Object Alchemy Slides Object Alchemy
Semiotics of the Found Object
The Urinal vs. The Fountain
In 1917, Marcel Duchamp submitted a standard porcelain urinal to the Society of Independent Artists.
1
What changed? The object or the context?
2
Where does the 'art' reside? In the porcelain, the signature, or the choice?
[Imagine Duchamp's 'Fountain' here]
The Language of Things
Signifier
The physical form of the object (e.g., a weathered wooden chair).
Signified
The concept or meaning it represents (e.g., domesticity, rest, or abandonment).
Sign
The combination of both. In art, we manipulate the signifier to change the signified.
Material History
Theaster Gates
Utilizing reclaimed wood and fire hoses to speak to civil rights and urban history.
Betye Saar
Recontextualizing derogatory caricatures and found items to challenge racial narratives.
"The object is no longer just an object; it is a ghost of its former function, haunting its new context."
Your Task: Deconstruction
Take the object you brought today. Strip away its utility. What remains? List its associations: historical, cultural, and personal.
Functional Deconstruction
Symbolic Analysis
Object Deconstruction Worksheet Object Deconstruction
Semiotic Analysis Worksheet
STUDENT:
DATE:
Objective
To move beyond the literal utility of an object and map its potential as a signifier. Choose one found object and perform a deep deconstruction of its meanings.
Phase 1: The Physical Signifier
Formal Qualities
Object Identification
Materials & Textures
Patina & History (Signs of wear, age, origin)
Phase 2: The Signified Concept
Associative Mapping
FUNCTIONAL PURPOSE
What was it designed to do? Who was it designed for?
SYMBOLIC POTENTIAL
If this object were a character, what would its story be?
HISTORICAL / CULTURAL RESONANCE
Does this object represent an era, a socio-economic class, or a specific industry?
Phase 3: The Conceptual Pivot
Re-Contextualization
Exercise: Propose three ways to alter this object's meaning without physically destroying it.
Final Synthesis
Complete this sentence: "By isolating [Object], I am highlighting the tension between [Concept A] and [Concept B]."
Semiotics Seminar Guide Semiotics Seminar Guide
Instructor Facilitation Manual
L1.SEM.01
The Hook
Present an image of a generic industrial urinal side-by-side with Duchamp's Fountain .
"Why is this $2,000,000 and this $200? Where is the labor?"
The Fountain Debate
The goal is to move students away from 'technical skill' as the sole validator of art. Challenge them to define 'Intellectual Selection.'
Question 1
"Does the removal of function create art? Or does it just create garbage?"
Question 2
"If Duchamp didn't make it, why do we care that he chose it?"
Key Discussion Pillars
01
Re-Contextualization
Discuss how the pedestal and gallery lighting act as a "conceptual framing device." Ask: What happens if we put a discarded shoe on a velvet pillow? What happens if we put a diamond ring in a dumpster?
02
Material Memory
The history of an object is indelible. A used fire hose (Theaster Gates) carries the history of fire departments, water, and civil rights violence. Ask: Can an object ever be 'neutral'?
03
Juxtaposition
The 'Conversation' between two objects. Meret Oppenheim's Object (the fur-covered teacup). The friction between the soft fur and the hard ceramic. Ask: Why does this combination feel 'wrong' or 'unsettling'?
Closing Reflection Prompt
"In the next session, you will be hunters. You are not looking for 'stuff,' you are looking for 'potential signs.' What is one object you interact with every day that you have never truly seen?"
Preparation: Lesson 2 Sourcing
Reading: Duchamp’s 'The Creative Act'
Scavenger Logic Handout Scavenger Logic
Material Sourcing & Taxonomy Criteria
UNIT: ASSEMBLAGE
Artists do not simply 'find' objects; they curate them. This checklist provides the rigorous criteria used to distinguish 'scraps' from 'sculptural components.'
Formal Criteria
Structural Integrity
Can it support its own weight? Can it be drilled, glued, or bolted without shattering?
Surface Patina
Look for 'honest' wear. Rust, weathering, sun-bleaching, or industrial residue that adds depth.
Scale & Proportional Variance
Avoid uniformity. Look for objects that vary in volume—dense solids vs. airy lattice-like structures.
