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About
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† Obituary
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
KONSTANTIN KONSTANTINOVICH KUZMINSKY, born 1940 in Saint Petersburg, then Leningrad) is a Russian performance poet who emigrated from the Soviet Union in 1978. Currently he lives in upstate New York. He is the publisher of The Blue Lagoon Anthology of Modern Russian Poetry. Other publications include a collection of Russian poetry The Living Mirror. Kuzminsky appears in several documentary films, among them two by Andrei Zagdansky: Vasya, a portrait of a close friend and Russian/Soviet nonconformist artist Vasily Sitnikov and Konstantin and Mouse a.k.a. "Kostya and Mouse", a double-portrait of Konstantin Kuzminsky and his wife Emma, nicknamed Mouse. — Died on May 2, 2015. ►wikipedia
2013 ACKER AWARD RECEPIENT | New York
2007 XVIII DOCUMENTARY FILM FESTIVAL "RUSSIA" | Yekaterinburg, Russia
XXIX MOSCOW INTERNATIONAL FILM FESTIVAL | Moscow, Russia
2006 FLAHERTIANA, International Documentary Film Festival | Perm, Russia, 2006
2005 MY STORY ON NO!art | in Russian language [download 600k pdf]
2003 NO!art IN BUCHENWALD
Boris Lurie: Geschriebigtes ..., catalogbook, Stuttgart
Contribution: ►PHOTO of MINE
1986 THE BLUE LAGOON: Anthology of Modern Russian Poetry
created and edited by Konstantin K. Kuzminsky and Gregory L. Kovalev.
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.
