Use of everyday objects and value problem in art work

The scope and the explanation of the artwork within the institutionalized values of art and use of everyday objects after Dada and Duchamp has expand the border of the art so wide that daily life and art production is nested. Within the institutionalisms; the use, definition and the evaluation of the artwork has taken new expansions. In this thesis, it is going to be examined that the effects of using readymade objects which has started with Duchamp and Dada and affected Pop art and the whole contemporary art with its samples till today. The use of everyday objects as artworks has led to changes in the esthetic criteria based on beauty and craftsmanship and in the using of traditional materials. It has also determined the all production processes and perceptions. The idea-based art production has also changed the creation process of an artist subject as artist- thinker; presentation of a work and its connection between exhibition place and perception process. The exhibition of an art work in museums and art galleries serves the purpose of storing, protecting, documenting or selling the high and valuable unique artwork in a conventional way. However; readymades dismiss this approach. The new index in which a novel plastic narrative language based on intellectual relations needs to be used in all definitions. This situation changes the value perception and context of the artwork in classical sense. In this thesis, usage forms of an object in art history are studied by researching these problems. From hand-made objects of first settled communities to crafted artwork objects of classical-era and everyday objects has been examined. It has been questioned that with the modern era, the introduction of industrial objects with the title of 'readymade' as an artwork in the art history and in what context it changed value of artworks. As a result, the studies and the project I have made in parallel with my topic associate location, usage of everyday objects and value problems. It also emphasizes that the real problem in art production is ideology and context.