NEWSgrist

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  Found Art (Nolita) Unmonumental 403

  Posted: 6-May-2013, 11:40am EDT by NEWSgrist

  

  

  
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  Found Art (E. Villlage) Unmonumental 404

  Posted: 6-May-2013, 11:42am EDT by NEWSgrist

  

  

  
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  'Economy of the Ephemeral' Exhibition and panel discussion

  Posted: 6-May-2013, 12:00pm EDT by NEWSgrist

  
  
  I'll be moderating a panel on Wednesday evening composed of the six great MFA students of DIAP who organized the exhibition:

   

  ECONOMY OF THE EPHEMERAL

  An exhibition curated by MFA students of DIAP - Digital & Interdisciplinary Art Practice at The City College of New York (CCNY).
  
  Works by:
  
  Hilary Basing
  Levi Gonzalez
  Abigail Levine
  Douglas Mackenzie
  Kim Sargent-Wishart
  Cody Schlanger
  Buster Simpson
  Yi-Jou Sun
  Christine Sun Kim
  
  Reception // Tuesday May 7th 5:00 - 9:00
  
  Panel Discussion: What Is the Economy of the Ephemeral? (Moderated by Joy Garnett) // Wednesday May 8th 6:00 - 7:30
  
  Everything is happening in the DIAP Studio, aka Shepard 408 !

   

  CURATORIAL STATEMENT

  Art is eternal; economy is ephemeral
  
  The ?Economy of the Ephemeral? refers to a system of labor where outcomes are not translated into dollars, but instead are valuated in terms of the experiential. The fruits of such labor, expressed as sensory experiences or forms that are fluid and flexible, include outcomes that could lead, ideally, to cultural dialogue. If art is to be considered a type of labor, its value goes beyond the monetization of the object, drawing instead on its relevance in the realm of memory and history. While an object?s monetary value is determined by the fluctuating economics of the art market, its ephemeral value is decided by the uniquely human experience of the viewer.
  
  Performance plays an important part in the economy of the ephemeral, whereas the term ?economy? can be applied to any system of measured, result-driven performance. While that which is ?ephemeral? is understood as something short-lived, unpredictable, and often hard to measure, its full impact may only be felt somewhere down the line. For example, a forgotten childhood memory or experience can live deep in the subconscious, only to re-emerge and trigger strong emotions later in life. Here, the economy of the ephemeral allows for a period of dormancy before the full power of an experience is felt and expressed.
  
  In a world obsessed with the material, how do we value the not-solid and the unseen? Digital mediums and contemporary financial practices muddy the waters of material exchange--we monetize the future through derivatives, and attempt to quantify immaterial goods. How to assess the value of electrons, or the future? We want to muddy the waters of exchange even further by questioning the need to create monetary value in every facet of our lives. What if we reject capital as the system for determining value? And how do we create value that doesn't depend on capital?
  
  The economy of the ephemeral describes the budgeting of intangible, organic, immeasurable performance. The work that comes under this rubric doesn?t beat you over the head with its intentions, but rather it acts like a time bomb: it ticks inside you, seeps in, marinates, and then explodes.

   Links: Economy of the Ephemeral on Facebook; City College campus map and directions.

  (Take the 1 train to 137th St City College and walk a few blocks east from Broadway.)

  
  
  

  

  
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  Memphis Social (May 10-18) curated by Tom McGlynn

  Posted: 6-May-2013, 12:14pm EDT by NEWSgrist

  
  
  

  ??Video and objects from my ongoing unmonumental project will be included in ?Memphis Social?; an unmonumental book will be made available to coincide with the exhibition, as well as a selection of unmonumental multiples. More info at [unmonumental.org]

   

  Memphis Social
  an apexart franchise exhibition

  organized by Tom McGlynn for the Beautiful Fields collective

  
  Click here to read the brochure. [PDF]
  Click here to download map and schedule of events. [PDF]

  
  May 10 - 18, 2013
  
  Participating venues:
  Caritas Village, The Cotton Museum, Crosstown Arts, David Lusk Gallery, Earnestine and Hazel's Bar and Grill, Jack Robinson Editions, Leadership Memphis, Memphis College of Art, Marshall Arts, The Russian Cultural Center, and Tops Gallery.

