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N O ! a r t
the strategic
juncture where
artistic production
and socio-cultural
action meet.

Lurie's Last Will


The Art of the ’68ers or The Power of the Powerless

Curators: Andreas Beitin und Eckhart Gillen

LUDWIG FORUM | Jülicher Straße 97–109 | 52070 Aachen/Germany
April 20 to August 19, 2018
Exhibition view
EICHMANN TRIPTYCH, 1961 | Assemblage, 103 x 116 x 25 cm
Rebuild by Dietmar & Martin Kirves, New York 2001
Flashes Show Aachen Poster

Artists in the show: Georg Baselitz, Joseph Beuys, Bazon Brock,  Günter Brus, Carlfriedrich Claus, Guy Ernest Debord, Niki de Saint Phalle,   Erró, Valie Export, Hans-Peter Feldmann,  Sam Goodman, Hans Haacke, Dieter Hacker, Richard Hamilton, Lynn Hershman Leeson, Edward Kienholz, Milan Knizak,,  Yayoi Kusama, Maria Lassnig,  Jean-Jacques Lebel,  Boris Lurie (NO!art), George Macunias, Gustav Metzger, Yoko Ono, Nam June Paik, A.R. Penck, Sigmar Polke, Heimrad Prem, Martha Rosler, Eugen Schönebeck, Daniel Spoerri,  Aldo Tambellini, Jean Tinguely, Günther Uecker,  Wolf Vostell, Franz Erhard Walther, Peter Weibel, Vladimir Yankilevsky, HP Zimmer u.a.

1968 – No other year in the 20th century is given such a symbolic and iconic status, no other year is studded with myths, evokes associations, viewed with bias, and kindles emotions. A year in which protests, upheavals, and even revolutions took place in numerous countries around the globe: May 1968 stands for international youth and protest cultures in 56 countries, 22 European ones amongst them, but also for an art breaking out of its elitist ivory tower – parallel to this, masses of individuals in the Western world begin to strive for autonomy. It is first through the interaction between students, intellectuals, and artists that a cultural revolution capable of disrupting the authoritarian structures of societies in both East and West could take place. Above all, artists, declaring the artwork to be obsolete while in part working massively against the art market and a commercially utilizable commodity ‘art’, contributed significantly to the desires and the imaginative visions of the student movement finding expression in provocative and pithy signs and images and exerting power over reality (“all power to the imagination!”).

From the distance of half a century, 2018 is the perfect opportunity to take a comprehensive and transdisciplinary look at this key year of the twentieth century (and its place as the midpoint of a decade). The exhibition will show and analyze for the first time the ideas, actions, myths, and self-interpretations of this generation by concurrently looking at them through the mirror of artistic productions and practices. Ultimately, the aim is to provide a new and critical perspective on the years around 1968.

With generous support from the Ministry for Culture and Science of the State of North Rhine-Westphalia, the Peter and Irene Ludwig Foundation, the Kulturstiftung der Länder, and the LVR – Quality for People.
Patron of the exhibition: Federal President of Germany Frank-Walter Steinmeier
Curators: Andreas Beitin und Eckhart Gillen
Project management: Esther Boehle
Curatorial assistants: Sabine Halver and Sonja Wunderlich


2002NO!art AND THE AESTHETICS OF DOOM | Museum of Art, Iowa City/ IA
2001NO!art AND THE AESTHETICS OF DOOM | Block Museum, Evanston/IL
1988NO!art anthology | Edition Hundertmark, Cologne
1967GOODMAN MEMORIAL SHOW | Gertrude Stein Gallery, New York
1964AMERICAN WAY of DEATH with Dorothy Gillespie | Champagne Gallery, New York
NO SCULPTURE [Shit show] | Getrude Stein Gallery, New York
1962SAM GOODMAN & BORIS LURIE | Gallery Schwarz, Milan
DOOM SHOW | Gallery La Salita, Rome
1961INVOLVEMENT SHOW | March Gallery, New York
DOOM SHOW | March Gallery, New York
FLOAT and MASKS/Car Event with Al D'Arcangelo | Lower East Side, New York
1963NO SHOW | Getrude Stein Gallery, New York
1960VULGAR SHOW | March Gallery, New York, November
GROUPSHOW | Duo Gallery, New York
1959GROUPSHOW | Columbia University, New York
1958GROUPSHOW | March Gallery, New York
1957WORKS | Camino Gallery, New York.
1944WORKS | Granville Gallery, Halifax.
1937GROUPSHOW | Experimental Art Group | Art Gallery Toronto
Goodman, Sam:
— —: Involvement Statement (1961), in: Lurie, B.; Krim, S. (Hg.): NO!art. Berlin-Köln 1988.
— —: Doom Statement (1961), in: Lurie, B.; Krim, S. (Hg.): NO!art. Berlin-Köln 1988.
— —: Notes (1967), in: Lurie, B.; Krim, S. (Hg.): NO!art. Berlin-Köln 1988.
G.D.: John Cu Roi, Sam Goodman. In: Arts. 34. 1960 (April).
Hess, Thomas B.: Boris Lurie and Sam Goodman. Gallery Schwarz, Mailand 1962.
Janco, Marcel: Goodman n'est plus (1973). In: Lurie/Krim, (Hg.): NOlart, Köln 1988.
Krim, Seymour: Nachruf ... (1971). In: Lurie, Boris; Krim, Seymour (Hg.): NOlart, Köln 1988.
Neumann, Thomas: Sam Goodman. In: Art News. 63. 1964 (Sommer).
Perreault, John: Sam Goodman. In: Village Voice. 4. 1967(Mai).
Ragon, Michael: C'est pas de la soupe c'est du rata. In: Arts 1964. (November).
Schuyler, James: Sam Goodman (Camino). In: Art News. 57. 1958 (November).
Schuyler, James: Sam Goodman and Boris Lurie (Champagne Gallery). In: Art News. 59. 1960.