It is rumoured that Boris Lurie’s No!art movement got its name when a woman entered an exhibition on 10th street in New York, looked his Railroad to America collage (below), and ran out screaming “No! No! No!”
Whether or not that story is apocryphal, the art of Boris Lurie is indeed provocative. Interestingly, he was very much against Warhol and the pop art movement, which also sought to be political and provocative. Perhaps this is because pop art lacks the harrowing depth of Lurie’s work.
This fresh, visceral quality is probably due to the fact that Boris Lurie, who grew up in Riga, was interned by the Nazis at Buchenwald and other concentration camps. His art is particularly Jewish – a visual and textual attempt to express a European Jewish experience. It seems apt, therefore, that the largest exhibition of his work – including pieces that have never been shown before – is now on at the Jewish Museum Berlin.
The retrospective presents an over-arching view of Lurie’s œuvre, consisting of over 200 collages, drawings, paintings, texts and sculptures, as well as documentary videos about the artist. His vast body of work grapples with a number of subjects, from modern American society and politics, to concentration camps and depictions of women. Most impactful are his collages, combining photos of the Holocaust with pin-up photos from American magazines.
Perhaps the best sum up of the exhibition is the welcoming text at its entrance, by Lurie himself: If your eyes and mind serve you well, you will see something new. You will find no secret languages here, no fancy escapes, no hushed, muted silences, no messages beamed at exclusive audiences. Art is a tool of influence and urging. We want to talk, to shout, so that everybody can understand. Our only master is truth.