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About
Filmography
Photography
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
AMIKAM GOLDMAN was born 1973 in Israel and grew up in Tel Aviv. He finished high school in "Irony Alef for the arts". In September 1995 he moved to the USA to study film making, first at the "Film & Television Workshops", in Maine and since 1996, when he moved to New York, at the "New School for Social Research", where in 2000 he finished his diploma in cinema studies. He worked for 6 years in the major video & music store "Kim’s Video", in NYC. Made his short film "One-Windows", in 1997, which won 2nd place at the Marin County Film Festival, California. In November 2003 Amikam returned to Israel and he lives in Tel Aviv. He teaches cinema in "Blich" high school. He created the first film documentary about the NO!art co-founder Boris Lurie under the title "NO!art MAN". — Lives in Tel Aviv.
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2017 MESILA | | director & producer
2012 AHAR KACH NECHAVEN LA YAREAH | producer
2010 LONG DISTANCE | The London International Documentary Festival,
London/UK
2009 LONG DISTANCE | Karov Theatre, Tel Aviv
LONG DISTANCE | Tel Aviv International Documentary Film Festival
NO!art MAN | CCA Wattis Institute, San Francisco
2007 NO!art MAN | The Third Ear-Screening rooms, Tel Aviv
NO!art MAN | The Third Ear-Screening rooms, Jerusalem
NO!art MAN, dvd, 2nd edition
2005 NO!art MAN | Alley Culture, Detroit
2003 NO!art IN BUCHENWALD, Boris Lurie: Geschriebigtes ..., Suttgart, contribution
NO!art MAN, first documentary about Boris Lurie, film, 83 minutes
NO!-ON show | Gallery Berliner Kunstprojekt, Berlin
Contributions: ►NO!art MAN (film), ►The Sea Sirenes, ►Storm in Ajami
2002 MAINstreet, a look at American adolescents growing up in the 90s,
documentary
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 + MAMA BAER + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + 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.
