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    Introduction: the Aesthetic and Ideological Context for Abstraction following the Second World War

    1. Modernism to Postmodernism
    2. Prehistory - the 1930s
      1. Documentary Photography
      2. Leftist Modernism
        1. Social Realism
        2. WPA
        3. Popular Front

      versus

    3. Right wing modernism
      1. Regionalism
      2. "The Silo School"
    4. Modernism midcentury
      1. Form or
      2. Content
    5. Post-modernism's answer = form versus content is a false dichotomy

    Slide List

    Rothko Number 10 1950
    Sherman Untitled #92 1981 (photograph)
    Pollock handprints in No. 1 1948
    Horn The Little School of Painting 1978 (kinetic sculpture)
    Dorothea Lange Migrant Mother 1936
    Diego Rivera Motor Assembly 1932
    Benton Cotton Pickers 1928
    Picasso Guernica 1937
    Matisse La Musique 1944

    The course will cover the shift from modernist authorial genius, to the postmodernist critique of that genius.

    Compare: Jackson Pollock, #1, 1948 and Rebecca Horn, Little Painting School, 1978

    Review the move from Social Realism (Diego Rivera, Motor Assembly, 1932) and Regionalism (Thomas Hart Benton, Cotton Pickers, 1928-29).

    But explain their continuities with the Abstract Expressionist Generation. (Jackson Pollock, Cotton Pickers, 1934-38)