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Artists make art from found, everyday, and unusual materials by selecting objects for their appearance or meaning, then leaving them intact, altering them, or combining them into a new work. A discarded object can contribute a distinctive texture or color; its former use and new setting can also shape how the work is understood. You can explore the same ideas with a few objects from home and a reused base—no special kit required.
What counts as found-object art?
The Smithsonian American Art Museum defines a found object as a natural or manufactured item that an artist identifies as having aesthetic value. The artist may leave it as it is or change it before including it in a larger work. Smithsonian American Art Museum: Found Object Artworks
Assemblage is one way to use found objects: MoMA describes it as a three-dimensional artwork made by combining materials, including found objects and nontraditional art materials. A found object is something selected; assemblage describes a way of bringing objects and other materials together. A readymade is related but distinct: in the account of the San Antonio Museum of Art, Marcel Duchamp presented a functional, mass-produced object in a new context, shifting its significance through selection and framing. Assemblage tends to combine multiple things, though the practices can overlap. MoMA: Noah Purifoy activity; San Antonio Museum of Art: Readymade Remix
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The material does more than fill space. Newspaper, packaging, plants, stamps, silk, plastic, and discarded items can change a work’s shape, texture, color, luster, or transparency. Their histories and associations may add another layer: an object’s former use, source, or cultural meaning can affect what viewers see in its new setting. The Philadelphia Museum of Art describes artists using unusual surfaces and materials to address subjects including race, gender, and materialism. Philadelphia Museum of Art: Unexpected Surfaces
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Artists might leave an object recognizable, cut or reshape it, repeat it, or combine it with unrelated materials. Those decisions influence both the work’s appearance and its interpretation. The San Antonio Museum of Art notes that familiar objects, when mixed, deconstructed, or repeated, can evoke memory, culture, identity, spirituality, and personal or collective histories. Its associate curator, Lana Meador, wrote: “The artists in Readymade Remix challenge the boundaries between art and everyday life. Their work asks us to reconsider the role of ordinary materials in shaping cultural narratives.” The exhibition ran from April 12, 2025, to April 12, 2026; the release remains useful for its interpretation, not as an indication that the exhibition is currently open. San Antonio Museum of Art: Readymade Remix
Three artworks that show different uses of materials
Robert Rauschenberg, Canyon (1959)
MoMA records Canyon as a combination of painting, printed matter, fabric, cardboard, buttons, a mirror, a pillow, an industrial metal canister, a shirt cuff, and other materials, including a taxidermied eagle. The museum says the eagle had been found by artist Sari Dienes among objects headed for the trash. The work shows how painting and collage can meet physical objects in a single composition. MoMA collection record: Canyon
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Noah Purifoy, Unknown (1967)
MoMA’s activity describes a parasol armature and handle combined with patterned paper, game pieces, wood scraps, fishing-pole parts, and birdcage parts. The activity places Purifoy’s early assemblages in the aftermath of the Watts rebellion and describes his use of neighborhood debris in response to community pain and struggle. That context matters: the work is not simply an example of turning “trash into treasure.” MoMA: Noah Purifoy activity
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The National Gallery of Art identifies glass beads, wood, empty bottles, and unwanted household objects among the materials in Closet. Its familiar domestic subject is transformed by the beaded surface and the labor involved in making it. National Gallery of Art: Room
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Materials artists have used
Found and unconventional materials can come from nature, homes, workshops, or discarded objects. The Hirshhorn’s exhibition page lists examples including butterfly wings, glass shards, doll parts, automotive metal, puzzle pieces, clothing, pins, furniture, and colored sand. The page describes an exhibition featuring approximately 100 examples; that figure is the exhibition’s scope, not a count of how many artists or artworks use unconventional materials. Hirshhorn: Over, Under, Next
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Make a simple found-object assemblage
Try arranging objects before deciding whether to attach them. This keeps the focus on selection and composition, and lets you revise the work or return borrowed items to their places.
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- Gather a few objects. Look for items connected to your everyday surroundings. Choose a mix of shapes, sizes, colors, and surfaces.
- Choose a base. Use a sturdy reused surface such as cardboard or a box.
- Pick a focal object. Start with one item that catches your attention, then add other pieces around it.
- Test arrangements. Move objects around and notice how their color, shape, and size relate. Consider whether each item should remain recognizable or be partly covered or changed.
- Secure or document the arrangement. Glue or a glue stick is optional; tape is another option. You can also photograph the arrangement and return objects to where you found them.
These steps adapt MoMA’s learning activity on Noah Purifoy’s assemblages. MoMA: Noah Purifoy activity
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