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THE 80s: 326 YEARS OF HIP
A Group Exhibition of Four Octogenarian Artists
with BORIS LURIE, MARY BEACH, HERBERT HUNCKE, and TAYLOR MEAD
Curated by: Anne Loretto, Clayton Patterson and James Rasin
|161 Essex Street btwn Houston & Stanton | New York | January 19 to March 31, 2005|
►INFO ►BORIS LURIE ►MARY BEACH ►HERBERT HUNKE ►TAYLOR MEAD
►PREVIEW BY JAN HERMAN
►BORIS LURIE'S NO!art - Review by HERMAN
►BORIS LURIE, UNEASY VISIONS, UNCOMFORTABLE TRUTHS - Review by DAVID H. KATZ
►COMMENT BY MILMAN ►RESPONSE BY PATTERSON ►RESPONSE BY MILMAN
Interconnecting many scenes from disparate places, living lives well-nigh impossible now, these artists, wending their way through the ‘30s, ‘40s, ‘50s, ‘60s, ‘70s, ‘80s, ‘90s and ‘00s of underground and alternative life, film, poetry, art and beyond, encompass everything from the distant art world of prewar Europe to the literary Beat scene of New York; from German WWII Nazi prison and concentration camps to the Surrealist, Pop and No! Art movements; from the first Holocaust art to the streets, galleries, and museums of Paris, Berlin, New York, London and San Francisco. They’re old, they’re cool, they’re wise ... and they all lived on the Lower East Side. — A catalogue, “The 80s: 326 Years of Hip”, will be published in conjunction with this show. — Please don’t forget to come and meet Mary, Boris and Taylor at the special artists’ reception on January 20th at 6:00. Come see history.
|BORIS LURIE ▲|
(*1924) was born in Leningrad. Imprisoned in the Riga-Ghetto, he was taken to a succession of Nazi concentration camps and was liberated from Buchenwald/ Magdeburg. Lurie came to the USA in 1946, settled in New York City (where he still lives and maintains a longkept studio on the Lower East Side), and immediately set to painting work that went against prevailing artistic and commercial trends. While his Dismembered Women series from the late 1940's may be seen as a passionate reaction against Abstract Expressionism, his NO!art paintings and assemblages from the late 1950's actually predated Pop Art: In the early 1960's, critics such as Harold Rosenberg and Tom Hess already saw Lurie's imagery as an important source for Pop. Lately, Boris is given recognition as a forerunner of much of what deserves to be called avant-garde. Lurie’s work can be found in the National Gallery of Art, Washington, the Museum of Modern Art, and many other collections. Several of his compelling and provocative works will be exhibited for purchase as part of this show.
|MARY BEACH ▲|
MARY BEACH (*1919) was referred to by William Burroughs as one of only five women that he ever liked. Given her life, art, and spirit it’s easy to see why the infamous misogynist might feel that way. After Mary was born in Connecticut, her divorced mother moved the family to France in 1925. Growing up amongst the expatriates (Sylvia Beach was a relative), Mary had her first art show in 1943, in Pau. During the latter part of WWII she was interned in a Nazi prison camp. After the war, she married an American war hero (who worked for the OSS). Returning to the United States she began a family while continuing to study, paint and exhibit. In 1957 the Beaches, together with their two children, returned to France, where Mary exhibited at the historic Salon des Independents in Paris; won the Prix du Dome at the Salon des Femmes Peintres; and was exhibited at the Salon des Surindependents. Upon the early death of her husband, and her subsequent meeting of the artist and poet Claude Pelieu in 1962, Mary’s life once again took a drastic turn: Mary and Claude shared a passion for art and literature, and their interest in the new led them to a correspondence with Allen Ginsberg. With the encouragement of Lawrence Ferlinghetti they then moved to San Francisco. Mary quickly started her own imprint at City Lights (Beach Books, Texts and Documents), then promptly discovered and published the young poet Bob Kaufman.
|HERBERT HUNCKE ▲|
(1915-1996) was the original Beat. A gifted storyteller, natural charmer and profoundly sensitive soul, he was also a hustler, carny, addict, petty thief, street philosopher, chronicler of the demimonde, and the archetype on which a generation modeled itself.
