{"id":22327,"date":"2016-06-10T14:50:32","date_gmt":"2016-06-10T18:50:32","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=22327"},"modified":"2024-07-26T10:23:29","modified_gmt":"2024-07-26T14:23:29","slug":"boris-luries-noart-mounted-in-berlin","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2016\/06\/boris-luries-noart-mounted-in-berlin.html","title":{"rendered":"Boris Lurie&#8217;s &#8216;NO!art&#8217; Mounted in Berlin"},"content":{"rendered":"<p><center><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/gKi9wOuvYZY\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/center><br \/>\n<a href=\"http:\/\/www.jmberlin.de\/main\/EN\/01-Exhibitions\/02-Special-Exhibitions\/2016\/boris-lurie.php\">NO COMPROMISES! | The Art of Boris Lurie<\/a> at the Jewish Museum Berlin looks like a major, absolutely must-see show. But the title reminds me of a huge compromise at the heart of it.<\/p>\n<div id=\"attachment_22360\" style=\"width: 250px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.youtube.com\/watch?v=D5iicmn_S5w\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-22360\" data-attachment-id=\"22360\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/2016\/06\/boris-luries-noart-mounted-in-berlin.html\/no-compromises-240\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/NO-COMPROMISES-240.jpg\" data-orig-size=\"240,348\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"NO COMPROMISES (240)\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;No Compromise!&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/NO-COMPROMISES-240-207x300.jpg\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/NO-COMPROMISES-240.jpg\" class=\"size-full wp-image-22360\" title=\"No Compromises!\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/NO-COMPROMISES-240.jpg\" alt=\"\" width=\"240\" height=\"348\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/NO-COMPROMISES-240.jpg 240w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/NO-COMPROMISES-240-207x300.jpg 207w\" sizes=\"auto, (max-width: 240px) 100vw, 240px\" \/><\/a><p id=\"caption-attachment-22360\" class=\"wp-caption-text\">No Compromises!<br \/><span style=\"font-size: small;\"><a href=\"https:\/\/www.youtube.com\/watch?v=D5iicmn_S5w\">Introductory Remarks<\/a><\/span><\/p><\/div>\n<p>Lurie, a Holocaust survivor, lived in New York like a pauper. But when he died he left about $80 million. He&#8217;d made that fortune pretty much in secret, playing the stock market (starting with penny stocks) and investing in real estate. Since his <a href=\"http:\/\/www.artsjournal.com\/herman\/2008\/01\/boris_lurie_rip.html\">death, in 2008<\/a>, a gallerist and her attorneys have been using that money to promote his artworks through the creation of a <a href=\"https:\/\/borislurieart.org\/\">Boris Lurie Art Foundation<\/a> that shut out his closest friends and advocates, chiefly Dietmar Kirves (whose comprehensive <a href=\"http:\/\/www.no-art.info\/no-on.html\">No!Art<\/a> website has been a labor of love for decades). Because there&#8217;s no question that Lurie&#8217;s art deserves to be promoted, I won&#8217;t get into that depressing irony. But it&#8217;s worth pointing out the greatest contradiction of all: Boris Lurie railed long and hard against the corruption of the art market by money. It was to a large degree what he and NO!art stood against. Yet without the money provided by his estate, the foundation would not exist and his art would not be getting the kind of worldwide push that only millions of dollars can buy.<\/p>\n<p><a href=\"http:\/\/www.artsjournal.com\/herman\/?attachment_id=22569\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"22569\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/?attachment_id=22569\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-quiet-recto-370.png\" data-orig-size=\"369,553\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"The Quiet Beating Heart of a Dead Man (drawing \u00a9 by Boris Lurie [Cold Turkey Press, 2016]\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-quiet-recto-370-200x300.png\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-quiet-recto-370.png\" class=\"alignleft size-full wp-image-22569\" title=\"The Quiet Beating Heart of a Dead Man (drawing \u00a9 by Boris Lurie [Cold Turkey Press, 2016]\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-quiet-recto-370.png\" alt=\"\" width=\"369\" height=\"553\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-quiet-recto-370.png 369w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-quiet-recto-370-200x300.png 200w\" sizes=\"auto, (max-width: 369px) 100vw, 369px\" \/><\/a><a href=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-verso-quiet-624.png\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"22570\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/?attachment_id=22570\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-verso-quiet-370.png\" data-orig-size=\"370,553\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"&amp;#8216;the