Demirci, Mehmet HasanKurt, Cuneyt2024-09-182024-09-1820222148-3582https://doi.org/10.26650/artsanat.2022.17.879592https://search.trdizin.gov.tr/tr/yayin/detay/1117049https://hdl.handle.net/20.500.12483/10669In the 1980s, the definition, boundaries and purpose of Turkish art entered the process of change and increased its prominence with different approaches. After these years, conceptualization, creating different forms and content, and the emphasis on alternative objects have become common in works with installation-oriented understandings that started in Turkish art. In this direction, the intellectual and conceptual inquiries of Turkish artists on the work have increased, and the way they approach the object has been a factor in the creation of the work. The works of Gulsun Karamustafa, who exhibits topics such as migration, memory, identity, cultural expression, kitsch, popular culture images, and gender with her unique expressions, especially based on everyday objects, draws attention. In the 1980s, the definition, boundaries and purpose of Turkish art entered the process of change and increased its prominence with different approaches. After these years, conceptualization, creating different forms and content, and the emphasis on alternative objects have become common in works with installation-oriented understandings that started in Turkish art. In this direction, the intellectual and conceptual inquiries of Turkish artists on the work have increased, and the way they approach the object has been a factor in the creation of the work. The works of Gulsun Karamustafa, who exhibits topics such as migration, memory, identity, cultural expression, kitsch, popular culture images, and gender with her unique expressions, especially based on everyday objects, draws attention.trinfo:eu-repo/semantics/openAccessInstallationKitschObjectDaily ObjectCultural ExpressionArticle178310110.26650/artsanat.2022.17.8795922-s2.0-85124818716Q21117049WOS:000749100200004N/A