|TAYLOR MEAD ▲|
(*1924) is a poet, actor, film director, writer, painter, humorist . . . and legend. Originally from Michigan, Taylor, inspired by Kerouac, hitchhiked across the country five times before finally settling in New York. (He has lived for many years on the Lower East Side). Well known as a “Warhol Superstar” (and star of many Warhol films), Taylor’s credits and accomplishments as a multi-talented artist in his own right are far too numerous to list here. Suffice it to say that he is unique, he is a treasure, and all of his works on display here are just as compelling, intelligent and beautiful as he is.
|Preview by JAN HERMAN ▲|
The 80s: 326 Years of Hip| A Group Exhibition of Four Octogenarian Artists | Mary Beach, Herbert Huncke, Boris Lurie and Taylor Mead [Arts Journal, January 19th, 2005]: The invitation said, "They're Old, they're Cool, they're Wise, and they all lived on the Lower East Side." Needless to say, it was not an invitation to the inauguration. It was an invitation to a group show, and "they" are octegenarians -- Mary Beach, whose 1998 collage "Pepper Head" (right) illustrates the invitation, Taylor Mead, Boris Lurie and Herbert Huncke, who died in 1996 at age 81. But more than age, they share in common the status of artist outsiders.
The Clayton Gallery & Outlaw Museum previews the show tonight with a reception for the artists from 6 to 8 p.m. The show opens Friday in Manhattan on the Lower East Side and runs through Feb. 27 (161 Essex St. between Stanton and Houston, 212-477-1363).
Once upon a time Mary Beach and I collaborated on a San Francisco literary magazine together with Claude Pelieu, Carl Weissner and Norman Mustill. Her life and work, like Meade's, Lurie's and Huncke's, cover a lot of ground -- mostly the alternative underground. From the 1930s on, the gallery notes, their combined experience includes "everything from the distant art world of prewar Europe to the literary Beat scene of New York; from Nazi prison and concentratrion camps to the Surrealist, Pop and No! Art movements; from the first Holocaust art to the streets, galleries and museums of Paris, Berlin, New York, London and San Francisco."
Of the four, Herbert Huncke and Taylor Mead are probably the best known -- Huncke because of his association with Bill Burroughs, Allen Ginsberg and Jack Kerouac; Mead because of his association with Andy Warhol (an actor and poet, he was one of Warhol's superstars). Boris Lurie, who survived four years in Magdeburg (SP), a work camp satellite of Buchenwald, is perhaps least known in or out of the downtown scene. I discovered him only in 1973, when he sent an essay over the transom to the Something Else Press for an anthology I was editing. I loved the piece and published it. Here's how it began:
SHIT NO! TEN YEARS AFTER: The art world is in deep crisis and has been for some time. Artificial cultivation of decorative "esthetic" values, reckless investment speculation aided by large numbers of collaborating artists have brought about a situation very much like the last stage of a bull market on the stock exchange. Esthetically and philosophically the bottom has already dropped out. The mini-movements cultivating minor esthetic modes by-passed by the pioneers of modern art are being groomed, refined, enlarged and overstated all out of proportion to their real value. Even amputated splinters of the old rebellious Dada have been converted into saleable parlor games. ...
The "theoretical" part of the art market is supported by museum curators eager to please trustees and to promote large attendance by the uneducated public. It is indebted to artist-producers who operate manufacting enterprises out of mammoth lofts in New York. But the sanctity and reliability of art critics and art publications, whose full page, awe-inspiring ads and color covers have lost their magic, convince the public no longer. The museums are finally accepted for what they really are: corporate entities & private organizations controlled by a small number of not-distinguished trustees whose conflicting interests in the art market should be opened to question.
Such Sanctum Sanctorums have only been picketed; a general clean-up must begin in earnest. And many artists do understand now that their field is not just the production of art. In the most extreme cases, political confrontation has become an art form. Some are in flight from marketable objects in what is viewed as an exaggerated reaction to their unhappy findings. To many, unfortunately, all art has become useless and corrupt.
The hope is that some place, some day, a truly unmanipulated art will appear, that younger artists will become free of the art world hang-ups of their older brothers and sisters of the Fifties and Sixties, and of the poisonous atmosphere of establishment-fostered art. Let's hope they will know better how to handle the success-monster, the ego-monster, the competition-monster, and the monster of in-group camp. These nasy monsters have always had a habit of reappearing.
