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About
Exhibitions
Event
Mixed Media
Writings
† Obituary
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
SAM GOODMAN, born in 1919, in Toronto, Canada. There he founded and organized the Experimental Art Group in 1937. Moved to New York in 1947 and created the March Group in 1959 together with Boris Lurie and Stanley Fisher. The NO!art movement came out of this group. | Died in 1967.
2018 FLASHES OF THE FUTURE | Ludwig Forum, Aachen/Germany
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
1988 NO!art anthology | Edition Hundertmark, Cologne
1964 AMERICAN WAY of DEATH with Dorothy Gillespie | Champagne Gallery,
New York
NO Sculpture [Shit show] | Getrude Stein Gallery, New York
1962 SAM GOODMAN & BORIS LURIE | Gallery Schwarz, Milan
DOOM SHOW | Gallery La Salita, Rome
1961 INVOLVEMENT 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
1963 NO SHOW | Getrude Stein Gallery, New York
1960 VULGAR SHOW | March Gallery, New York, November
NO!art involved Artists: ARMENTO + 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.