  Opening receptions:
  Friday, May 10
  12-8 pm: South Main and Union Avenue art installations on view
  5-8 pm: Memphis Social opening reception, Hyde Gallery at Nesin Graduate School, Memphis College of Art
  
  Saturday, May 11
  5-7 pm: Exhibition and reception at Marshall Arts
  8-10 pm: U-Dig Dance Company Jookin' dance off and reception at Caritas Village
  
  Sunday, May 12
  4-6 pm: Drumline and band presentation at Crosstown Arts

  
  Participating artists:
  Merry Alpern, Ryo Arita, Doug Ashford, Joshua Azzarella, Will Boone, Suzanne Broughel, Bullet Space NYC, David Sanchez Burr, Dwayne Butcher, Jose Camacho, Brendan Carroll, Andrew Castrucci, Paul Castrucci, Closet Gallery Stockholm, Mike Cockrill, Lisa Dahl, Alex Dipple, Michelle Doll, Elizabeth Dorbad, William Eggleston, Brigitte Engler, Mitch Epstein, Rev. Howard Finster, Joe Fyfe, Joy Garnett, Matthew Garrison, Glen Garver, Lisa Gideonsson, Leon Golub, Max (Buck) Henri, Tyler Hildebrand, Stewart Home, Erin Jennings, Terri Jones, Jelle Kampen, Richard Kern, Eric Knoote, Alexandra Kostrubala, Scott Lawrence, Anthony Lee, Bachrun LoMele, Gustaf Londre, Jessica Lund, Norma Markley, Taylor Martin, Patrick McNicholas and One None Drums, Lester Merriweather, Christopher Miner, Tracey Moffatt, Haley Morris-Cafiero, Anthony Murrell, Greely Myatt, Laura Napier, Virginia Overton, Terri Phillips, Quimetta Perle, William Pope.L, Gunars Prande, Aviva Rahmani, Araya Rasdjarmrearnsook, Jack Robinson, Alexandra Rojas, Tim Rollins and K.O.S, Denis Romanovski, Kara L. Rooney, David Sandlin, Rob van der Schoor, Babette Shaw, Walter Sipser, Jared Small, Henry Speller, Nancy Spero, Mark Tribe and Chelsea Knight, Anton van Dalen, U-Dig Dance Company, Kara Walker, Martynka Wawrzyniak, Melvin Way, Aaron Williams, and Yurt City: Sheila Ross and Laura Ten Eyck.
  
  
  A Franchise Program winning exhibition.

  Curatorial Statement

  Memphis Social draws upon a ?social turn? in contemporary art and performance that has influenced curatorial criteria for some time now. In her 2006 essay, ?The Social Turn: Collaboration and its Discontents,? art historian Claire Bishop critiques contemporary, ?socially engaged? practices as being philosophically based in a neo-Platonic idealism which proposes ideal solutions that don?t reflect contingent reality.  She explains that this attitude generates, ?homilies (that) unwittingly push us back towards a platonic regime where art is valued for its truthfulness and educational efficacy?not for inviting us to confront the more complicated considerations of our predicament.? Bishop observes how contemporary artists have responded to this tendency, writing, ?Instead of extracting art from the ?useless? domain of the aesthetic and fusing it with social praxis, the most interesting art today exists between two vanishing points: ?art becoming mere life or art becoming mere art.? While Bishop addresses artists? strategies for making relevant work, the philosopher and cultural theorist Jacques Ranciere positions both artist and audience as ?emancipated spectators? jointly escaping the hypnotic trap of the mediated spectacle. Ranciere suggests that we not merely react to what he calls ?partitions of the sensible? that perpetuate a fractured sense of society, and that a refusal to do so might lead to a more profound experience of both aesthetics and ethics. Memphis Social seeks to combine, and critique, both of these ideas in an exhibition that examines how to present artwork that is truly socially engaged with its environment and audience. The project is a temporary intentional community of artists and cultural organizations gathered together to form a contingent society that addresses combined aesthetic and ethical concerns.

  My experience curating Memphis Social has placed me unequivocally on the ground, tasked with negotiating both public and private concerns in presenting a show that mixes discrete works of art and social performance with community organizations in both institutional and non-institutional settings. This alternative model for an exhibition creates its own, often unpredictable, dynamic and I have needed to be ready with a contingency plan at every turn of events, often navigating the boundaries between the public and private. Maintaining this permeable grey area between private and public might be seen ineffective when attempting to initiate social movements or galvanize political change, but I have found it to be quite practical and humane in its open-ended and non-ideologically driven way of being. The risk of losing one?s private aesthetic stake is taken on the chance that its public enactment is integrally connected to its share, not in historical time, but in ethical contingency. The actual social can therefore be seen as differentiated and cohesive, not necessarily toward a historically determinist normalization, but toward an awareness of an organic continuum of both liminal and embodied agency.

