NO!art + ABOUT + FRONT + MANIPULATION + MAIL EN | DE
Seth Tobocman INDEX
about search


ABOUT
DRAWINGS
PUBLICATIONS
REVIEWS

NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.

STUETZPUNKT
FOUNDATION

NO!manipulation

 
Portrait Seth Tobocman

SETH TOBOCMAN, born in 1958, U.S.A. In the late seventies he moved to New York and studied at a film-academy. He has drawn and published political comics against war together with Peter Kuper since 1979. From 1988 to 1995 he was involved in the squatter-scene in the Lower East Side and took part in demonstrations for the human rights. Therefore he was arrested several times. Tobocman has worked as an illustrator for the New York Times and other publications.|Lives in New York. homepage and wikipedia

2009  WORLD WAR III | Comic book, New York
2003  NO!art IN BUCHENWALD | Boris Lurie: Geschriebigtes ..., catalogbook,
           Stuttgart.
Contribution: The World is Being Ripped
           NO!-ON SHOW [Groupshow] | Gallery Berliner Kunstprojekt, Berlin
           Contribution: War in the Neighborhood
1999  WAR IN THE NEIGHBORHOOD | Soft Skull Press, New York
           YOU DONT HAVE TO FUCK OVER PEOPLE | Soft Skull Press, New York

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.

line
© https://tobocman.no-art.info/_memo-en.html