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Qualitative and Quantitative Analysis of New Tendencies Exhibition Networks, and the International Art Scene of the 1960s

If approached from the perspective of digital art history, the international art movement New Tendencies emerges as a complex social network composed of artists, art critics, theorists, curators, gallerists, and other cultural actors of different generations and different views on the relationship between art, science, and technology. Lasting for almost two decades, the formation and growth of this social network, can be followed through the series of exhibitions outlining the history of New Tendencies - from the initial articulation of its poetic foundations in the neo-avant-garde subculture of the late 1950s, through the transformation into an international art movement in the early 1960s, and its inclusion in the mainstream artistic culture a couple of years later, to the radical turn towards computer-supported 'visual research' at the end of the decade, and movement's final, 'fatal' encounter with conceptual art in the early 1970s. Quantitative and qualitative analysis of the networks formed by these exhibitions, provide a plethora of information and new insights into the process of articulating theoretical and ideological framework of the New Tendencies, (re)shaping and redefining the causes of its structural changes. The results of such analysis also reveal rather interesting and complex relationships between different poetic choice constituent to this art movement – presented through the series of network visualizations - which are either superficially explained or excluded from the dominant art historical narrative on the neo- avant-garde of the 1960s. In addition to shedding a new light on the impact of art market, and cold war cultural politics regarding the role, and position of New Tendencies on the international art scene, these new insights raise a number of questions regarding the power and influence of particular art critics, private galleries and cultural professionals from the background of major international art exhibitions, on the poetic configurations of the post-war art. Those insights, gained by the qualitative and quantitative network analysis, and analysis of spatio-temporal distribution of New Tendencies exhibition networks, clearly indicate the potential of these "empirical' analytic tools for posing a new research questions, and introducing an important epistemic shift into disciplinary practices of art history.

exhibition histories, quantitative analysis, network visualisation, social networks, New Tendencies

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