ESTERA MILMAN: ONE-on-ONE | TEIL 2
Dialog zwischen Boris Lurie und Estera Milman | New York 2000
Videografie: Elke Stappert & Simone Zimmerman | Final Edit: Scott Siegling | 24:55 min
PART 2: NO!art fixed itself in the reality defined by self-destructive New Left of the early sixties. It accepted the latter's package of things to attack: tyranny, filth and aestethic hypocrisy, but it could not offer any contributions toward a new political consciousness or a rebellious sensibility. All the March Gallery could do was to make a noise to drive away the evil spirits. And to take the bull by the horns, at the risk of getting dragged in the dirt. | Some Questions as Appendix: Will NO!art be coopted by art history? Does it seek cooptation? Will shit multiples be produced by Marlboro, Pace and Castelli to commemorate this episode of art history? Will a retrospective shit show be sponsored by the National Endowment for the Arts and the New York Council for the Arts? If not, is the omission a falsification of art history? What about other artists who have existed but have been omitted from art history? see ►Harold Rosenberg "Bull by the Horns" 1972
PLOT: This four part, real-time dialogue between NO!art founder, Boris Lurie, and cultural historian, Estera Milman, took place in 2000 as a documentary component of the National Endowment for the Arts-funded, retrospective exhibition, ►"NO!art and the Aesthetics of Doom." Curated by Estera Milman, the exhibition opened at the Mary and Leigh Block Museum of Art, Northwestern University, in November 2001. The show was singled out by The Chicago Tribune as the antithesis of "comfort art" in the immediate post 9/11 Chicago artworld and described by the Chicago Reader as "one of the best exhibits of 2001." The video was edited for public viewing in 2011.
+ + + + + + + + + + + + + + + + + + + +
About ESTERA MILMAN: Founding Director, Alternative Traditions in the Contemporary Arts (ATCA), 1982 through 2004. Composed of artifacts, performance relics and archival material of the post-World War II avant-garde, ATCA attained an international reputation as both a groundbreaking repository for contemporary artworks and a research program. Funded, in part, by a series of grants from Federal and State agencies, the project successfully generated a host of acclaimed topical workshops, exhibitions, publications and interdisciplinary symposia. Charter Member Conceptual and Intermedia Arts Online (CIAO) and Project Leader, CIAO Fund-raising Subcommittee, 1997-2000. Participants in the CIAO consortium included Alternative Traditions in the Contemporary Arts/The University of Iowa, Berkeley Art Museum/The University of California, The Hood Museum of Art/Dartmouth College, the Getty Institute for the History of Art and the Humanities, Franklin Furnace (New York), the National Gallery of Canada, the Tate Gallery (London), and the Walker Art Center. She curated in 2000/1 the first North American retrospective of early works by the NO!art cooperative of artists active in New York since the early 60s at Mary and Leigh Block Museum of Art in Evanston. ►more