quiet beating heart of a dead man&amp;#8217; \u00a9 by Clayton Patterson  [Cold Turkey Press, 2016]\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-verso-quiet-370-201x300.png\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-verso-quiet-370.png\" class=\"alignleft size-full wp-image-22570\" title=\"'ENLARGE TO READ. the quiet beating heart of a dead man' \u00a9 by Clayton Patterson [Cold Turkey Press, 2016]\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-verso-quiet-370.png\" alt=\"\" width=\"370\" height=\"553\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-verso-quiet-370.png 370w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/clayton-verso-quiet-370-201x300.png 201w\" sizes=\"auto, (max-width: 370px) 100vw, 370px\" \/><\/a><\/p>\n<p><strong>Postscript:<\/strong> June 26 &#8212; In its latest effort to promote Lurie&#8217;s work, the foundation has taken an ad for his S&amp;M novel <em>House of Anita<\/em> in <em>The New York Review of Books,<\/em> which has paired it with that &#8220;very singular girl&#8221; Helen Gurley Brown. It makes <a href=\"http:\/\/www.artsjournal.com\/herman\/a-very-singular-girl-spread-make-that-two-girls-nyrvwbksjuly-14-2016-1500\">a spread of two very singular girls<\/a>. Lurie is either spinning or laughing in his grave. I think both.<\/p>\n<p><strong><em><a href=\"http:\/\/www.artsjournal.com\/herman\/2008\/01\/boris_lurie_rip.html\">Posted previously<\/a>, on Jan. 20, 2008:<\/em> <\/strong><\/p>\n<blockquote><p>&#8220;In a time of wars and extermination, aesthetic exercises and decorative patterns are not enough.&#8221; Those are Lurie&#8217;s words, and now they might as well serve as his epitaph.<\/p>\n<p><a class=\"inline\" href=\"http:\/\/www.nytimes.com\/2008\/01\/12\/arts\/12lurie.html?_r=1&amp;ref=obituaries&amp;oref=slogin\" target=\"new&quot;\" rel=\"noopener\"><img decoding=\"async\" title=\"NYT obit [NYT, Jan. 12, 2008] (Click to read)\" src=\"http:\/\/www.artsjournal.com\/herman\/BorisLurieObit%20200.jpg\" alt=\"\" width=\"199\" align=\"right\" border=\"0\" \/><\/a>The <a class=\"inline\" href=\"http:\/\/www.nytimes.com\/2008\/01\/12\/arts\/12lurie.html?_r=1&amp;ref=obituaries&amp;oref=slogin\" target=\"new&quot;\" rel=\"noopener\"><strong><span style=\"color: #003399;\">obit<\/span><\/strong><\/a> by Colin Moynihan in The New York Times was an excellent if brief summary of the artist&#8217;s life and historical significance. But it only skimmed the surface.<\/p>\n<p>For a deeper appreciation of Lurie&#8217;s prolific output, as well as his importance, you have to go to the comprehensive Web site <a class=\"inline\" href=\"http:\/\/www.no-art.info\/\" target=\"new&quot;\" rel=\"noopener\"><strong><span style=\"color: #003399;\">NO!art<\/span><\/strong><\/a> created and maintained by Dietmar Kirves. It is revelatory. There you will find more than 100 images of Lurie&#8217;s paintings, assemblages, collages, multiples, etchings, posters, sculptures and mixed media works, along with detailed biographical notes, extensive interviews, a filmography of documentaries about him, and critiques, press reports and essays that appeared over the years.<\/p>\n<p><div id=\"attachment_11248\" style=\"width: 290px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/2011-06-26-RailroadCollage.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-11248\" data-attachment-id=\"11248\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/2008\/01\/boris_lurie_rip.html\/2011-06-26-railroadcollage\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/2011-06-26-RailroadCollage.jpg\" data-orig-size=\"280,193\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;6.3&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;COOLPIX P90&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1295878098&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;15.1&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.016666666666667&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"&amp;#8216;Railroad Collage&amp;#8217; by Boris Lurie [1963]\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;&amp;#8216;Railroad Collage&amp;#8217; by Boris Lurie [1963]&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/2011-06-26-RailroadCollage.jpg\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/2011-06-26-RailroadCollage.jpg\" class=\"size-full wp-image-11248\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/2011-06-26-RailroadCollage.jpg\" alt=\"Railroad Collage' by Boris Lurie [1963]\" width=\"280\" height=\"193\" \/><\/a><p id=\"caption-attachment-11248\" class=\"wp-caption-text\">&#8216;Railroad Collage&#8217; by Boris Lurie [1963]<\/p><\/div><br \/>\nAlthough I&#8217;ve known about Lurie since 1973, when I published one of his essays in a Something Else Press anthology (long after he launched the downtown NO!art movement with Sam Goodman and Stanley Fisher), my interest was reignited by Clayton Patterson, when he included Lurie in a group show, &#8220;326 Years of Hip,&#8221; at his gallery on Manhattan&#8217;s Lower East Side in 2005. (I&#8217;ve posted other items about Lurie &#8212; &#8220;Boris Lurie&#8217;s &#8216;NO!art&#8217; and the Holocaust,&#8221; &#8220;Shoah and Pin-Ups&#8221; &#8220;Boris on the Bill&#8221; &#8212; but it would be no exaggeration to say they <i>even barely<\/i> scratch the surface.)It is obvious from the 1959 &#8220;Railroad Collage,&#8221; above, that the Holocaust dominates Lurie&#8217;s art. How could it not? He was a survivor.