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With the exhibition Life with the Dead, Boris Lurie Art Foundation commemorates Boris Lurie’s 100th birthday with a view to introducing a wider public to the significant work of this artist.
Cora was a relentless and ambitious maverick. She was constantly reinventing her work. She wouldn’t settle, wouldn’t stop exploring abstraction. The paintings always seemed to lead her.
Historicization may be part of what we expect from art, but Fredrick Jameson’s recommendation that one “Always historicize” sounds like a rule. The problem, I think, is the word ‘“always.” It makes it sound as though historicism is always the same and always observed or digested in the same way. “Always” is an absolute, everything else other than absolutely nothing isn’t.
The artist’s friend loans her the keys to an empty apartment in Venice. It’s the middle of summer, 1988. She makes numerous train trips to Padua, visiting Giotto’s chapel, but more often she remains on the island, and when she does she walks to the Scuola Grande di San Rocco, where Tintoretto’s Crucifixion adorns a wall in the great room designated for gatherings of the fraternity’s governing body.