  While the balance between public and private has been important to my personal experience curating the show, it has also been a critical part of how the exhibition has come together in relation to its physical presentation. One of my goals in organizing Memphis Social has been to present a wide array of artists as a group ensemble in gallery spaces at the Memphis College of Art, and also individually in alternative locations and public spaces throughout the city. As curator I have worked to problematize ?the partition of the sensible? head on by literally displacing many of the artists and their works to locations less ideologically determined than the typical institutional venues. These diverse locales include Marshall Arts, Caritas Village Community Center, and Crosstown Arts?an art center housed in an old Sears warehouse?and many of these locations feature new, site-specific work. Each of these organizations helps to focus social activity and serve communities in real need of coalescent civic centers. The curatorial intention behind presenting art, dance, and musical performance at these locations has been to augment what already takes place there and to offer an objective acknowledgement of their significance to the Memphis communities that they serve. In addition to these alternative spaces, the exhibition is also sited in specialized institutions such as The Cotton Museum, which was the location of the commodities exchange for the crop that defines the South in its agrarian economy and also links it, inescapably, to the history of slavery. The screening here of Kara Walker?s 2005 video 8 Possible Beginnings, along with a collection intervention by the younger, Memphis artist Lester Merriweather, brings to the fore (in this institutional partition) the explicit and implicit national assumptions of economics, labor, and race.

  Other participants in Memphis Social such as Tim Rollins and Doug Ashford, represent artists responsible for setting the standard of socially inclusive presentations of aesthetics and ethics in their work as respective members of Group Material (1979-1996). An older generation of artists in the exhibition?Leon Golub and Nancy Spero?extrapolated idiosyncratic imagery from their social experiences in addressing the Vietnam War, Central American death squads, and contemporary feminism. Their work draws attention to what Ranciere has called ?allegories of inequality? in social perception. Singular individual vision in the ensemble is represented by the work of the pioneering photographer William Eggleston, who has created a lyrical documentation of the remnants of the Old South in and around his home in Memphis. Younger artists in the show such as Mark Tribe and Chelsea Knight examine the contemporary social phenomena of militia groups in their collaborative work in progress, Posse Comitatus.

  While rooted in Memphis, the exhibition brings together artists from such diverse backgrounds and experiences as Tracey Moffatt from Australia and Alexandra Kostrubula from Sweden, and presents the work of artist collectives such as Bullet Space from Manhattan?s Lower East Side. The nomadic nature of contemporary art is underscored by the inclusion of artists such as Virginia Overton, originally from Tennessee but currently situated in New York City, and William Pope L., born in New Jersey but now living and working in Chicago. For Memphis Social Overton is contributing a large site-specific work, which will be presented on a pair of outdoor billboards located across from Marshall Arts; a selection of Pope L.?s Failure drawings will be presented at the Hyde Gallery at the Memphis College of Art. Aviva Rahmani has charged her art with an environmental awareness in restoring wetlands habitats near her home in Maine. She brings this practice to bear in her participation in Memphis Social with a work that interprets the degradation of the Mississippi watershed. My own orientation in the Northeast has, to a certain degree, effected an itinerant defamiliarization and dislocation in my curatorial perspective in Memphis encounters. Artists based in Memphis such as Greely Myatt, Dwayne Butcher, Anthony Lee, and Haley Morris-Cafiero each in their own way interpret both the universal and specific aspects of the life in the city. Myatt is known for his public works that draw upon the history of art and aspects of folk culture. His Rockers sculpture, presented in Memphis Social at the Hyde Gallery, employs a ubiquitous signifier of Southern culture, the rocking chair, in a way that both charms and undermines viewer expectations. Dwayne Butcher also references Southern social stereotypes in his rhetorically succinct paintings like You Can?t Be The Fat Redneck Forever. Anthony Lee?s work, The Reclamation of Color, addresses shades of perception in skin tone colloquially used in the Black community to designate social status. Morris-Cafiero?s photographs such as Swing Set, also on view at the Hyde Gallery, examine the social dynamic of body image in contemporary culture. These artists? works speak to the broad aim of the exhibition because of their ability to draw from localized experience without being limited to it. This ?de-territorialization? of a sense of place in individual and collective experience is also an important subtext of Memphis Social.