<\/p>\n<p>Lurie clearly had the skills to fit any aesthetic mold if he chose. Have a look at the painterly, figurative craftsmanship in his &#8220;Dismembered Woman&#8221; series: &#8220;Figure and Bathtub,&#8221; or &#8220;Apple Eater,&#8221; or &#8220;Nude stepping,&#8221; or &#8220;Pinup with Flower&#8221; (below).<\/p>\n<p><div id=\"attachment_11247\" style=\"width: 290px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_flower1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-11247\" data-attachment-id=\"11247\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/2008\/01\/boris_lurie_rip.html\/1959_flower-2\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_flower1.jpg\" data-orig-size=\"280,221\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"1959_flower\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;&amp;#8216;Pinup with Flower&amp;#8217; by Boris Lurie [1959]&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_flower1.jpg\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_flower1.jpg\" class=\"size-full wp-image-11247\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_flower1.jpg\" alt=\"'Pinup with Flower' by Boris Lurie [1959]\" width=\"280\" height=\"221\" \/><\/a><p id=\"caption-attachment-11247\" class=\"wp-caption-text\">&#8216;Pinup with Flower&#8217; by Boris Lurie [1959]<\/p><\/div><br \/>\nBut if the Holocaust dominates Lurie&#8217;s work and is the substrate of the NO!art movement as a whole, other matters were addressed as well.The Israeli filmmaker <a class=\"inline\" href=\"http:\/\/www.no-art.info\/goldman\/memo-en.html\" target=\"new&quot;\" rel=\"noopener\"><strong><span style=\"color: #003399;\">Amikam Goldman<\/span><\/strong><\/a>, who made &#8220;NO!art MAN,&#8221; quotes art critic Sarah Schmerler on the &#8220;principle aim of NO!art &#8230; to bring back into art the subjects of real life. It thus stood in opposition to the two most popular movements of the era, abstract expressionism and pop art.&#8221;<\/p>\n<p>&#8220;Lurie&#8217;s art has the distinction of knowing about both freedom and imprisonment, and it is no wonder his work differed from that of the same generation on these shores,&#8221; Schmerler wrote in a catalog for the &#8220;Bleed Show, 1969,&#8221; a retrospective exhibit mounted in 1997 at the Janos Gat Gallery in New York. &#8220;Most American artists of the &#8217;40s were fresh out of art school. Lurie was fresh out of Buchenwald.&#8221;<\/p>\n<p>Not surprisingly, Lurie was unwilling to curry favor with the dealers, collectors and curators whose tastes were offended by the vulgarity he prized in his work. &#8220;The art market is nothing but a racket,&#8221; he said. &#8220;There is an established pyramid. &#8230; Everybody who wants to benefit from it has to participate &#8212; if he is permitted to participate.&#8221;<\/p>\n<p>Nor should it come as a surprise that unstinting efforts to spread the word about Lurie&#8217;s work, by Kirves, Patterson and others, have largely proved frustrating, especially in the United States, even though Lurie spent most of his adult life after World War II in New York.<\/p>\n<p>Although the Times obit says &#8220;his work is included in permanent collections at the Museum of Modern Art in New York and the National Gallery of Art in Washington,&#8221; Matthias Reichelt, a German critic, curator and editor, begs to differ. &#8220;It might be possible that the one or the other collection holds a small print or etching,&#8221; he says, &#8220;but his art is NOT at all part of the permanent collections, neither in Manhattan nor in Washington. It still has to be discovered by the museums for the U.S. public.&#8221;<\/p>\n<p>This 1959 mixed media painting on canvas, &#8220;Lumumba is dead,&#8221; for example:<\/p>\n<p><div id=\"attachment_11244\" style=\"width: 435px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_lumumba.