The first rebellion always begins out of desperation, triggered perhaps by the realization that isolation and inwardness must be broken. The artist who understands this is free only in rebellion.
Lurie went on to describe the history of his and other downtown artists's shows, such as "Adieu Amerique" (1959), his farewell "statement of rejection" when he was about to leave the country for good, he thought; group shows such as, "Les Lions," at the time of the Algerian war in a cooperative basement gallery on the Lower East Side, the "Vulgar Show," the "Involvement Show," the "Doom Show" in 1962, which he described as "a direct attack on the danger of atomic war at the time of the Kennedy-Kruschev confrontation over Cuba, when basement air raid shelters were introduced for unprotected homes and hysteria swept the country."
Mary Beach and Taylor Meade will be at the gallery reception tonight. Lurie, unfortunately, will not. He's recovering from successful heart by-pass surgery, says Clayton Patterson, who curated the group show with Anne Loretto and James Rasin.
|Review by JAN HERMAN ▲|
BORIS LURIE'S "NO!art" AND THE HOLOCAUST* [Published in: Arts Journal Weblog, New York, January 27th, 2005]: Today, when the liberation of Auschwitz-Birkenau is recalled with "the mournful whistle of an imaginary death train," the little-known No!art art of Boris Lurie looms like a signal from the remembered depths. See, for example, his Red Shit Sculpture (below), or Immigrant's Box, or New York-Rumbula (bottom), or Bowl of Chains, or his Immigrant's Suitcase series.
One terrible irony of Lurie's art is that it is "beautiful" in spite of itself, an aesthetic effect alien to his experience as a survivor of Buchenwald-Magdeburg and other concentration camps, where he was enslaved for four years and where human degradation knew no bounds. But Lurie has probed the human abyss not only with his art but with his words. Here, for example, is the conclusion of his essay about vaporous girlie pin-ups for a 1960 exhibition, "Les Lions," which describes the Holocaust in terms most of us can understand:
The stray dogs in my backyard are perennially hungry. The Monster makes them act out their frustration through formal well-rehearsed action. The dogs beg: they throw their paws around wildly, they run around in circles. Then the Monster throws them some bones. The meat had been all but completely eaten away, but the dogs devour them greedily and fall asleep. And in their dog-dreams they imagine themselves as superb great masters, far away in time and space, performing never ending ritual gestures. But soon they awaken, and they are as hungry as before, and the yard is as dirty as before. I have a painting in front of me. Legibly printed on its right side are the words: Liberty or Lice.
In German, I'm told, this passage is even stronger. Hunde (dog) has much more power, says my German-speaking friend Bill Osborne, "because it is a very strong insult." The idea, of course, is that "humans behave like dogs -- clawing, shitting, wallowing in their own filth, devouring raw meat, bones and all." Ungeheuer (monster) is stronger still, "because it refers to an entity that is undefinable, horrible, beyond description," Osborne adds. "It is a very German word, coming from a forest people's perception of something unspeakable in the darkness of the trees at night." And verschlingen (devour) is far more potent "because it describes the way dogs ravenously slaver over and swallow things whole like bones. The hard, guttural sounds and pounding rhythm of the words increase the starkness of the effect."
* By a nice coincidence the Clayton Gallery & Outlaw Museum on Manhattan's Lower East Side is exhibiting some of Lurie's work in a group show that runs through Feb. 27 (161 Essex St., 212-477-1363). The other artists in the show are Mary Beach, Taylor Mead and Herbert Huncke.