Conceptual Criteria
Narrative "Ghost"
Does the object imply a former owner? A specific industry? A defunct technology?
Cultural Friction
Does the object possess inherent social or political weight? (e.g., domestic vs. industrial items).
Material Irony
Is it a fragile shape made of heavy material? A soft item meant for hard labor?
Strategic Sourcing Map
The Mechanical
Scrapyards, auto shops, hardware bins.
Gears, pistons, rusted plates
Hardware, bolts, springs
The Domestic
Thrift stores, flea markets, estate sales.
Old cutlery, lace, birdcages
Discarded furniture, portraits
The Organic
Riverbeds, parks, construction sites.
Bleached bones, driftwood
Cracked concrete, asphalt
"The object must demand to be looked at."
Material Taxonomy Log Material Taxonomy Log
Cataloging the Collection
NAME: ________________________
COLLECTION ID: SC-L2-001
Object / Origin Formal DNA (Texture/Color/Scale) Conceptual DNA (Associations) Potential Role
The Curatorial Selection
Of the objects listed above, which three share a 'Material Vocabulary'? How do they communicate when placed in the same vicinity?
Curating the Found Slides Curating the Found
From Scrap to Sculpture
The Junk Drawer Challenge
We often ignore the artifacts of our own lives. Your first curatorial act is to find beauty in the banal.
The Prompt:
Select 5 items from a random drawer. Arrange them to tell a story of a "Forgotten Invention."
Curatorial Selection = Transformation
Methods of Taxonomy
Formal Sorting
• Grouping by Geometry (Cylinders, planes)
• Grouping by Material (All wood, all metal)
• Grouping by Surface (Smooth vs. Eroded)
Conceptual Sorting
• Grouping by Era (Victorian vs. Digital)
• Grouping by Labor (Tools vs. Toys)
• Grouping by Class (Luxury vs. Utility)
Where to Hunt
The Industrial
Scrapyards, Construction dumpsters, Recycling centers.
The Domestic
Thrift stores, Garage sales, Curbside 'free' boxes.
The Organic
Shorelines, Forest floors, Abandoned lots.
Respect the Object
"Do not look for what you want to find; look for what is there . Let the object's history dictate its future in your work."
The Joinery Bible Reference The Joinery Bible
Found Object Connection Reference
Status
CONFIDENTIAL STUDIO DOC
Rapid Adhesion Matrix
Substrate A Substrate B Recommended Bond Note Metal (Clean) Wood Two-Part Epoxy (JB Weld) Clamp for 4 hours. Scuff metal first. Plastic (Porous) Glass Cyanoacrylate (Super Glue) + Gel Fast set, brittle. Use for small parts. Metal (Heavy) Metal Mechanical (Bolts/Rivets) Never rely on glue for weight-bearing metal. Fabric / Paper Wood PVA (Wood Glue) or Contact Cement Apply to both sides, let tack, then press.
Mechanical Connection
"The most honest join is the one you can see." Mechanical joins respect the integrity of the object by using hardware instead of invisible chemical bonds.
Bolting & Through-Fixing
Drill through both objects. Secure with threaded rod, washers, and nuts. Ideal for structural frames.
Riveting (Cold Join)
Using pop-rivets to join thin metal sheets or plastic. Permanent and visually industrial.
Binding & Lashing
Using wire, twine, or zip-ties. The aesthetic of the 'wrap' becomes part of the sculpture's line.
The Science of Adhesion
Surface Preparation
Degrease: Use Acetone or alcohol to remove oils from found objects.Abrade: Sand surfaces (80-120 grit) to create a 'mechanical tooth' for the glue.Clean: Ensure no dust remains before applying adhesive.
Pro-Tip: Invisible Bonds
Sometimes the concept requires the objects to look like they are 'floating' or touching by magic. Use internal pins (drilling into the objects and inserting a hidden rod) for seamless transitions.
Wear Eye Protection
Ventilate for Epoxies
"Build for a century, not a semester."
Hybrid Connection Lab Hybrid Connection Lab
Experimental Joinery Workshop
Lab L3.HCL
The Challenge
"Joining two like materials is a craft; joining two unlike materials is an act of engineering and poetry." Complete the following three experiments to master the tension of disparate connections.
