'Unmonumental' by Laura Hoptman

‘Unmonumental’ by Laura Hoptman

In this article by Laura Hoptman, Hoptman focuses mainly on the differences of 20^th and 21^st century assemblage and the use of the quotidian object. The two main points of discussion are how assemblage was in the 20^th century and how it has changed and re-merged in the 21^st.

 In the past, (20^th century) assemblage sculptures were made up of objects that were of similar contexts and when placed amongst one another were viewed with emphasis on the individual quotidian object. The pieces within the exhibition were selected at random to give the audience the freedom to find what the meaning of the exhibition was. This was the intention of the artist through the choice of materials. Due to this, the exhibitions were often more removed from society and often had a narrative feel. Assemblage was officially established in William Seitz’s exhibition, 1961, titled ‘The Art of Assemblage’.

Assemblage in the 21^st century is more focused as the selection process of the individual objects, which has become part of the way that the artist directs the audiences’ interpretation of the piece. Hence, the meaning of the piece is more direct and has a stronger impact, through the selection process. The objects selected are often taken directly from our current society, absorbing the viewer further into the piece through a sense of familiarity. Hence, instead of being a narrative piece, assemblage pieces have become more of a fragment of our chaotic world where the audience can relate to and feel more involved.

The strategy of assemblage is essentially incredible as it is created from pieces that juxtapose one another and are completely random at a glance, yet they have become holistic in the final piece and presentation. It is also that the viewer is forced to view these ordinary objects once again, yet with fresh eyes, by seeing them in an entirely new context.