- How did concept (i.e. idea) and form (i.e. style) unify in early Expressionism?
- How did major political events—including Germany’s colonial exploits, WWI, the worker’s movements in the post-WWI period, a fluctuating economy, and the rise of National Socialism—manifest themselves both formally and thematically in Expressionist and post-Expressionist art?
- What continuities exist between the Romanticist and Hegelian interest in art as a means of self-understanding and the motivations of Expressionist and Post-Expressionist artists? How is “authenticity” (as well as “realism”) defined and redefined across these artistic practices, including ones that were decidedly apolitical (i.e. the universal claims of Expressionism) and those that were explicitly political (i.e. the social critique and use of materials in Dada)?
- How did artists and the German public respond to technology and/or modern living? In what ways were these responses ambivalent or sometimes contradictory?
- How did the political imperatives of Dada and of some Neue Sachlichkeit artworks and photography replace the experimental ones of Expressionism? Why was that important?
30% of final grade; due Tuesday, August 16 at the beginning of class
Aside from the sections in Long, all readings, including optional texts, are available for download on each session page.
- Tuesday, August 2
- Thursday, August 4
- Tuesday, August 9
- Session 5A: Gesamtkunstwerk: Utopia and the Built Environment
- Session 5B: Gesamtkunstwerk: Film
- Film Screening: Metropolis, Fritz Lang, 1927, 149’