This one statement by the MARCH GROUP among a thousand countless uncalled for unfounded statements that it makes on subjects like art it knows nothing about.
Art has ended. The world and being collapsed. Who are you? In this void, invisibility is seminal. Drink emptiness. Drink brinks. Swill on fathoms. Who are we? The earth is a line drive single to the slaughterhouse. How that spinal column of A-bombs sprawled among letter boxes and limbs delights the indoor eye, swindles passports into paradise. Vice. Vulgar? This is the beginning of the new death rattle in overt covert pervert keys. Do you expect marriage to be marriage, carriage to be carriage? Think invisibility. Drink rotations. Lengthen skyward. Art has reached escape velocity from the self, it plummets into bedrooms, boudoirs, brothels, banks, bedlams, and A-bombs. Where else. Into taxis, taxidermists, tabernacles, tarantulas, tubas and telephones.
At one time man confronted speeds of light, and people swilled above their house-tops, pyramids were formed and megaliths, Noah's arcs. Now inertia is in flames. Can we confront again the speed of death in H-bomb blasts and retain our corpse of clay or must we watch the kaleidoscope of paint immured in motion sickness of that final day?
Source: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988
STANLEY FISHER was a part of the New York "NO!art" Movement of the late 1950's-early 1960's. He was an agitator and a beatnik publisher at this time. His art work is mainly crudely collagistic in form, containing many newspaper clippings and iconic features: either of Marilyn Monroe or other celebs amidst lurid tabloid headlines. Invariably his work focussed on social issues of the time: civil rights, the rights of African-Americans, women and the growing perniciousness of American materialism. His work is privately owned, although there is one large scale collage in the Rockefeller Gallery. ►more