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DVD | 82 min | MAIN STREETS FILMS production | New York - Tel Aviv 2007

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NO!art Man is a documentary film about the Russian born artist Boris Lurie, who has lived and worked in New York since 1946. This film is a portrait of one of the most radical minds in the New York art world from the early 1960's. For the most part, Lurie's works are powerful and troubling indictments of man's injustice to man. His photomontages of the late 1950's and early 1960's have been described as the most relevant and shocking images of the period. Today Lurie's images are as strong and relevant as when they were made. This film presents an artist who is still considered unknown to the general art audience.

The film is based on conversations between the director, Amikam Goldman, and Boris Lurie, from their first meeting in 1999 through 2001. The film also includes interviews with art historians, dealers, and artist friends of Boris Lurie.
NO!art MAN with Boris Lurie, Rocco Armento, Dietmar Kirves, Volkhard Knigge, Estera Millman, Clayton Patterson, Arturo Schwarz and Gertrude Stein.
Narrator: Richard Harrington
Featuring works by: Rocco Armento, Isser Aronovici, Herbert Brown, Erro, John Fisher, Stanley Fisher, Dorothy Gillespie, Sam Goodman, Richard Hambleton, Allen Kaprow, Franz Kline, Jean-Jacques Lebel, Boris Lurie, Michelle Stuart, Harriet Long Wood, Wolf Vostell
Additional Camerawork by Eddie Daza, Yuko Sueta and Ran Goldman
German Translation: Brooks Hefner
Narration Sound Technician: Amitai Asher
Ambience Soundrecording Assistant: Gabi Savransky
Music by: Loren M. Connors and Alan Licht from "Two Nights", RoadCone Records 1996 | Loren M. Connors, "Evening" from "Portrait of a Soul", FBWL Label 2000 | Dina Verni, "When we met each other" and "Again sit behind the bars" from "Prison Songs", Rarity 1999
Photographs: Bill Binzen, Betty Holliday, Dietmar Kirves, Fred W. McDarrah, Clayton Patterson, Charles Rotmil, Joseph Schneberg, Sybille Wittmann.
Buchenwald Video: Clayton Patterson
"Doom Show" (1960), B&W 16mm Film by Ray Wisniewski
War footage by courtesy of NARA, The National Archives, Washington DC
Film Developping & Video transfers: COLORLAB
The Film was edited in "Beverly Films", and at "the Picture Room, inc.", NYC.
Also appeared in the film: Martin Kirves, Simone Zimmermann, Dabney Hailey, Kevin Archer, Ross Knight, David Bogosian, Arron Yassin.
THANK YOU: Veronique N. Doumbe, Dabney Hailey, Armin Hundertmark, Julia Johannsen, Harriat Wood, Jason Eastman, Lisa Goldring, Stephan Fairchild, Shalom Yemini, Ellen Simon, Mako Kamitsuna, Cal La Viscount, Daria Danzig, Josh & Brooks, Yoni Maron, Gaby Tarjan, Raya Shani, Yuri Kapralow, Alan Licht, Loren M. Connors, Du-All, Charlie Rehwinkel, Eckhart Holzboog, Alina Bliumis, Curt Germundson, Bill Binzen, Yoni Ben-Tovim, Rocio Hidalgo, Martin Kirves, Daniel Siedell, Elsa Rensaa, Mike Cribben, Ran Goldman, Dimitri, Michael & Zhenia, Mike Weiner, Arturo Schwarz, Estera Milman, Richard Harrington, Rocco & Ben Armento, The New School Department, Mary & Leigh Block Museum of Art, The Telaviv Museum of Art.
Most Special Thank to Dietmar Kirves and Clayton Patterson and to my beloved parents, Yael and Gabriel Goldman without whom ...
Produced by Amikam Goldman | MAIN STREETS FILMS production 2003

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"Concentration camps have rules, dictators have rules; even the art-world has rules. Lurie has survived them all; his art is a straightforward portrayal of what he has seen around him. And he has seen a lot. It has been said that all modern art in America is about anxiety, the anxiety that comes with ''freedom.'' Lurie's art has the distinction of knowingabout both freedom and imprisonment, and it is no wonder his work differed from that of the same generation on these shores. Most American artists of the Forties were fresh out of art school. Lurie was fresh out of Buchenwald. Maybe the museums and galleries will not grind to a halt if they continue to pass Lurie by. But they will cheat themselves of a vital part of history of the Lower East Side pre-East Village scene, of the milieu of the expiring Abstract Expressionism of that time. And NO!art, the seemier antecedent to Pop Art; that samePop Art which made light of the commercial horror it plunged the art world into." | Sarah Schmerler, Bleed show introduction, 1997 an art critic living in Brooklyn. She teaches at The New School in Manhattan.

Israeli Premiere on 11/03—12/29/07 in Tel Aviv
and on 12/14 + 12/24/07 in Jerusalem
Third Ear screening rooms | 48 Hamelech George St. | Tel Aviv
Third Ear Screening rooms | Emek Refaim St. 8 | Jerusalem
Wattis Institute | Timken Lecture Hall | 1111 Eighth Str | on 3/11/2009