris has been a cranky, but interesting friend since 1949. I've been involved in "Luriemania" for over a half century. I guess I will never sit with Boris on the balcony of his place in Haifa, drawing the boats in the harbor. Malesh, (Arabic - fate) --- ML

MATTHIAS REICHELT wrote on Feb 7, 2006: dear kim, this news is really incredibly sad. i will send it to the friends without using the big mailing list, since i dont want anybody to fight about this and that and against this or that person. nevertheless i hope that he will recover! ther is nothing we can do now than having hope! yours truly matthias reichelt

DIETMAR KIRVES wrote on Feb 8, 2006: hallo matthias: dank für die boris news. endlich mal ein guter spruch von dir " ... i dont want anybody to fight about this and that and against this or that person. ..." hoffentlich stimmt das auch. gruss dietmar.

MARTIN LEVITT wrote on Feb 11, 2006: SAVING BORIS . . . FROM HIS ENEMY | Dear Friends of Uncle Boris, It is just wonderful that everyone is so hopeful about Boris. Most of it sounds like pitiful and discordant whistling. I was under the impression from Boris, though he wasn't thrilled with it; he planned to have Gertrude Stein's son to be in charge of the foundation named for his sister and mother and also if he would help perpetuate the art work that Boris has done. He would also would try to keep "NO!art" functioning.

It seems that Everyone is pretending that Boris will soon be at the Cedar Bar hosting a gathering of artists. If Boris survives this latest incident he will be in no shape to live alone. He will need constant care and rehabilitation. To use a common simile, "Someone has to step up to the plate as a pinch hitter for Comrade Boris". If he had been sent to a rehab to begin with, he would be vigorous and making money and doing art work and torturing a slew of Hispanic workers.

The ideal situation would be a decent apartment with a live in, tough, middle aged, illegal Mexican woman in control.

Boris is easy to control, he is not a fighter, he is a survivor. If he survives this last gambit, it is an ideal time for him to create art and find a staff for his foundation.

I hope somebody can find someway to convince Boris that he is now as famous as Giotto and should just do art work, to help fill out his legend. Or he can continue to play Daddy Warbucks and work on his market ventures; but in a controlled environment. If he is left in charge, he is a "dead man".

Isn't there someone who will take charge?
a worried - 80 year old friend, Martin Levitt

GERTRUDE STEIN wrote to Boris' lawyer Nadelman on May 23, 2007: I have been investigating methods of treatment that are not given at his home, and have had great results with people I know.

There is a practicioner, named Ms. Elena Lazinskaya, tele. 212-765-4961 who has treated many people in Boris' condition and has had some good results. I spoke to her today, and she spoke to Boris in Russian on the telephone while I was visiting.

Boris was excited by this, and indicated that he would like to see her.

You would have to call her and make arrangements. She mentions that he might need visits twice a week, but this would be after she saw him to make the determination.

It would be very important at this time to take advantage of any method since he is improving slowly but surely. He started writing and is trying to type. It takes some strength, and he is making a strong attempt. It is very hearwarming to see him in better spirits with none of the anit-biotics in his system to keep him drowsy.

If you want a recommendation for Ms. Lazinskaya, you can call Mrs. Galina Kluge, the widow of the famous Michael Kluge, and a close friend of the writer Solzinitzen (wrong spelling I am afraid) Her telephone number is 212-877-0278

I have known her for more then 30 years and she tells me that this practicioner is very good, and has helped her husband, her mother and herself, so she has personal knowledge.

Please do this at your earliest opportunity as every moment is important for Boris.

GERTRUDE STEIN wrote to Nadelman, Kuzmenko, Washam, Shai, and Levitt on Jun 7, 2007: Mme. Elena arrived at the exact time we had agreed on and there was an instant raport between them. She spoke Russian to him, and he was intrigued. She did what she could to detect the problem, and came up with a few ideas, which she will think about and report to us. He was able to show her what part of his head seemed distressed, it was the left side and he was clearly convincing. She told me that he was not too badly off, and she has some patients im much more serious condition. Boris, after she left was in such a state of contentment, which I have not seen since he became ill.

However, the nurse, I do not know her name, a very pretty Philipino came in a few times in the most obtrusive way. I had to tell her to leave, she was causing such a distraction. Please let this be known by the head of the home, because it is not helpful.

