The use of assemblage art as a way to depict the concept of reality dates back to the 19th century, but when it was first used, it was not as common as it is today. Artists such as Alexandre Hogue and Pablo Picasso popularized the technique by incorporating fish and other animals into their work. A lot of artists today are known to use assemblage art in their sculpture, including Robert Graham and David Altmejd.
Tying objects together with string is the first step in creating an assemblage sculpture. The artist must then decide how they want the objects to be placed together; usually this involves taking a lot of time to think about it. After all, if you put a piece of string between two objects and pull on that string to hold them together, there is no guarantee that you will be able to remove them again without breaking either object.
The artist must also make sure that they have enough room for whatever they are using for the assemblage art piece. If you are using a lot of large pieces, you may need to have extra space so that people can walk around your work without bumping into any of the pieces. Because exhibition spaces vary in size, this is something that most artists consider when they
Depending on your point of view, these sculptures and installations by artist Edith Abele are either weird or cool. In one piece, a giant metal mannequin’s head is made to look like it has been sliced open, revealing a giant fake brain inside. In another work, Abele fills an entire room with thousands of vintage Barbie dolls that she has painted all black.
These are just two examples from Abele’s latest show at the Nave Gallery in Los Angeles, which runs through November 9th. The exhibition is called “Abele vs. Reality,” which suggests that the artist is challenging our perceptions of what reality actually looks like.
And she’s doing so in a way that’s far more interesting than if she simply constructed realistic-looking sculptures out of wood or clay (which is how most artists would attempt to fool us). Because this way, we’re left wondering if what we’re seeing is real — and if it’s not, how did the artist create it?
In her assemblage piece, “Untitled (Assemblage),” Christina Quarles has created a very unusual sculpture. The work appears to be a sheet of glass with three clothespins on it. This is because the artist used actual glass in the assemblage; however, by using transparent material, the clothespins and wooden dowel stick appear to be hanging in mid-air.
The act of assemblage itself is an interesting concept and has been used in many different art forms. Often times, artists will use random objects to create an entirely new piece of art. Other times, the artist will use specific items to create a piece that represents them or their culture. In Quarles’ work, she uses specific materials such as clothespins and a wooden dowel to create an entirely new piece of art.
Plastic bags, kitchen appliances and other found objects are re-arranged by artist David Rokeby to create new meaning. His work is not just about the materials themselves but about how we interact with the things we build our world with.
Titled “Everyday Metaphors,” the Canadian-born artist’s exhibit features a series of sculptures that are interactive and self-sustaining. His work has been displayed in London’s Tate Modern, Seattle’s EMP Museum and New York City’s MoMA and he has an upcoming show at the National Gallery in Ottawa. The exhibit is on view through Sept. 7.
He told The Huffington Post in an interview via email that he hopes people will take away a new perspective on their everyday lives when they see his work.”I certainly hope my art encourages people to think more carefully about these things, to reflect more deeply on the metaphors and symbols that structure our daily lives,” he said. “We live surrounded by symbols, icons and abstractions that structure our experience of the world, yet we rarely pay attention to them or question them.” Take a look at some photos from Rokeby’s newest exhibit below:
The artist assembles found objects that are mostly from the past and present. This includes everything from antique toys, household appliances, furniture and fashion accessories to the most recent technology items, such as cameras, cell phones, satellite dishes and antennas. This is a new way of creating art that has been inspired by the American culture of consumption. The artist uses whatever he can find in order to turn it into something beautiful and useful.
Trompe l’oeil (fool the eye) is considered to be an art technique that has been used in paintings since the Renaissance period. It is characterized by realistic imagery in order to create optical illusions. Many contemporary artists have adopted this technique to create three dimensional images that look real while they are actually two dimensional. In this way they use it in a very different manner than what was used during the Renaissance era, which was more concerned with giving pictorial credence to religious subjects for example.
The artist makes sculptures using everyday objects, and then photographs them as if they were pieces of fine art, using high quality equipment such as professional quality cameras or telescopes with special lenses. He then adorns his own website with these amazing pictures so people can see them for themselves. Each photograph shows his sculptures enlarged many times over so it seems
It’s easy to forget that the world is a physical place. It’s also easy to forget that it’s a creative place. That’s why Simon Birch’s work is so fascinating. He combines art and science and creates new ways of looking at both art and science.
Tall, thin sculptures made from pipe cleaners, Birch calls his creations “assemblages.” But what makes them extra special is that the artist has used high-tech 3D modeling software to redefine their shapes.
Birch starts with a simple cube or sphere and then uses the computer software to change its shape in fictional ways. The result is an interesting mix of science fiction, sculpture, and architecture.
Most people think of sculpture as being three-dimensional objects carved from stone or metal or wood. But Birch’s work shows us how we can expand our definition of sculpture to include 3D objects made from any material, including paper and plastic.
Also, these sculptures are not just things to look at; they have been designed to have practical uses as well. Birch offers suggestions for using them as lamps or planters.
