Found Objects

After exploring the exquisite ideas and 35 projects showcased in this one-of-a-kind jewelry collection, you’ll never look at "found items” the same way again. There are countless suggestions for recycling everyday objects, from electrical wire to soda cans, and uncovering their vast potential for beauty. Begin by examining various metal types and forms, and the techniques for shaping and cold-connecting them. Select from a range of surface finishing treatments, and find out about special skills often used for working with stones, shells, plastic, wood, and bone. The wildly creative pieces include a driftwood brooch, a bracelet with wooden game pieces, and a pendant featuring old boat charts.

Inspiring examples of turning discarded items into beautiful wearable art.

How to create collage artwork by repurposing keepsakes, leftover craft projects, cutouts from magazines, and all sorts of readily available materials.

"In 1912 Georges Braque and Pablo Picasso created the first papiers colles by gluing pieces of oak-grained faux bois wallpaper onto their drawings. In 1917 Marcel Duchamp selected a urinal, signed it R. Mutt, and presented it as an object of art under the title Fountain. In 1919 Kurt Schwitters began gathering scraps of rubbish and assembled them into a series of works that he titled Merz constructions. These acts represent three of the most significant achievements in twentieth-century art." "The definitive book on its subject, Collage, Assemblage, and the Found Object offers a comprehensive and dynamic history of the mediums that revolutionized our ideas about the nature of art and influenced virtually every major art movement of the twentieth century." "Made up of fragments, of debris, of rejected pieces and common artifacts of popular culture, collage and assemblage are arts of protest, of challenge, of exploration. They emphasize the everyday and commonplace over precious materials and refinement; concept and process over end product; the temporary and ephemeral over the lasting. They propose a dislocation in time and space and, by the nature of their makeup, offer multiple layers of meaning. They also furnish a compelling historical record of their time." "All these currents are explored by Diane Waldman, deputy director and senior curator of the Solomon R. Guggenheim Museum, New York. In clear and cogent prose, generously illustrated with examples and comparative works, she traces collage, the found object - and the related development, assemblage - from their Cubist beginnings to the present." "Waldman moves from the outrageous experiments of the Dadaists in the 1920s to the irreverent debunkings of the 1960s Pop artists to the provocative appropriation art of the 1990s; from the intricate towers and assemblages of the Russian Constructivists early in this century to the surprising piles of materials put together by such midcentury artists as Robert Rauschenberg, Jasper Johns, and John Chamberlain; from the cerebral and Freudian collages and objects of the Surrealists in the 1920s and 1930s to the probing conundrums posed by the conceptualists of the 1980s and 1990s." "A lively book on lively arts, Collage, Assemblage, and the Found Object gives us a comprehensive and dynamic view of what are arguably the most important artistic developments of our time."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This fascinating book provides curious readers with new ways of evaluating the relationships that exist between texts and objects.

In this first book of interviews with visual artists from across Texas, more than sixty artists reflect on topics from seminal influences and inspirations to their common engagement with found materials. Beyond the art itself, no source is more primary to understanding art and artist than the artist’s own words. After all, who can speak with more authority about the artist’s influences, motivations, methods, philosophies, and creations? Since 2010, Robert Craig Bunch has interviewed sixty-four of Texas’ finest artists, who have responded with honesty, clarity, and—naturally—great insight into their own work. None of these interviews has been previously published, even in part. Incorporating a striking, full-color illustration of each artist’s work, these absorbing self-examinations will stand collectively as a reference of lasting value.

Make mosaics on any surface--mirrors, tables, chairs, picture frames, bowls, switch plate covers, wooden shoes, and more.