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NO!art |
Aleksey Dayen was born on October 30, 1976. He is a Russian-American poet and novelist, publicist, translator, artist. He was born and raised in the USSR and immigrated to New York in 1994. His works have been published in anthologies and leading periodicals worldwide. He works as an editor-in-chief of the Member's Magazine, a literary review, and as co-editor of five non-conformist journals in Russia. He is writing in both Russian and English. In 2004, he was awarded the David Burliuk Prize for international poetry achievement. A member of the Academy of Russian Poetry founded by Josef Brodsky, he works as a freelance translator and interpreter for various projects worldwide. Died on November 20, 2010 at 34 years old in New York 2010. 2010 WOMAN TO YOUR RIGHT NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
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