To what extent is the artist a political commentator? Arguably one of the main roles of artists is to challenge and disturb: they will often unnerve the spectator by taking a political stance. This course represents an overview: examining how, over the centuries, artists have engaged politically and how they have become more vocal from the 19th century, with the emergence of the manifesto as a tool, through which they promote social revolution and align themselves with the worker.
In the aftermath of World War I, Trotsky stated that “Art is not a mirror but a hammer – it does not reflect, it shapes.” [Trotsky, L, Literature and Revolution, (1924)]. Indeed, prior to World War I, the political stance of artists, particularly those associated with Futurism and Dada, became increasingly apparent in various manifestoes through which they redefined the function of art as a political tool. In Russia, Constructivism was initially adopted as the movement of the Revolution. Between the wars, the Surrealists’ interpretation of Freud challenges conventional attitudes and has a profound and lasting impact upon art, literature, photography, film and advertising. This course also examines the use of Social Realism during both World Wars, and the use of posters as propaganda tools by the fascist, communist and capitalist regimes of Germany, Russia and America alike.
Finally, post-World War II, Pop Art reflects changes in the role of art as it is disseminated into popular culture, and Postmodernism challenges society by focusing on minority groups and issues relating to gender, race, and feminism.
Works by artists, including Michelangelo, Rubens, Goya, Hogarth, Courbet, Manet, Picasso, Warhol and Barbara Kruger will be used to support the challenging arguments proposed by this course.
