Social realism, postmodernism, modernism, and romanticism have all been pressed to resist politically the excesses of modern industrial society. The purported political fortes of these movements can be arranged and analyzed around simple prepositions, if not propositions. Social realism is of its audience, highlighting progressive tendencies while disparaging laggards. Postmodernism is championed as disruptive of habitual behaviors, and thus is at its audience. Modernism is said to inspire a purer alternative which is above its audience. And romanticism goes beyond its audience to levels of unfettered transcendence. After justifying this prepositional taxonomy, this essay exposes the weakness of each artform's connection with politics, finally speculating on the possibility of a more universal incompatibility of art and politics.
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