  Memphis is a place, which, like many others, becomes universal in its specifics. The city is a locale, vicariously known and practically experienced. It is important to the world at large that Memphis is a birthplace of the Blues, yet more locally, the blues still lives there. Its being the location of Martin Luther King Jr.?s assassination is significant to the wider public, but in a local context, the struggle for racial and class equality continues. Memphis Social is not ostensibly about Memphis, but the city as a specific environment has proved fertile ground to explore socially engaged artwork. The site of ?the social? is a moving target that can pop up in the most unpredictable places. Organizing Memphis Social has taught me to re-orient my own position in ways I couldn?t have rightly mapped. The artists and cultural practitioners I have chosen as my guides to wend my curatorial way through Memphis Social play with sometimes blatant but often subtle relations of the aesthetic and ethical. The meaning of the exhibition is contained in their diverse experiences of these relations.

  -Tom McGlynn (Beautiful Fields Collective) © 2013

  2012-2013 Franchise Program Winner

  

  
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  Brooklyn Art Talk series: Joy Garnett, Tues April 30, 2013, 6:30pm

  Posted: 28-April-2013, 7:48pm EDT by NEWSgrist

  

  via http://brooklynartspace.org/art-talk-series

  Joy Garnett
  Tuesday, April 30 at 6:30PM
  RSVP at info@brooklynartspace.org
  www.brooklnartspace.org
  $5 donation

  Directions:
  Take the F, G, or R train to 4th Ave/9th St. or take the F, G to Smith/9th St.
  
  Address:
  168 7th Street, 3rd Floor
  Brooklyn, NY 11215
  
  Please buzz number 35 to enter the building.
  
  Contact:
  718-858-9069
  info[at]brooklynartspace.org

   

  Upcoming Art Talks

  Nicole Cohen Tuesday May 28th at 6:30PM

  Jennifer Wynne Reeves Tuesday June 18th at 6:30PM

  Bill Carroll Tuesday July 30th at 6:30PM

  Adam Parker Smith Tuesday September 24th at 6:30PM

  Elizabeth Condon Tuesday November 19th at 6:30PM

  [...]

  

  
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  ARTFORUM pre-summer #unmonumental

  Posted: 26-April-2013, 9:14pm EDT by NEWSgrist

  

  {...}

  

  
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  Found Art (Soho) Unmonumental 401

  Posted: 23-April-2013, 7:11pm EDT by NEWSgrist

  

  

  
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  Found Art (Crosby St.) Unmonumental 402

  Posted: 23-April-2013, 7:12pm EDT by NEWSgrist

  

  

  
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  ?David Diao: TMI? at Postmasters (Never Too Much)

  Posted: 23-April-2013, 7:49pm EDT by NEWSgrist

  
  
  

  Countdown:

  David Diao, one of my favorite artists, and Postmasters, one of my favorite galleries, are enjoying their final week in their Chelsea space before the 'big move' downtown. Here are a few reviews, an image or two (grabbed from Postmasters' Facebook album 'David Diao TMI') -- just a few tidbits and info to whet your appetites before you head over.....

  (through Saturday, April 27)

  
  
  NYTimes, Galleries: Chelsea (4/19/13)

   

  David Diao: ?TMI? (through April 27) Postmasters, one of Chelsea?s few consensus-aversive spaces, is leaving the neighborhood, and on just the right note, with a survey of work by the painter David Diao, who first showed at the gallery in 1985. In his work Mr. Diao has been teasing, rebuking, adoring and dissing the formal and institutional history of modern art for all these decades, and here we see him in action from 1991 to 2013, with wry, needle-sharp, passive-aggressive homages to Duchamp, Barnett Newman, MoMA, the current art market and himself. It?s good to know that wherever Postmasters lands ? and it will ? he?ll be there too. Postmasters, 459 West 19th Street, Chelsea, (212) 727-3323, postmastersart.com. (Cotter)

   

  
  
  

  From GalleristNY:

   

  ?David Diao: TMI? at Postmasters

  By Andrew Russeth 4/02 3:25pm

  In an art world that equates money with success, the conventional wisdom is that there are few things more humiliating for an artist (and his or her dealer) than an artwork going up on the auction block and very publicly flopping. The iconoclastic artist David Diao has made such a moment a key element in Twice Hammered (2011), one of the paintings in his witty show at Postmasters, his 11th with the gallery. The painting is a diagram, with a miniature version of his 1990 work Barnett Newman: The Paintings?itself a painted chart of the Abstract Expressionist?s complete oeuvre?and its auction catalog entry when it was offered on the block in May 2005 at Christie?s Hong Kong with an estimate of $51,000 to $77,000. The lot had no reserve?the lowest price at which the house will sell the work?and his painting was hammered for the price scrawled at the bottom of the page: a measly $7,000 ($7,715 with buyer?s premium).