Experiment 1: The Tension Bond
Mechanical / Wire
Materials
One heavy industrial item (gear, bolt, stone)
One fragile organic item (dried leaf, eggshell, twig)
Copper wire (24 gauge)
Instructions
Create a connection using only wire lashing. The fragile item must be suspended from or secured to the heavy item. Constraint: The fragile item must remain undamaged.
Observation Notes
Experiment 2: The Cold Join
Hardware / Drilling
Materials
Plastic fragment (HDPE or PVC)
Scrap wood (Plywood or Cedar)
1/4" Bolts and Washers
Instructions
Drill through-holes in both substrates. Secure them using a bolt-and-washer assembly. Constraint: The plastic must be held in place solely by friction/compression, not glue.
Observation Notes
Experiment 3: The Hidden Pin
Chemical / Epoxy
Materials
Two unrelated objects of similar density
Steel rod (3mm)
Two-part epoxy
Instructions
Drill a shallow hole into the 'mating' surface of both objects. Insert the steel rod as an internal bridge. Apply epoxy and clamp. Goal: A seamless join where the hardware is invisible.
Observation Notes
Assemblage Studio Safety Guide Assemblage Studio Safety
Hazard Mitigation & Material Handling
Studio Protocol
Critical Hazard Matrix
Airborne Contaminants
Found objects often carry lead paint, asbestos, or industrial dust.
Action: Wear N95 Mask during sanding/cleaning.
Toxic Off-Gassing
Epoxies and contact cements release VOCs (Volatile Organic Compounds).
Action: Use in Fume Hood or well-ventilated area.
Mechanical Trauma
Drilling into irregular found shapes leads to 'spinning' or shattering.
Action: Always clamp the object to the bench/drill press.
Cleaning & Neutralizing Found Objects
01
De-Rusting & Biologicals
Remove loose rust with a wire brush. Objects found in nature should be soaked in a mild bleach solution (1:10) to kill mold or insect larvae.
02
Sharps & Edges
Deburr all sharp metal edges with a metal file or grinder. If the sharp edge is conceptually necessary, it must be mounted in a way that prevents accidental student contact.
"The integrity of your sculpture is directly linked to the integrity of your process."
Security / Responsibility / Artistry
Narrative Arc Planner Worksheet Narrative Arc Planner
Sculptural Juxtaposition & Metaphor
PROJECT: FINAL ASSEMBLAGE
PHASE: L4.CONCEPT
The Sculptural "Sentence"
In assemblage, objects act as words. When you join them, you create a sentence. Identify your two primary "Words" (Objects) and the "Verb" (The Join).
Subject (Object A)
[e.g. A rusted birdcage]
The Join (The Verb)
Modifier (Object B)
[e.g. A digital circuit board]
The Point of Friction
Where do these objects collide? Is it a collision of time (Old vs. New), status (Discarded vs. Treasured), or nature (Organic vs. Industrial)?
Sketch or describe the intersection point
The Metaphorical Goal
What abstract concept is birthed from this combination? (e.g., "The imprisonment of intelligence" or "The erosion of technology").
Audience Response
Do you want the viewer to feel curiosity , repulsion , nostalgia , or irony ? How does the scale of the objects influence this?
Refining the Narrative Arc
Climax
Does the sculpture have a 'focal point' where the narrative is loudest?
Subtext
Are there small details that reward a second, closer look?
Resolution
Does the composition feel balanced or intentionally unstable?
The Power of Pairs Slides The Power of Pairs
Juxtaposition in Assemblage
[Image: Rauschenberg's Monogram - Goat with Tire]
The Impossible Union
"A pair of objects that don't belong together create a third, invisible reality."
Stuffed Angora Goat
Automobile Tire
Result: A surreal friction that denies easy interpretation.
Conceptual Modes
Visual Irony
The use of an object to contradict its own nature or history.
Example: A hand-grenade made of fine porcelain.
Metaphor
The use of an object to represent a different, often abstract, idea.
Example: A worn-out worker's boot representing 'Endurance'.
The Narrative Arc
The Lead
The first object the viewer sees. Usually the largest or brightest.
