UNMONUMENTAL

Summary 

UNMONUMENTAL

Going to Pieces in the 21st Century  

 By Laura Hoptman

Sculpture can be viewed  as the leaders of contemporary art. Sculptures of the 21st century have two main ideas assemblage and unmonumentality.  Assemblage was seen as a way to achieve unmonumentality in sculpture. Sculpture has moved away from its traditional forms moulded, cast or carved. Early in the 20th century the first sculptural experiments  about using found objects were explored in Europe leading sculpture to have an extensive array of materials. The new out look on association and assemblage is a result of the large amount of choice and no limits to what materials can be used so the process of creating the sculpture has become equally valued to the product. Contemporary assemblage is known as being unmonumental. ‘Unmonumental’  describes a form of sculpture that intentionally lacks in ‘monumental’ values including massiveness, timelessness and public significance. Unmonumental is also a representation of the sculptors beliefs and opinions. Sculptures of the 21^st century are more personal due to changes in technology there is more information available and viewing art is now more accessible. Rauschenburg’s intended to utilize styles and techniques from past artists but plan to create his own path of style through his work. Rauschenburg’s series of “Combines”, are a mixture of paintings and sculptures from 1954-1964, are an example of assemblage’s height. Tho the term assemblage did not have enough momentum to become a movement or art period. The focus of many works during the  time of assemblage is the juxtaposition of everyday objects and that two or more objects can live within the artwork leading the objects to have both individual and a collective meaning. ‘Physiognomic fallacy’ was a term used by E. H Gombrich, which explored the assumption that artistic forms are direct reflections on the nature of the society that created it. Assemblage could be the result of disorder within the world at the time, instead of a means to reflect it. It can be seen that sculptors today don’t focus on ‘what art can be’ or pushing the boundaries, but how their works can engage in contemporary life issues.