Applied studies on the perception of readymade and metamorphosis in sculpture and an exhibition

It is almost unfeasible to frame properly an object in a subject. The domain of an object is totally different from the domain of a subject. Perception and aesthetics as an experience of perception is some kind of relation between subject and object intented to resolve the tension in the middle. Art is a transforming negotiator of this relation. It was Marcel Duchamp, the first artist who elevated an ordinary mass produced industrial object to the status of the work of art having percieved it as a transformed and completed artwork in advance. He named this status of the object as readymade, since it was chosen by an artist, himself, with an indifferent attitude for strongly established aesthetic concerns. This possibility submitted to an ordinary, casual industrial object caused not only a break off the art mentality reached to his time, but also an irresistible source for the artists of next generations. Readymade is a work of art realized itself. Its transformation begins and ends with artist?s choice. Its status of being work of art begins with this choice. Any mass produced industrial object may be used in art as a material, yet this usage does not give them the right to be readymade. Readymade is not a name of a material. Readymade is a name of the status. In the first part of this thesis the relationship between subject and object in art is examined by giving historical and intellectual background. In the second part, under the title of ?reading object, the perception of ready made and transformation?, the distinction of technical object/ aesthetic object, reading object as an analysis method, ready made and tranformation processes are focused on together with the artists using the products of industry. In the third chapter, applications are introduced and the works exhibited are presented.