This is a paper that focuses on the identification of a movement artist and artworks discussion. The paper also provides three key areas to focus in three paragraphs in the assignment paper.
The identification of a movement artist and artworks discussion
1st paragraph (try and cover the answers to these questions in 100 words or less)
Firstly, what is the art movement you are looking at? Also, what are the names of your two artists?
What are the names of the two major artworks by these artists that you will be examining? (Check again that you are choosing different forms of art for this: a poem and a film, for example, or a painting and a dance, not two films, or two novels, or two sculptures . . .)
How do these two artworks, very briefly, participate in or exemplify your chosen art movement? Do they, for example, exemplify significant aspects of it? Mirror its philosophical concerns or practices? (Keep this very simple and initial: for example, if you were writing about Cubism, you might tell us that both of your chosen artworks exemplify the Cubist movements use of abstraction, multiple perspectives and textual or material quotation.)
2nd paragraph (this might be your longest paragraph at around 200 words)
Secondly, what is a working definition of your movement? (Do not get this from Wikipedia!) Tell us when this movement came to be? Where and when was it operating? What are the prior art movements that it is most responding to/coming from? What are the historical conditions that may have produced it?
Thirdly, introduce your first artist; let’s call them Artist A.
When were they working? What medium(s) were they working in? (Do not turn this into a general or generalising biography; remember the general focus of your essay is critical; this is not a biographical exercise.)
How do their ideals, philosophies and/or practices work more generally fit into this art movement?
Did they participate in or respond to any prior art movements?
Did they ever articulate a particular philosophy or approach to work? Do they ever suggest some level of resistance to the philosophy and practices of the Art Movement? (Are their more general wrinkles, interesting points of resistance, pushes towards other movements, other philosophies, in their lives or in their work?)