2014 WARP Book Research Artists
9/29 Kurt Schwitters, John Cage, Robert Rauschenberg
10/6 Claes Oldenburg, Eva Hesse, Richard Serra
10/13 Donald Judd, Richard Tuttle, Martin Puryear
10/20 Eugène Atget, August Sander, Joseph Cornell
10/27 Naim Jun Paik, Joan Jonas, Martha Rosler
11/3 Allan Kaprow, Gordon Matta-Clark, Rirkrit Tiravanija
11/10 Joseph Beuys, Felix González–Torres, Tino Seghal
11/17 Vito Acconci, Sophie Calle, Jenny Holzer
11/24 Ana Mendieta, Bruce Nauman, Marina Abramović
12/8 Robert Smithson, Andy Goldsworthy, Maya Lin
The WARP Book and Small Sculptures WARP 2014
It is essential that you see as much art as possible. Knowledge of the artists who have shaped the history of our discipline makes it possible to discuss the art of today with depth and intelligence. In this class you will have the opportunity to see and respond to works of art in their original form, but in the absence of original works, library research is essential. The WARP Book is a tool that directs your library research into visual responses. It’s an exercise in close looking. When done well, The WARP Book becomes a work of art in itself.
During the first week of the semester purchase a blank, hardbound book. Examples will be shown in class; minimum size 8” x 11”. Choose a book with the best quality paper that you can find (and afford; prices vary).
Each week you will be assigned three artists to research, with the goal of producing work based on each artist. This work will take the form of two page spreads in the blank book, and one small-scale sculpture, produced as a separate piece (NOT in the book).
Locate information and images of artwork produced by each of the assigned artists, using library resources. Look at as many images as possible. As you research, notice styles or themes within the body of work. What makes this artist unique? Consider how the work was made technically; the materials used; the formal qualities (line, shape, form, value, color, space and time) of works; and the essential concepts and ideas the artist pursued in her/his work. Make lists of qualities, ideas, formal considerations, and pertinent historical details—anything that helps you understand and describe the work. Additional methods for organizing your research will be discussed in class.
Using this research, make a page spread for two of the listed artists, and a three-dimensional piece for the third (the order is your choice). A page spread is defined as two facing pages. You may add elements that expand or open out, work in 2D and 3D, but the book must open and close. Your sculptures should be small, roughly 8 to 12 inches in any dimension, but can open or expand to a larger size. These works should embody the concepts, formal qualities and spirit of the artist(s) you research. You may use any materials that work within the confines of the book; your sculptures may take any form.
You may include notes and other writing as a visual component. Treat the page spread like a space, or a complete composition. You have complete freedom in the original way you approach this assignment but you may NOT copy, photocopy or otherwise reproduce an image. Think of each page spread and small sculpture as an original artwork.
In the bottom right corner of the page spread, write the researched artist’s name and the due date.
In class, you will be asked to discuss the ways that your responses relate to the sources (the artists you researched). There is no single or even set of “correct” responses. Be expansive in your ideas.
You may use the NWSA library for your research, onsite during open hours (no checkout). The downtown branch of the Miami-Dade Public Library is an excellent source for art books and periodicals. You may also make arrangements to visit the libraries at the Rubell and De la Cruz collections.