Art & Art History ETDs

Publication Date

6-18-1974

Abstract

The rigorously formal aesthetics professed by the dominant Minimalist style of contemporary art during the early and middle years of the past decade was replaced beginning in the late 1960' s by a more humanistic aesthetic. Minimalism was in turn followed by a more elusive phenomenon of individual artists and works without a strong unified style. The changed sensibilities of contemporary art originating in the late 1960's is presently the prevailing artistic aesthetic.

Aesthetic issues at each stage of modern art have been raised in successive attempts to explain the sensibilities of evolving modernism. When the Minimalist style was at the forefront of contemporary art, the formalist position of art criticism provided a basis for an analysis of the issues of aesthetics. With the advent of the late 1960's sensibilities, the formalist position and methodology were incomplete and irrelevant.

Biographical and autobiographical information on Rafael Ferrer and Keith Sonnier will demonstrate how these two artists who came to prominence in the late 1960's worked within and helped to define the changed aesthetics of that time.

The late 1960's sensibilities have ties with early twentieth century modern movements and artists. The immediate distinction of this present contemporary art sensibility can be more fully interpreted and analyzed within the twentieth century framework of the history of art.

The qualities of an open aesthetic of the present contemporary art sensibility mark it as a potential force in future innovative art forms.

Language

English

Document Type

Dissertation

Degree Name

Arts

Level of Degree

Doctoral

Department Name

UNM Department of Art and Art History

First Committee Member (Chair)

Charles Mattox

Second Committee Member

Wayne Roderic Lazorik

Third Committee Member

Peter Walch

Fourth Committee Member

Illegible

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