Framed in a lucid discussion of the intellectual issues surrounding the postmodern movement, the essays in this book re-examine the course of twentieth-century art through the work of twenty-five major sculptors. McEvilley masterfully traces the evolution of modern sculpture from the readymades of Marcel Duchamp to the anti-painting statements of the 1960s to the spiritualism and conceptualism of the 1980s and 1990s. This is a groundbreaking work in the field of art criticism and a fundamental text for anyone interested in the history of current art and culture. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
G. Roger Denson brings singular insight to Thomas McEvilley's writings. As an art writer he has explored similar territory, but from the point of view of a nomadic ideologist. His approach matches that of his subject. He addresses the issues of pragmatism, historicism, and cultural relativism. In so doing, he effectively dismantles the need to establish a master narrative. The contrast and agreement between these two writers constitutes a mapping of the terrain of contemporary culture. What sets Thomas McEvilley apart from other critics in art and culture is his direct knowledge of the newest art and theory, and his comprehensive understanding of classic art and ancient civilizations. It is rare to find a writer equally fluent in the production of modernist aesthetics, the anti-aesthetics of post-modernism, T'ang Dynasty Taoist painting, the doctrines of the Tantra, Platonic mysticism, and Aristotelian logic. This vast knowledge has enabled him to produce some of the best-conceived and eccentric
Spanning thirty years of intensive research, this book proves what many scholars could not explain: that today’s Western world must be considered the product of both Greek and Indian thought—Western and Eastern philosophies. Thomas McEvilley explores how trade, imperialism, and migration currents allowed cultural philosophies to intermingle freely throughout India, Egypt, Greece, and the ancient Near East. This groundbreaking reference will stir relentless debate among philosophers, art historians, and students.
From roughly 1965 to 1980, Conceptual Art and Performance Art took center stage throughout the western world, introducing new and complex ideas to the practice of contemporary art which reverberate to this day. Thomas McEvilley's The Triumph of Anti-Art not only explains the origins of these controversial and compelling art forms, but also uncovers many relatively unrecognized yet indisputably important artists, American and European. He guides the reader through a thicket of seemingly arcane meanings of these nonrepresentational art form, and brings clarity to the intentions and agendas of these artists, as well as to their real world contexts. The long-term effects of "anti-art," and the development of the pluralistic situation known as post-Modernism, are described in vivid detail. From the Greek philosopher Diogenes, through the 19th-century German romantic tradition, to the modern art critic Clement Greenberg, McEvilley traces philosophical ideas and political impulses that tempor
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