- 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?
30% of final grade; due on the first day of Unit Three at the beginning of class
- Session 3A: Expressionist Philosophies (Early Manifestations)
- Session 3B: Expressionist Forms (The Expansion of Expressionism)
- Session 4A: Primitivist Fantasies: Art and the German Colonies
- Session 4B: War and Revolution
- Session 5A: Gesamtkunstwerk: Utopia and the Built Environment
- Session 5B: Gesamtkunstwerk: Film
- Film Screening: Metropolis, Fritz Lang, 1927, 120'
- Session 6A: Dada and the Politics of Mass Media
- Session 6B: Neue Sachlichkeit: The Return to the Object