PRINT September 1968

Systems Esthetics

A POLARITY IS PRESENTLY developing between the finite, unique work of high art, i.e. painting or sculpture and conceptions which can loosely be termed “unobjects,” these either environments or artifacts which resist prevailing critical analysis. This includes works by some primary sculptors (though some may reject the charge of creating environment), some gallery kinetic and luminous art, some outdoor works, happenings, and mixed media presentations. Looming below the surface of this dichotomy is a sense of radical evolution which seems to run counter to the waning revolution of abstract and non-objective art. The evolution embraces a series of absolutely logical and incremental changes, wholly devoid of the fevered iconoclasm which accompanied the heroic period from 1907 to 1925. As yet the evolving esthetic has no critical vocabulary so necessary for its defense, nor for that matter a

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