Postscript: The opening of the show was jammed. Gallery owner, co-curator (and, I might add, a warm and generous host) Clayton Patterson sent along some photos of the guests. Boris Lurie, left, couldn't make it to the opening because he was recovering from heart by-pass surgery. That's him sitting on the bed at home, with Clayton behind him. There's Mary Beach, right, with the writer Victor Bockris at the gallery. Taylor Mead was having a ball prancing and dancing for guests who came loaded with cameras. Before the opening Mead and a friend were singing songs and strumming banjos at a party in The Pink Pony, a friendly neighborhood restaurant around the corner from the gallery. Come to think of it, Mead might have been playing a miniature guitar. There he is (left) at the gallery with the artist Andre Serrano (far left). Behind them are some of Mead's acrylics on canvas.
|Review by DAVID H. KATZ ▲|
BORIS LURIE, UNEASY VISIONS, UNCOMFORTABLE TRUTHS [The Villager, New York, Volume 74, Number 42 | February 23 - March 01, 2005]: Born in Leningrad in 1924 into an educated, highly cultured Jewish family, Lurie grew up in Riga, Latvia, and was recognized as having artistic talent at an early age. After the Nazi invasion of Russia in 1941, his family was swept up in the maelstrom of the Second World War. At 16 he and his father were captured by the Germans and began a hellish journey through the ghettos and concentration camps of Riga, Salapils, Stutthof and finally Buchenwald-Magdeburg in Germany. His mother, sister and grandmother were murdered, painful losses that immensely affected Lurie and were later to prove central to many of the themes and motifs of his work.
Liberated in 1945, Lurie remained in Germany for a year and worked for the U.S. Army Counter-Intelligence. He moved to New York City in 1946 and began his art career there, with figurative paintings in which he refused to flinch from dealing with his experiences in the camps, despite a postwar reluctance among survivors to dwell on, or even mention publicly, their wartime ordeal. Paintings like “Back From Work” (1946), and “Roll Call in Concentration Camp” (1946), with their ghostly, skeletal figures, fluid lines and pearl and sepia tones recall El Greco and Goya; “Entrance” (1946), his portrait of two sonderkommandos, the doomed gangs of inmates forced to remove the victims from the gas chambers, flanking the walkway to a crematorium, is as bleak as it is poignant in its depiction of shards of dignity amid hopelessness.
Under the influence of Picasso, De Kooning and later Pollock and other Abstract Expressionists, Lurie abandoned strictly figurative painting, and through the late ’40s and ’50s worked in a number of disparate styles and modes. A sequence of paintings called the “Feel Paintings” speak to his fascination with American symbols of libertine femininity like burlesque dancers, dancehall girls and pinup girls, to Lurie, a highly charged symbol of American big city life that he returned to in the early ’70s.
Lurie’s role during the ’60s, and ’70s, as a founding member and prima mobila of the NO!art movement elicited some of his most striking, exciting and contentious works. Founded in 1959 by Lurie, Stanley Fisher and Sam Goodman, in cooperation with the March gallery in the Tenth Street in New York, (later known as the March Group), NO!art was a visceral reaction to the dominant movements of the era: Abstract Expressionism and Pop Art.
NO!art’s self-proclaimed principle was to bring back into art “the subjects of real life,” which for Lurie, Fisher, Goodman and the others were issues of repression, destruction, depravity, sex, occupation, colonialism, imperialism, racism and sexism; the deep stuff, the psychological, edgy, discomforting material that makes people squirm; the kind of paintings you won’t find hanging, color-coordinated, over the wine-colored leather couch in a living room out in the Hamptons.
Lurie freely admits that, like many artistic rebellions, NO!art started “out of desperation; I mean it wasn’t an intellectual program, philosophic program worked out by some philosophers or in some university,” he said recently, while uncharacteristically decamped above 14th St., at a friend’s Park Ave. apartment, recovering from a quadruple bypass surgery, while his chaotic and art-crammed East Village apartment is being renovated.“It started out of desperation because we were already some time in the art world, and finally we saw what was going on and we said: To hell with you, we want to be artists but we’ll do it for ourselves, we won’t be involved with them. And if they want to they can try to get us.”
The basic ideological and aesthetic thrust, was “total self-expression, and inclusion of any kind of social or political activity that was in the world, that took place in the world,” Lurie explained. “Total freedom of expression, and also what was favored was like a protest, an outcry, anything that might be considered a radical expression, that doesn’t necessarily coincide with the expression that was permitted under the then current aesthetics.” Or to put it another way: “The aesthetics was to strongly react against anything that’s bugging you.”
