Published on February 24, 2014
The found object (objet trouvé) The found object is one which when seen among a large number of other objects posseses an attraction.
The natural object This may be a root or a seashell, but the surrealist always preferred stones.
The interpreted found object This is most frequently an ornament or a utensil which has been converted by sleight of hand into a bizarre object.
Never (1938), by Óscar Domínguez An old phonograph, pai nted white, with a woman’s legs emerging from the horn.
The interpreted natural object In this case, a poetic camouflage either entirely conceals the characteristics of the root or the stone on which it is based, or on the other hand faithfully follows its suggestions.
The readymade This term can be applied only to an industrially mass-produced object whose function is altered, and which is dragged from its context of automatic reproduction in the most ingenious way possible.
Gift (1921), by Man Ray A flat-iron with its ironing surface bristling with nails.
The assemblage This is made up of natural objects or found objects arranged to form a sculpture.
Are You Niniche? (1956), by Max Ernst Made by using two yokes and a printing plate.
The incorporated object This is an object associated with a painting or a sculpture in such a way that it cannot be removed without depriving the work of its raison d’être.
The Spanish Dancer (1928), by Joan Miró A hatpin and a feather are fastened to the virgin canvas.
The phantom object The phantom object is an object which might be made, but which is instead merely suggested by a verbal or graphic description. The phantom object can also be an object which does not exist, but whose existence, by some subterfuge, is made to be felt and its absence regretted.
The invisible object (1934-5), by Alberto Giacometti A woman whose hands clutch at empty space, holding something which does not exist but to which the sculptor seems to have given volume, although it cannot be seen.
The dreamt object It is a humble, familiar object, which by some caprice of desire is given a sumptuos appearance.
Cup, saucer and spoon in fur (1936), by Meret Oppenheim
The box This object comprises the arrangement of various elements brought together in a box.
Taglioni’s Jewel Casket (1940), by Joseph Cornell
The optical machine
Rotary demi-sphere (1925), by Marcel Duchamp A glass robe surrounded by a copper disc which bears an inscription.
The poem-object This is a kind of relief which incorporates objects in the words of a poetic declaration so as to form a homogeneous whole.
Poem-object (1935), by André Breton
The mobile and mute object An irritating, disconcerting object, one element of which moves although the necessity for the movement is not clearly perceptible.
The Hour of Traces (1930), by Alberto Giacometti A wooden ball with a notch is suspended by a violin string over a crescent.
The Necrophile (1964-5), by Jean Benoît
Bibliography Surrealist Art (1970), by Sarane Alexandrian
Bases del Diagnóstico AMDG. Objetivo Operacionalizar una variable a través del método científico con objeto de evaluación integral.
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