Abstract

The second half of the twentieth century saw the creation of the socialist state of Yugoslavia under the leadership of Josip Broz Tito. This nation sought to unify a multitude of distinct and often opposing cultures into a functioning state that broke from the non-progressive Eastern Europe stereotype. This thesis seeks to explore the utilization of federally commissioned public sculpture as a means of both propaganda and artistic innovation. In particular, this thesis delves into the details of various colossal abstract sculptures located in the former Yugoslavia and the context of their commission as well as their aesthetics. This research explores the break with Soviet aesthetic tradition as a parallel to western art movements of the time and the statements that were made by such similarities. Socialist Realism was considered the only appropriate artistic style in the USSR at the time and by rejecting such a style, Yugoslav artists made both political and artistic statements. The idea of a non-representational historical monument was virtually unheard of during this time period and the fact that a government utilized these methods to strengthen a sense of togetherness proves incredibly unique. The colossal sculptures under investigation interact with and transform the landscape in which they are situated. They were symbols of the socialist nation, frequently visited by tourists, but have been left to rot after the breakup of the nations encompassing Yugoslavia.

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