New Tendencies; a nonaligned modernist art movement; emerged in the early 1960s in the former Yugoslavia; a nonaligned country. It represented a new sensibility; rejecting both Abstract Expressionism and socialist realism in an attempt to formulate an art adequate to the age of advanced mass production. In this book; Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social; political; and technological history. Doing so; he traces concurrent paradigm shifts: the change from Fordism (the political economy of mass production and consumption) to the information society; and the change from postwar modernism to dematerialized postmodern art practices. Medosch explains that New Tendencies; rather than opposing the forces of technology as most artists and intellectuals of the time did; imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer; abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969; the group actively turned to the computer as a medium of visual research; anticipating new media and digital art.Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the groups relation to science; the changing relationship of manual and intellectual labor; New Tendencies in the international art market; their engagement with computer art; and the groups eventual eclipse by other "new art practices" including conceptualism; land art; and arte povera. Numerous illustrations document New Tendencies works and exhibitions.
#3551528 in eBooks 2016-10-04 2016-10-04File Name: B01M0ON4VJ
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