For Lurie that reaction was deeply and understandably connected with his experiences in the Holocaust, and he created different series of works that commented, directly and indirectly, upon those experiences. Most notorious, and to some, offensive, was his 1959 “Railroad Collage,” an elaboration of his “Flatcar Assemblage by Adolf Hitler” (1945), an appropriated photograph of a stack of corpses on a flatcar at Buchenwald. His sarcastic renaming of that horrific image wasn’t enough for Lurie; he took it one step further in “Railroad Collage” by superimposing a cutout shot from a girlie magazine showing the backside of an attractive woman lowering her panties and exposing her ass.
Were these works a comment on pornography and the Holocaust, or the Holocaust as the ultimate pornography? Was it a callous denigration of the victims, or a celebration of eroticism, the life force, Eros, in the midst of an unsentimental and unsparing depiction of death; or was it simply an unvarnished expression of contempt for the diminished humanity of their depraved killers?
Whatever it was, the results, in 1959, were shock and outrage: people leaving the gallery in a rage, letters to editors, condemnation, controversy, uproar — everything a serious artist dreams of provoking.
“I would say they were shocked,” Lurie, said. “When you combine extremes like death, or injury, and all that with sexual aspects, it shocks even today. Because we tend to think different in this way, despite the fact there’s an involvement between sex and death also and so forth. In other words, if you use pinup girls in order to comment on serious things, it’s confusing because the closed-minded person would react to this semi-pornography in a very hostile way. The person whose mind is more open, would laugh it off. But they wouldn’t take it seriously.”
This was especially true at the end of the ’50s, when, before the trial of Adolf Eichmann, the Holocaust was still a taboo subject, the word itself barely established as the universal term for the Nazi program for the extermination of the Jews. “Nobody spoke about it,” said Lurie. “Most of the people that I knew in the art world, and my friends, never knew that I was in a concentration camp. It was never talked about. So in that time that everything was opened up, there was also a general historical background to this that happened during this time when Castro won the civil war in Cuba; and it happened at the time when Khrushchev became the head of the Soviet Union and loosened everything up. All over the world there was an atmosphere of loosening up.”
Lurie continued to explore the implications of the Holocaust, both directly and indirectly, in the years to come, with etchings like “Stars of David on Swastika” (1962), a series of “NO-Sculptures” (1964-’66), some made of excrement; various assemblages incorporating the infamous iconography of the Jewish Yellow Star; an entire series of “Chain Works” in 1973, including “Chained Female Shoes,” “Chained Roses” and “Chained Toilet Paper.” His 1964 “Death Sculpture,” chicken heads entrapped in a block of synthetic resin, anticipates Damien Hirst’s modern sculptures of sharks and sheep suspended in formaldehyde.
For the most part, critics and curators of the day rejected Lurie and NO!art, a circumstance perhaps responsible for Lurie’s at-times caustic — “The art market is nothing but a racket” — yet brutally honest views of the business of art, views he has made clear in a number of writings and letters, including notably his great critique, “MOMA as Manipulator” (1970), and the ► “Statement for the Exhibition ‘Art And Politics’ at Karlsruhe Kunstverein, Germany” (1970), which constitutes a sort of NO!art manifesto:
NO!art is anti worldmarket - investment art: (artworldmarket-investment art equals cultural manipulation).
NO!art is against “clinical,” “scientific” estheticism’s: (such estheticism’s are not art).
NO!art is against the pyramiding of artworldmarket-investment-fashion-decorations
NO!art is against all artworldmarket “salon” art.
NO!art is anti Pop-art: (Pop-art is reactionary - it celebrates the glories of consumer society,
At 80, Lurie is as sharp, opinionated and insightful as artists a third of his age, and is still realistic and truthful, perhaps too truthful, about the relationship between aesthetics and commerce in a capitalist society: “Well, an art dealer is a businessman like any other businessman, and his job in this economic society is to furnish goods and to try to make a profit at it,” Lurie noted. “And it doesn’t work any different than selling shoes or anything else. It might be decorated with a lot of big talk and philosophical talk and what not, but it doesn’t make any difference. Because he has to support a gallery, he has to pay a secretary, so a certain reality comes in. So somebody who doesn’t like the artist X, may still deal in him because he can make some money on him. And he may really believe in artist XYZ, and not touch him at all because he can’t make any money, and he can’t waste any time on him.