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-11244\" data-attachment-id=\"11244\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/2008\/01\/boris_lurie_rip.html\/1959_lumumba\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_lumumba.jpg\" data-orig-size=\"425,395\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"1959_lumumba\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;&amp;#8216;Lumumba Must Die&amp;#8217; by Boris Lurie [1959]&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_lumumba-300x278.jpg\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_lumumba.jpg\" class=\"size-full wp-image-11244\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_lumumba.jpg\" alt=\"'Lumumba Is Dead' by Boris Lurie [1959]\" width=\"425\" height=\"395\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_lumumba.jpg 425w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1959_lumumba-300x278.jpg 300w\" sizes=\"auto, (max-width: 425px) 100vw, 425px\" \/><\/a><p id=\"caption-attachment-11244\" class=\"wp-caption-text\">&#8216;Lumumba Is Dead&#8217; by Boris Lurie [1959]<\/p><\/div>Reichelt adds:<\/p>\n<blockquote><p>Boris Lurie was consciously ignored in the 1960s and &#8217;70s and the following decades because of the work&#8217;s content. The museums did not take care of his art at all. They kept him out while other colleagues of his &#8212; like Allan D&#8217;arcangelo, Allan Kaprow and Yaoyi Kusama, among others &#8212; made it into the museums.<\/p>\n<p>Besides Clayton Patterson and the gallery owner Gertrude Stein, only a few curators and art historians, like Norman Kleeblatt from the Jewish Museum and the freelance art historian and curator Estera Milman, who organized the two major shows in the U.S. in public institutions &#8212; the University of Iowa, in 1997, and Northwestern University&#8217;s Block Museum in Chicago, in 2001 &#8212; know about Lurie and his radical art.<\/p><\/blockquote>\n<p>Patterson, who is a <a class=\"inline\" href=\"http:\/\/www.nytimes.com\/2005\/08\/25\/arts\/design\/25patt.html?pagewanted=1&amp;hp\" target=\"new&quot;\" rel=\"noopener\"><strong><span style=\"color: #003399;\">ubiquitous figure<\/span><\/strong><\/a> on the Lower East Side &#8212; and an artist, photographer, documentary videographer, editor and archivist, not to mention social critic, neighborhood preservationist and rebel in his own right &#8212; has gotten used to the frustration. He still believes recognition will come. &#8220;It has to,&#8221; he says. &#8220;It&#8217;s much too important not to.&#8221;<\/p>\n<p><div id=\"attachment_11245\" style=\"width: 435px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1970_mort.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-11245\" data-attachment-id=\"11245\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/2008\/01\/boris_lurie_rip.html\/1970_mort\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1970_mort.jpg\" data-orig-size=\"425,304\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"1970_mort\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;&amp;#8216;Mort aux Juifs&amp;#8217; by Boris Lurie [1970]&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1970_mort-300x214.jpg\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1970_mort.jpg\" class=\"size-full wp-image-11245\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1970_mort.jpg\" alt=\"'Mort aux Juifs' by Boris Lurie [1970]\" width=\"425\" height=\"304\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1970_mort.jpg 425w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2014\/01\/1970_mort-300x214.jpg 300w\" sizes=\"auto, (max-width: 425px) 100vw, 425px\" \/><\/a><p id=\"caption-attachment-11245\" class=\"wp-caption-text\">&#8216;Mort aux Juifs&#8217; by Boris Lurie [1970]<\/p><\/div><a class=\"inline\" href=\"http:\/\/www.huffingtonpost.com\/jan-herman\/in-a-time-of-war-and-exte_b_82484.html\" target=\"new&quot;\" rel=\"noopener\"><strong><span style=\"color: #003399;\">(Crossposted at HuffPo)<\/span><\/strong><\/a><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>NO COMPROMISES! | The Art of Boris Lurie at the Jewish Museum Berlin looks like a major, absolutely must-see show. But the title reminds me of a huge compromise at the heart of it. Lurie, a Holocaust survivor, lived in New York like a pauper. But when he died he left about $80 million. He&#8217;d [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":22360,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,20,17],"tags":[],"class_list":{"0":"post-22327","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-media","9":"category-political-culture","10":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/06\/NO-COMPROMISES-240.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-5O7","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/22327","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=22327"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/22327\/revisions"}],"predecessor-version":[{"id":61916,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/22327\/revisions\/61916"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/22360"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=22327"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=22327"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=22327"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}