Internationally Renowned Art Critic, Thomas McEvilley.
Thomas McEvilley Exhibition view of “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern One of the many extrapolations of Nochlin’s essay is that contemporary museum institutions continue to reflect the gendered and racist biases of preceding centuries by reinforcing the supremacy of specific master artists.
Thomas McEvilley was born in Cincinnati on July 13, 1939. He received his B.A. from University of Cincinnati and his M.A. from the University of Washington. He then returned to Cincinnati, where he received a Ph.D. in classical philology. He held a strong interest in modern art, reinforced by the modern artists of his acquaintance.
The Thomas McEvilley best known to the world was active as a publishing art critic chiefly between 1980-2000. It was at the beginning of the 1980s that he was invited by Artforum editor, Ingrid Sichy, to become a contributing editor for the magazine, after she had read an essay McEvilley wrote for the Menil Collection in Houston.
Thomas McEvilley. 137 likes. Thomas McEvilley was an American art critic, poet, novelist, and scholar. He was a Distinguished Lecturer in Art History at.
Notes from ART IN THE DARK by Thomas McEvilley Posted on February 21, 2012 by murdermystery “This involves a presupposition that art is not a set of objects but an attitude toward objects, or a cognitive stance (as Oscar Wilde suggested, not a thing, but a way.).
On Thomas McEvilley: A Postmodern Pyrrhonist George Thompson My first encounter with Thomas McEviliey's work was not, as one might expect, a reading of one of the many Indological articles that he has published in journals like Philosophy East and West and Res: Anthropology and Aesthetics.
Thomas McEvilley is a scholar, critic, poet and novelist who has written several books and hundreds of articles, catalog essays, and reviews on both ancient, modern and contemporary art and culture: On early Greek poetry, philosophy, and religion as well as on contemporary art and culture.
In these six essays, Thomas McEvilley tackles the aesthetics of formalism and proceeds to shed new light on the roots of Modernism and the collapse of the idea of history. The world-renowned critic confronts the ideas and philosophies which for two centuries have exalted art above constructive involvement in the world, and proposes a new vision for the critical enterprise.
After the latest edits on the article by Dave, I removed the text and image on systems art and refraised a sentence all on Thomas McEvilley earlier request. I hope we can make I clear start now to expand this article agian, and I hope that we can work on this together.
On the occasion of its first public showing in the United States, this volume examines an extraordinarily powerful artistic statement that has lost none of its potency. The catalogue presents essays by Roberto Ohrt and Thomas McEvilley, as well as an interview with American artist Paul McCarthy.
On the wall was the Frank Jewett Mather Award given by the College Art Association in 1993—Thomas, not a vain man, was proud of that honor—and his place were filled with many works of art, including a painting by Julian Schnabel. Sometimes I would bring a younger friend along, someone I wanted to introduce to this famous critic.
Thomas McEvilley confronts, in these six straightforward essays, the ideas and philosophies which have exalted art above constructive involvement in the world for two centuries. The formalist aesthetics of Clive Bell, Roger Fry, Clement Greenberg, and Susan Sontag are specifically criticized, revealing their buried assumptions and agenda.
Then came Thomas McEvilley’s shattering review in Artforum magazine. Appearing a month after the exhibition opened, the review meticulously, logically and thoroughly demolished its basic, unstated assumption: that the indigenous arts of Africa, Asia, Australia, Oceania and the Americas were of value primarily as source materials for Western modernism.
