Yazar : Ebru DEDE
Türü : Özgün Makale
Baskı Yılı : Aralık 2020
Doi Number : http://dx.doi.org/10.29228/ijiia.129
Sayı : 11
Dönem : 5.Cilt Kasım/Aralık Kış Dönemi
Tarih : 2020-05-30 20:16:17


This study investigates the effects of facing trash in contemporary art, created from the products which have become meaningless soon after being bought with desire as a result of fast consumption. There is a fascinating history of using trash as a material for making artworks. The examples in the 20th century art history, which are examined under the titles of ready-made objects, arte povera, conceptual art and contemporary art, are so many that they can be collected under the title of trash art. The problematics of “visible trash” in art galleries could be summarized as the reflection of environmental pollution, psychological factors, and anti-aesthetic results. According to Baudrillard’s view of “throw-away society,” the madness of buying more things than needed and lavishness are some of the main problems of our age. Trash could be seen as a shadow of the society in the capitalist age, as John Scanlan mentions. As Jung argued, we have to realize our shadow and integrate it into our personality. When wastes are transformed into artworks by contemporary artists, it is disputable if trash art has traces of spectators’ past, which they want to forget. When trash is exhibited as itself, what it means might be obscure for some people. For instance, the cleaner of the gallery where Damien Hirst’s installation was exhibited threw away the cigarette butts, empty beer bottles, and stacks of newspapers as he did not understand they were the pieces of the installation. It is agreed that trash art has come into question with its anti-aesthetic aspect in postmodern times. However, the aim of the contemporary artist is not an aesthetical artwork, but might be a conceptual one. It is a very definite judgment that the art ends as Donald Kuspit claims, when contemporary artists keep working and try to affect the society their ideas. So, even if relinquished aesthetics, Kuspit’s judgment is discussed.

Keywords :

Postmodernism, Contemporary Art, Trash, Installation, Consumption Culture
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