  Mr. Diao has long been concerned with the afterlife of paintings?the journeys they go on after they leave an artist?s studio and the meanings they take on along the way. This approach has become fashionable lately, and Yale art historian David Joselit has termed it ?transitive painting.? Mr. Diao stands out for bringing a great self-deprecating panache to the project.

  Some of the history, as recounted in the Postmasters show, is real, and some of it is fiction. Yes, one of his early abstract paintings once hung in a boardroom at MoMA, a moment he has memorialized by painting it across a silkscreen of those rooms. But, alas, he has never had a MoMA retrospective?the trustees declined to acquire that piece?and so the invitation for a 40-year Diao retrospective at the museum, depicted in one, is fake. (It?s modeled on a card for a Picasso exhibition at MoMA.) And he never had the $550,000 market triumph depicted in the painting Auction Record (2011). Sales (small) (1991) shows his actual market performance up to the year of its making?a peak of 24 sales in 1970, with a dry spell from 1981 to 1985, when he stopped painting.

  A 1993 work that looks like a Richard Prince joke painting?blue capital letters on a green monochrome?also addresses art history, though of a more sweeping variety (and demonstrates his skill as a colorist). It reads, ?What Ever Happened to Hedda Sterne?? Though she was the lone female Ab-Ex painter to pose for that famous ?Irascibles? photograph, Sterne was virtually unknown for most of her life, but her work enjoyed a very slow, modest rise in recognition in the years leading up to her death in 2011. The message of Mr. Diao?s painting today could very well be ?keep working.?

  As it happens, Barnett Newman: The Paintings is set to hit the block again, at a Shanghai auction house on April 6, this time with an estimate of roughly $16,000 to $28,000. Regardless of the result, it?s clear that Mr. Diao is going to have a ball dealing with it. Here?s hoping it ends up in the right hands.

   

  From Postmasters' website:

  
  DAVID DIAO has been showing with Postmasters since its founding in 1985. He will have the gallery's final show before the move from Chelsea to new quarters. This will be his eleventh solo with the gallery.
  
  For over 40 years Diao has nurtured a practice which looks critically at painting and its history. He questions how value is assigned to art and artists, and often implicates himself in the contradictions of this process.
  
  The show will have selections from 1991 to the present. Double Rejection, 2012, documents a moment when his painting hung in the board room at MoMA. The newest work Spine 1, 2013, is based on the abraded spine of the catalog of Barnett Newman's Stations of the Cross which has been in Diao's possession since its publication in 1966. He will also present some very small copies of several of his favorite geometric paintings from the 70s in the manner of Duchamp's Boite-en-valise.

  In the fall of 2012 Diao showed works from his Melnikov series in a 2 person show with Walid Raad at Paula Cooper Gallery. Holland Cotter writing in the NYTimes about this show reached back to praise Diao's 2009 show at Postmasters as one of the most moving of that year.
  
  Last month he was invited to speak on Barnett Newman for DIA Art Foundation in their Artists on Artists Lecture series.

   

  {to be cont'd....}

  
  
  

  

  
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  Thomas McEvilley, "Doctor, Lawyer, Indian Chief"

  Posted: 31-March-2013, 9:54am EDT by NEWSgrist

  

  Image via.

  The sacrifice of the wholeness of things to the cult of pure form is a dangerous habit of our culture. It amounts to a rejection of the wholeness of life. After fifty years of living with the dynamic relationship between primitive and Modern objects, are we not ready yet to begin to undersand the real intentions of the native traditions, to let those silenced cultures speak to us at least? An investigation that really did so would show us immensely more about the possibilities of life that Picasso and others vaguely sensed and were attracted to than does this endless discussion if spiritual propinquity in usages of parallel lines. It would show us more about the ?world-historical? importance of the relationship between primitive and Modern and their ability to relate to one another without autistic self-absorption.

