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Portrait Sam Goodman

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.

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