“Say he likes two artists,” Lurie continued, “they’re working in the same area, more or less, their work is very similar, they’re both very good according to him. One of them is a terrific salesman, and the other one is a completely, he sits at home, and doesn’t know anybody and just keeps on working and so forth. He’s incapable of promoting himself. So as an art dealer, the one who is a terrific salesman, is a much better deal for you because he takes some of the burden off your shoulders.”
Ironically, Lurie has found a great deal of success in the country to which he owes much of his angst-ridden subject matter: Germany, where NO!art is celebrated as a major movement in the history of 20th-century and — with Lurie’s 2004 exhibition, “OPTIMISTIC - DISEASE - FACILITY,” at Haus am Kleistpark, Berlin-Schoeneberg — 21st-century art.
|Comment by ESTERA MILMAN to CLAYTON PATTERSON and DAVID H. KATZ ▲|
On February 27th, 2005: Although professional courtesy makes it impossible for me to author the solicited "letter to the editor," I would, nonetheless, like to thank Clayton for sharing David Katz's article and to offer the following "inhouse" response to his own well intentioned, albeit short sighted, attempts to "get [Boris Lurie] a little recognition in America," and to Katz's "Boris Lurie: Uneasy Visions, uncomfortable truths [sic]." First, I would like to remind Clayton that his use of the word "America" is somewhat less than politically correct, as such seasonal shifts in PC fashion go. Even loosely described, the Americas encompass (at very least) two continents; one in the Northern hemisphere, the other in the Southern. "North America" is composed of the United States and Canada. Despite the unabashed provincialism that has long informed the world view of many New Yorkers (including some Manhattanites of the counterculture persuation), truth is, the boundaries of the United States, in turn, are drawn with a brush somewhat broader than Greater New York City; even the location of the shifting epicenters of the US artworld are contested, from time to time. For example, sometimes there is LA, Chicago, or even Miami, Saint Louis, Houston, and/or Milwaukee (to cite but a few of many such undisputed power bases) to take into account. Furthermore (and perhaps more importantly) Lurie and Sam Goodman were very real players in the cultural politics of the early 1960s New York artworld and, believe it or not, received much more than "a little" recognition in "America," even within the discourse of the 1960s and 70s. Both of these two aforecited misperceptlons are evidenced in David Katz's uninformed and (perhaps, inadvertently) patronizing narrative. In reference to the latter, I am not here simply criticizing Katz's misspelling of Jackson Pollock's name or his ahistorical, sloppy reference to de Kooning (who, even by the late 1940s was already very much a pivotal figure in the so called, "Abstract Expressionist" circle, right alongside Pollock); far more serious (although perhaps less embarrassing for the author), is Katz's representation of NO!art as "visceral reaction to Abstract Expressionism and Pop Art." Leaving the relationship of NO! to Abstract Expressionism aside, there is little question but that, at the outset, NO! and Pop were parallel phenomena; it was not until Pop became the artworld's self proclaimed anointed successor to Abstract Expressionism that NO! assumed an oppositional (that is not to say "reactionary") stance. If, as Katz has done, you cut the historical legs out from under something, you marginalize it. Both Patterson and Katz are doing Lurie (and NO!) a great disservice by deliberately not building on things that preceded their own personal involvement and agendas, and by not honoring and respecting the very things they should be building on. As an aside, it is interesting to note that in 1961 de Kooning became the much lauded, paradigmatic progenitor of "assemblage," and that the broader subset "assemblage, environments, and Happenings" (within which NO! served as one important component) were all simultaneously discounted/marginalized by the New York artworld in the mid-sixties based on their then understood relationship to "old Europe." If Lurie had, in fact, singled out de Kooning by the mid-40s (as Katz suggests), I would sincerely like to know.
In all the mailings I have received that presented themselves as updates on Boris' health but in effect were vehicles to disseminate information about the group show at the Clayton Gallery & Outlaw Art Museum, I have not gleaned even the slightest acknowledgement of, or even nod to, the pivotal role the Gallery Gertrude Stein (New York) played during NO!art’s historical collective period or in the more recent past; nor have I noted even the whisper of a deserved credit line to the Janos Gat Gallery (Madison Avenue) which (as I understand it) generated the very prints Clayton is marketing and, not too long ago, successfully facilitated some very substantial "recognition" for Boris in Artforum. Having said that, I would like to move on to Milman.
