PART 3: A second non-Pop vain, which specializes in social protest, should also be mentioned, if only to dispel confusion by placing it prperly outside Pop Art ... these Assemblage, or 'Domm'artists are the political satirists that Pop artists are not. They are allk that Pop is not, and proclaimed themselves 'anti-Pop' in February 1964. They are anguished, angry and hot where pop is cool, detached and assured. They omit nothing from their conglomerations of trash, paint, collage and objects, whereas the Pop artists omit almost everything from their diresct presentation, and they are essentially pessimistic where Pop is optimistic. | Belligerently romantic, as a group they come as close to Neo-Dadas as is possible today. Lucy Lippard "New York Pop" 1966
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.
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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