Write a research paper that explains the comparison and contrast of Warhol’s “Dance Diagram: Fox Trot: The Right Turn, Man” (1962) and Pollock’s “One: Number 31, 1950” (1950).Word count: Each essay may not exceed 800 words, excluding footnotes and bibliography if you use Chicago-style cites, or excluding the “works cited” section if you use MLA-style cites. Each essay must include its
word count after the body of the text, but before the footnotes and bibliography or, as applicable, the “works cited” section. Essays that do not include, or that exceed, the applicable word count will be downgraded. The
point of the word count is for you to gain familiarity and experience not just in writing but in editing what you write, so that your essay is clear, organized, pithy, and without unnecessary—circular, digressive,
repetitive, etc.—filler. The goal of each essay is meaningfully to compare and contrast the particular pair of assigned artworks for that module, specifically focusing on how they are importantly similar and/or different. For example, do they
share, or are they differentiated by, significant ideas, influences, meanings or themes? How is their artistic style or historical background, their political or sociological context, or the like, importantly similar and/or
different? Compare & contrast: Because the goal of the essay is to identify and examine significant issues, including meaningful similarities and/or differences, as well as substantial points of comparison and/or contrast that
specifically focus on the particular pair of assigned artworks for that module, for each issue or point you discuss with respect to one artwork, you must then, immediately, discuss that same issue or point with
respect to the other one. Think of essay as creating a dialogue between the pair of artworks, by continuously comparing and/or contrasting them issue by issue and point by point throughout your essay. Thesis & conclusion: Your essay must begin with a thesis statement, which briefly encapsulates the main points your essay will make; then proceed to a detailed discussion of these main points, supporting your
thesis statement with a variety of illustrative examples, issues that you analyze, points that you argue, etc.; and, finally, end with a conclusion that does not merely copy and paste or, otherwise, repeat your thesis
statement. Writing that merely juxtaposes the pair of artworks or that merely lists things about them, instead of actually comparing and contrasting them: Do not discuss one artwork, full stop; then discuss the other
artwork, full stop; then tack on a paragraph at the end that finally gets around to the hard work of actually comparing and contrasting them. Merely juxtaposing a discussion of X with a discussion of Y is not the
same thing as actually and continuously comparing and contrasting X and Y issue by issue and point by point, which is the whole point of the essay assignment. In particular, any sections of your essay that merely
discuss one artwork separately from, and irrespective of, the other artwork—instead of actually and continuously comparing and/or contrasting them issue by issue and point by point—will not count as having
completed the essay assignment. Don’t compare apples and oranges: Do not discuss something about one artwork; then discuss something completely different and unrelated about the other artwork. (For example: the use of religious
symbols in one artwork, then the use of historical photographs in the other one, etc.) Merely juxtaposing apples and oranges is not the same thing as meaningfully contrasting them issue by issue and point by
point. Don’t contrast X and not-X: Do not discuss something that is true about one artwork, but not true about the other one. (For example: The style of the first work is Fauvist, but of the second one is not. Or: The
influence on the first work was largely abstraction, but on the second one was not, etc.) Merely juxtaposing X and not-X is not the same thing as meaningfully contrasting them issue by issue and point by
point. Don’t compile laundry lists: Do not list similarities and/or differences, one after another, without fully explaining how and why each similarity and/or difference is actually important, or without clearly linking
each similarity and/or difference that you are currently discussing to the next one that will immediately follow. Merely listing things about the pair of artworks is not the same thing as meaningfully contrasting
them issue by issue and point by point. (For example: one is big, one is small; one is a painting, one is a sculpture; etc.) Writing that lacks substance or specificity:
i) Don’t describe for the sake of describing: Avoid merely describing what you’re obviously looking at, as if you’re seeing it for the first time, have no deeper idea what is actually going on, and can only guess
what any of it actually means, or why any of it even matters. That is not evidence of learning.
The point is to show that you comprehensively completed the assigned materials for that module by continuously
and meaningfully engaging with these assigned materials, most notably, by focusing on learned and non-obvious information that you acquired from them throughout your essay.
ii) Don’t write mini-book reports: Avoid writing encyclopedia-style or wiki-style thumbnail sketches about: the assigned pair of artists in general; the larger movements to which they belonged in general, or the
larger styles that they practiced in general; the larger bodies of artworks that they created in general; etc. That is not only too general but, most importantly, risks substituting a typing exercise (merely copying
and pasting or, otherwise, paraphrasing basic info) for a research and writing assignment. The point of this assignment is to identify and examine significant issues, including meaningful similarities and/or
differences, as well as substantial points of comparison and/or contrast, that specifically focus on the particular pair of assigned artworks.
iii) Don’t include statements that are meaningless or, otherwise, unhelpful:
(1) Avoid obvious, unhelpful intro paras or thesis statements. For example: “I will be comparing and contrasting a pair of paintings”; “This pair of paintings has many similarities and differences”; “Despite
their many differences, these two artworks share a number of similarities”; “These two artists achieved their similar goals in different ways”; etc.
(2) Avoid fluffy, insubstantial statements, including ones that are obvious; that lack concrete, detailed, and specific meaning; or that are so general and nonspecific they could just as well apply to, or describe,
almost anything; etc. For example: “Artists have long used art as a means of communicating their beliefs, feelings, and opinions”; “Artworks are intended to communicate meaning”; “Artworks are open to
interpretation”;“Civilization has always used art as a way to express itself”; “The 20th Century in Europe was a time of great political uncertainty and social upheaval”; etc.
(3) Avoid personal observations that are extraneous or subjective. For example: “I have always loved this artist”; “I don’t like this painting because the subject matter is depressing”; “I much more enjoyed
reading this article than I did reading that article, which I did not like at all”; etc.
(4) Avoid personal opinions that are bald and unsupported, especially ones that merely assume and project emotions and feelings onto people and things. For example: “This painting has a lot of energy”;
“The colors in this painting are happy”; “The figure at the center of this painting looks sad”; “Abstract art means whatever the viewer thinks it means”; etc.
(5) And, above all, just saying something doesn’t make it so: if you say something, you must anchor it in the assigned materials, or in logical argument, or in visual analysis, or in something meaningful that
somehow shows it to be true.
some resource cite links as references: 12) https://www.khanacademy.org/humanities/art-1010/post-war-american-art/abex/a/jackson-pollock-mural
a) https://blogs.getty.edu/iris/audio-jackson-pollocks-mural-part-1/
b) https://blogs.getty.edu/iris/audio-jackson-pollocks-mural-part-2/
c) https://play.acast.com/s/artdetective/no.5-1948byjacksonpollock-withmarcusdusautoy [source: Art Detective]
d) http://www.thelonelypalette.com/episodes/2016/11/30/episode-12-jackson-pollocks-10-1949-1949
13) https://www.nga.gov/collection/highlights/pollock-number-1-1950-lavender-mist.html
a) https://www.nytimes.com/1976/10/06/archives/pollocks-lavender-mist-sold-to-national-gallery-in-capital.html
14) https://www.metmuseum.org/art/collection/search/488978
a) https://www.pbs.org/video/nyc-arts-choice-jackson-pollocks-autumn-rhythm-1950-gkl2dy/
15) https://www.khanacademy.org/humanities/art-1010/post-war-american-art/abex/v/jackson-pollock-autumn-rhythm-number-30
a) https://youtu.be/BrpeY-Cvoi8 [source: the canvas]
b) https://www.metmuseum.org/art/collection/search/488978
Last Completed Projects
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