  Doctor, Lawyer, Indian Chief: ?Primitivism? in Twentieth-Century Art at the Museum of Modern Art - Thomas McEvilley, 1992 (via clareleetaylor). See also.

  Via NYTimes:

  Thomas McEvilley, Critic and Defender of Non-Western Art, Dies at 73 By HOLLAND COTTER  Published: March 30, 2013

  In 1984, when the Museum of Modern Art in New York opened its exhibition ? ?Primitivism? in 20th Century Art: Affinity of the Tribal and the Modern,? the reception was generally favorable. 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.

  But Mr. McEvilley, who died on March 2 at 73, wasn?t done yet. In powerfully accessible language, he extended the charge of reductive thinking to the museum itself, and to Western art scholarship and criticism as a whole.

  The show?s curators, William Rubin and Kirk Varnedoe, tried to rebut his attack in letters to Artforum. Mr. McEvilley came back with even more persuasively damning arguments.

  They were the opening salvos in an argument about multiculturalism that would define American art for the rest of the 1980s and ?90s. When the dust had settled, it was clear who the winner was, and it was also clear that a new era in thinking about art had begun.

  Mr. McEvilley, who lived in Manhattan and the Catskills, died of complications of cancer at Memorial Sloan-Kettering Cancer Center, said his wife, Joyce Burstein.

  Like much of his writing on contemporary art, Mr. McEvilley?s review of the Modern show had wide repercussions. It inspired the curator Jean-Hubert Martin to present artists from five continents in the 1989 Paris exhibition ?Magiciens de la Terre.? That show set the paradigm for countless others over the next three decades, including virtually every biennial and triennial anywhere, whether in Venice, São Paulo, Dakar or Shanghai.

  Mr. McEvilley was well suited to be a spokesman for expansive ways of looking at world art. He studied Greek, Latin and Sanskrit at the University of Cincinnati. In his 36 years on the faculty of Rice University in Houston, from 1969 to 2005, he taught courses in both Greek and South Asian culture, as well as in the history of religion and philosophy.

  In the lingering wake of 1960s formalist thinking dominated by Clement Greenberg and Minimalism, Mr. McEvilley was a crucial alternative voice. He demonstrated that abstraction was not a European invention, pointing to non-Western abstract art from Hindu Tantric painting to African masks to Islamic tile work. He was among the first widely read critics of his generation to write about contemporary non-Western art at a time when it was all but unknown to the Western market.

  Mr. McEvilley was born on July 13, 1939, in Cincinnati. He received a bachelor?s degree and a Ph.D. in classical philology from the University of Cincinnati, and a master?s from the University of Washington in Seattle. He was regarded as an adventurously cosmopolitan teacher at Rice as well as at Yale and the School of the Art Institute of Chicago, where he was a visiting professor. In 2005 he founded the M.F.A. criticism and art writing program at the School of Visual Arts in New York.

  Among his books, the ones that have had the widest impact are two collections of essays, ?Art and Otherness: Crisis in Cultural Identity? (1992) and ?Art and Discontent: Theory at the Millennium? (1991), as well as ?The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism? (2005).

  He published a monumental philological study, ?The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies,? in 2001, and a second one, ?Sappho,? in 2008. He also wrote extensively on Western contemporary artists. At his death, he was working on a book about Greek poetry.

  He received the 1993 Frank Jewett Mather Award for distinction in art criticism from the College Art Association.

  In addition to Ms. Burstein, Mr. McEvilley is survived by two sons, Thomas and Monte; a sister, Ellen M. Griffin; and two grandchildren. His son Alexander died before him. Two previous marriages ended in divorce.

  A version of this article appeared in print on March 31, 2013, on page A20 of the New York edition with the headline: Thomas McEvilley, 73; Altered Views on Non-Western Art.

   

  See also:

  
  Jerry Salz, New York Magazine
  Roger Denson, Huffington Post
  David Carrier, Art Critical
  George Quasha

  Charles Bernstein

  Charles Bernstein: a talk in memoriam
  Raphael Rubinstein, Silo

  Saturday, December 11, 2004
  Slought Foundation Art and Cognition : Thomas McEvilley
  Listen to a 47 minute recording, or download the file

  14 Poems read by their author, Thomas McEvilley.
  Video by Michael Kasino
  [https:]]

   

  [https:]]

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