I hope to speak to Mme. Elena on Friday for her ideas on a treatment, and I hope you will agree to see that she is recompensed. It is surely prividential that we have her to help Boris at this time.

He was elated and more open after this visit and I can see how beneficial it was and will be in the future.

KIM KUZMENKO wrote to Lecornu-Hamilton, Patterson, and Reichelt on Sep 25, 2007: While I have not seen Boris since a few days after his birthday I want to let you know that this whole situation has become quite grave. I close my eyes again and again and ask my Father, Tom, what he would do. Always the answer comes -- "Let Boris be Boris".

Unfortunately, Boris has lost his ability to type his wishes.

I stand on the outside viewing a hideous unfolding of greed and selfishness.

Boris is cognizant but mute and stubborn No one can convince me otherwise as to his awareness when he is not 'drugged up'. NO one but Gertrude seems to care for his actual rehabilitation. There is a group. They call it "Team Boris" yet it lacks one crucial member -- Boris.

I saw that little documentary. I heard him say that I was fired because I "threw away his things". I was horrified. I threw away pots full of mildew (too horrible to think of cleaning), food food growing colonies, a mattress that served as a home for mice full of their corpses, drugs dated from 1962 and cigarettes. I 'quit' because the things that were of value, each and every little thing taken from a desk, wrapped, sealed and marked as to where it had been was tampered with. In reference to this I can only say that drunkards are liars and have an agenda of their own. I believe you may know to whom I refer.

There really is only one "team" here. Those who seek to use all that Boris has accumulated throughout his life to do more than let him waste away in a dank grey room, mute and filthy. WE want "Boris to be Boris"; to be coaxed into enough rehab that he can again type, write and make his wishes known.

GERTRUDE STEIN wrote to Shai, and Amikam Goldman on Oct 2, 2007: Boris is in the intensive care unit and is undergoing some massive work.

He is weak and has many problems with his lung, heart, diabetes, has pneumonia, septis and a miriad of illnesses.

He is getting the best care and I am there with him and he has the best medical assistance possible.

Please let Motte know that he cannot call Boris, he must be worried not getting a response from the old number.

There is much we have to talk about, and I hope yu will convey this information to those in Israel who know and care about Boris.

Please keep Boris in your thoughts and pray for his recovery.

GERTRUDE STEIN wrote to Shai on Oct 5, 2007: just came from Roosevelt hospital where he is on life support. He is however, doing well, the infection is gone and the pneumonia is being aggressively treated and they have good hope for his improving. I am there every day and hope that my presence has some effect, that someone is there for him. As you know, no one has been there for a long time.

I now have the power of attorney, as Boris wanted that for a long time. As you remember he asked me to find a lawyer more then a year ago, and there was one lawyers bill that Motte paid. I now have gotten him a wonderful firm and they are forcing Mr. Nadelman to account for his denial of Boris wishes, which Boris resented, and at one time, he tried to stangle Mr. Nadelman.

He wanted Aleksay out of his will, and he wrote many wishes at the beginning of his illness.

I finally got the health proxy that Boris gave me very early in his illness, which Mr. Nadelman refused to recognize. He finally let me get a health proxy at the Jewish Home and Hospital, with the doctor and social worker as wintesses, and he was there to agree. Mr. Nadelman is fighting my power of attorney, and has hired a firm to go to court. His lawyer said, "it may be academic" probably meaning that Boris was on life support and might pass away before the court could do anything. I am doing what Boris wanted and will continure to the best of my ability.

I have a copy of the Israeli will, and Boris, I think wanted everything to be combined for his father's S & J Foundation and the No Art Foundation. This was his wish after he became ill, and Motte was ill. We spoke about it often. I intend to keep the S & J foundation completely for his mother and sisters rememberance to help Jewish causes.

His No Art Foundation should be, as he wanted to keep the collection together and help financially, artists with a political bent who do not get help from the establishment, as he did not.

Perhaps you could fill me in on what Boris had in mind when he spoke to you of the will, as he told me you were one of the executors. Any clarity at this point would be very helpful.

Sorry to ramble, but you were very much appreciated by Boris, and he was so very fond of your parents.

I am in the city in the event the hospital needs me.

Boris Lurie died on January 7th, 2008 in New York

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