The Twist
The second object that contradicts the first, creating the narrative tension.
The Coda
The tiny detail that resolves or deepens the mystery.
"Let the objects talk to each other. Your job is just to listen to their argument."
Contrast
Repetition
Harmony
Conceptual Assemblage Rubric Conceptual Assemblage Rubric
Found Object Narrative Assessment
Criterion Exemplary (4) Proficient (3) Developing (2) Beginning (1) Semiotic Depth & Narrative The objects create a complex, multi-layered metaphor. Narrative friction is palpable. The objects tell a clear story with effective juxtaposition. Narrative is present but relies on literal interpretations. Objects appear grouped randomly without clear intent. Technical Joinery & Integrity Joins are structurally sound and aesthetically integrated. Connection method adds to the concept. Joins are secure and show proper adhesive/hardware choice. Some joins are unstable or show excessive adhesive residue. Structural failure or hazardous connections. Curatorial Selection Objects show exceptional patina, history, and formal variety. Objects are well-chosen and curated for their formal qualities. Objects are generic or lack interesting surface qualities. Selection appears haphazard or purely functional. Spatial Composition Masterful use of negative space, scale, and balance. Engaging from all 360 degrees. Effective balance and hierarchy. Interesting from multiple angles. Composition is 'flat' or lacks a primary focal point. Chaotic or structurally clumsy arrangement.
Instructor Comments
Final Tally
Total: ____ / 16
Evaluation Date: ________________
Site Intervention Proposal Form Site Intervention Proposal
Contextual Placement & Spatial Narrative
Document Ref: L5.PRO
APPROVAL REQUIRED
Artist:
Proposed Date:
1 Selected Site Identification
Primary Location Description
Describe the physical environment (e.g., A high-traffic stairwell, an overgrown corner of the park, a sterile science lab lobby).
Site Characteristics (Light, Noise, Movement)
How do these environmental factors influence the viewing experience?
Sculpture / Site Symbiosis
How does the location change the Signified Meaning of your sculpture? Does the environment support the narrative or challenge it?
Physical Security
Is the object secured against wind/theft?
Is there a trip hazard for the public?
Permission from facilities granted?
Documentation Plan
Optimal Viewing Time
Key Photographic Angles
Capturing the Work Documentation Guide Capturing the Work
Documentation for Site-Specific Sculpture
"The photograph is the final form."
In site-specific work, the object is temporary, but the documentation is permanent. Your goal is not just to photograph the 'thing,' but to photograph the relationship between the thing and its world.
Essential Shots
[ ] 1. WIDE (The Context)
[ ] 2. MEDIUM (The Sculpture)
[ ] 3. MACRO (The Joinery)
[ ] 4. HUMAN (The Scale)
Environmental Light
Avoid harsh midday sun. Aim for the 'Golden Hour' or overcast days for even lighting. If indoors, consider the 'temperature' of the fluorescent vs. natural light.
Tip
Long shadows can add narrative weight, while flat light emphasizes material texture.
Narrative Framing
Position the camera to include architectural or natural 'anchors.' Use depth of field to either isolate the work or blur the background into a conceptual color field.
Tip
Capture a 'viewer' in the frame (even from behind) to ground the sculpture in reality.
Photo Manifesto
How does the camera angle change the power dynamic of the piece?
Describe the 'Hero Shot' (The single most important image):
Technical Excellence / Contextual Truth
Contextual Critique Log Reflection Contextual Critique Log
Final Reflection & Site Analysis
SEQ: OA-FINAL
"Once an object enters a site, it is no longer yours; it belongs to the conversation with its environment." Reflect on the life of your assemblage in its chosen location.
The Viewer's Gaze
Observe three interactions (or lack thereof). How did people approach the work? Did they see it as 'Art' or 'Obstacle'?
Write observations here...
Environmental Evolution
How did the site physically affect the piece? (e.g., Change in light, accumulation of dust/leaves, weathering of joins).
Describe physical changes...
Conceptual Shift
If you moved this piece from its current site to a sterile white-wall gallery, what meaning would be lost? What would be gained?
Analyze the contextual pivot...
"Every object is a fossil of a human intention."
Student Signature
Date of De-Installation