Methodologically speaking, Katz's lengthy citations from his interview with Lurie are difficult, if not impossible, to distinguish from the author's own voice. (Incidentally, the Archives of American Art does not even make transcripts of interviews with living artists available, on site, to the general public without first allowing the artist being interviewed to review, modify and/or approve or reject the transcript. Since Katz's blurring of boundaries between his voice and Lurie's and his decontextualization of Boris's statements as these purportedly appeared on his notes/tapes are highly problematic, I would caution him to follow normal protocol prior to the appearance in print of his "more comprehensive interview" in the London-based Jewish Quarterly.) Embedded in Katz's narrative are propositions that are directly (albeit naively) appropriated from my own 2001, National Endowment for the Arts-funded publication NO! art and the Aesthetics of Doom (copyright, the author and The Northwestern University's Mary and Leigh Block Museum of Art). While, as a much published historical theorist, I cannot help but be somewhat amused by Katz's assumption that my argued propositions (with which Boris initially did not agree) are "truths," I nonetheless find his blind appropriations to be unethical. Conversely and from an hi stenographic perspective, it is just possible that he himself did not have access to my catalogue essay (and thus could not cite it, as is normal practice) and instead simply appropriated these propositions as they were recounted to him as "truths" by Lurie himself. If, in fact, the conceptual armature of my work has entered the everyday consciousness of one of my historical subjects, I would very much like to know. The blurring of boundaries between primary and secondary literatures is not to be taken lightly by anyone whose life's work is the analysis of the history of the authorship of our histories. Back to Clayton.
As Clayton is well aware (and despite what I know is his anger toward Northwestern University) "NO!art and the Aesthetics of Doom" was the first comprehensive, historical retrospective exhibition of the collective's historical period, to be mounted in the United States. When the show opened in the Greater Chicago area immediately following the 2001 terrorist attacks in New York and Washington, The Chicago Tribune (read, The New York Times of the Midwest) singled out the exhibition as the antitheses of "comfort art" and as representative of an art that "stimulates [and] rouses., art as provocation... as the nation girds itself for a long a difficult struggle against terrorism" (November 4, 2001). In addition, on January 4, 2002, the Chicago Reader (read, the Village Voice of Greater Chicago) published a full page, laudatory review of the NO! show describing the exhibition as "one of the best [Chicago area] exhibits of 2001." Critic Fred Camper writes: "Indeed, much of this work registers as a call to action — those these artists admitted they had no solutions." Neither the "Trib" nor the "Reader" felt it necessary to play what Ami Eden (Senior Editor of The Forward) recently called "the Holocaust Card" (see "Playing the Holocaust Card," The New York Times. Op-Ed. January 29, 2005). Nor did Lurie, Goodman, Stein, Gat, Reichelt, and Milman.
|Response by CLAYTON PATTERSON to ESTERA MILMANN ▲|
On March 3rd, 2005: I must apologize for taking so long to respond to Estera’s inquiring mind. I have been very busy, with promoting the art show, putting together a reading for this weekend, finishing a book for a publisher, and a lot of other nonsense. I needed this to spend my time on this response like I needed a new hole in my head. The newspaper is still on the street, and I must send the article out to the waiting public.
I see the professional courtesy of not responding, as weakness rather than having any ethical or moral standing. I see it as someone afraid and burrowed in a deep hole in the system, with no commitment to the NO!art cause. A ruse to hide. Give me a break with this professional courtesy crap. What nonsense.
Furthermore (and perhaps
And it is Boris who pulled me into the family of No!art. None of us were there in the 60's, certainly not me or Estera. I have a lot of documentation on Boris and our conversations, so my naiveté, is from hours of talking and documenting Boris.
In reference to the
|Response by ESTERA MILMAN to CLAYTON PATTERSON and DAVID H. KATZ ▲|
On March 4th, 2005: Clayton, Never say never. What was Boris so upset about? Please give my best to Dietmar and tell him that he certainly has my permission to include my last communication (as well as the one that follows) on the site.—Estera
|© http://patterson.no-art.info/gallery/2005-01-19_80s.html ▲|