![]() ![]() ![]() Like the “Three Women” paintings of 1955, which remind us of the ghost figures who announce mischief in Goya’s “Black series.” But also many far lesser-known canvases and objects, like the fiercely painted suitcases – symbols of real banishment and homelessness – show Boris Lurie’s fine skill as a mixed media artist. Up to now, even for Lurie aficionados, it was difficult to see his work exhibited. Surrounded by the art of his friend Vostell and other Fluxus giants, the museum offers a place from which to view Lurie’s diverse art a little more under the focus of the current art discourse. To place the first European exhibition after the artist’s death in 2008 at the local Museo Vostell Malpartida, in Extremadura, in collaboration with the New York Boris Lurie Art Foundation, was a clever decision. How close this “Jewish” elective affinity was, will be examined in July, when my movies about Lurie and Vostell confront each other in a showing in the Spanish Malpartida de Cáceres. They were united through an artistic relationship whose basis was their dealing with the Shoah. In an artistic and aesthetic sense, Lurie, who after 1950 discovered collage for his own use, is closely related to abrasive Fluxus-art especially to Wolf Vostell, the political representative of Fluxus. That was and continued to be the agenda of the movement Lurie co-founded and essentially determined. ![]() His oeuvre is political and goes far beyond the Shoah: as far as the America of the Vietnam war, the Missle Crisis, the Cold War, and includes an attack on “good taste,” and attacks on the rigged rules of the game in politics, art, and society. These works are substantially mirror images of own experiences of Boris Lurie, who was born in 1924 in Leningrad and grew up in Riga. Not in the dignified, ritualized, memorial manner we are used to and which has its own value, but balancing on a knife’s edge between voyeuristic lust and pure horror. ![]() Lurie, the survivor of a subcamp of the concentration camp Buchenwald, made the beautiful and the naked, the gassed and the escaped into his subject. Ghost figures between the hope and brokenness.įramed by Pin-up Girls in explicit poses. It was there, in Berlin to be precise, that I had seen his unsettling paintings: concentration camp prisoners waiting for their liberation. When I met him thirty years later, at twilight in his entrance hall on 66th Street in Manhattan, in order to direct a movie about him, I quickly apprehended his nostalgia for Europe. Special Chinese and Japanese Fund.For the first time since his death in 2008 works of Boris Lurie are shown in EuropeĪt some point in 1945, maybe even a year later, Boris Lurie, forced by the Nazis, arrived at his homeland of choice, New York. Highlights include Court Ladies Preparing Newly Woven Silk (1082–1135), one of the MFA’s great masterpieces of Chinese paintings, as well as 18th century erotic paintings, turn-of-the century hand-colored photographs of courtesans, a 1930s advertisement poster, and 20th-century propaganda posters of female factory workers.Ībove: Emperor Huizong, Court Ladies Preparing Newly Woven Silk (detail), early 12th century. “Court Ladies or Pin-Up Girls?” includes paintings, prints, posters, and photographs of women by Chinese artists from the 11th through the 20th century. Works that today seem to be modest depictions of beautiful women may have been considered highly suggestive when first created. In China, the rich visual cultures of the region have produced many different images of women in accordance with the fashions, styles, aesthetics, and concepts of beauty. Images of women by Chinese artists from the 11th through the 20th century.Īcross all cultures, physical allure has been a central focus of depicting women in art.
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