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About
Biography
Publications
Works
Writings
† Obituaries
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
STANLEY FISHER, born in 1926, in New York. Co-founder of the NO!art movement with Boris Lurie and Sam Goodman. He was an agitator and a beatnik publisher at this time. Editor of "Beat Coast East", an anthology of rebellion. His art work is mainly crudely collagistic in form, containing many newspaper clippings and iconic features. Invariably his work focussed on social issues of the time: civil rights, the rights of African-Americans, women and the growing perniciousness of American materialism. Died after 54th years 1980.
2006 Rembering Stanley Fisher | Essay by George Wallace
2002 NO!art and the Aesthetics of Doom | Museum of Art, Iowa City/ IA
2001 NO!art and the Aesthetics of Doom | Block Museum, Evanston/IL
1995 NO!art | Neue Gesellschaft für Bildende Kunst, Berlin
1988 NO!art anthology | Edition Hundertmark, Cologne
1982 Stop Lying | booklet, The Middle of Silence Gallery, New York
1980 Stanley Fisher | Mysterious to the End, Essay by Boris Lurie
1965 Stanley Fisher | Wadell-Grippi Gallery, New York
1963 Stanley Fisher | Stryke Gallery, New York
NO!show | Getrude Stein Gallery, New York
1961 Involvement show | March Gallery, New York
Doom show | March Gallery, New York
1960 Vulgar show | March Gallery, New York
Beat Coast East Magazine | Excelsior Press, New York
NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
