After 1960, the changing understanding of art, together with conceptual art, has created an innovative environment of understanding in which the traditional perception of art has been transformed and freed from fixed rules, and objects are examined in terms of meaning, concept and intellectuality. This attitude, which was adopted by the prominent innovative artists of the period, strengthened the aesthetic concern and formalist mindset in the traditional perception of art, the phenomenon of art, which was commodified through gallery spaces, with the strong and interactive art movements of the period by getting rid of this limited framework. Works that support the narrative and integrate with the concept, works produced on the basis of the role of the object in the emphasis, provide the viewer with the opportunity to think, and establish a bond between the work and the viewer. This new development has brought together the art of ceramics, which is evaluated within a limited presentation framework due to its structure, with a wider and more impressive method like other branches of art. The aim of this study is to convey how ceramic art has started to be used in different ways from the understanding of art on pedestals with the participation of space and audience under the art of installation, how it attracts installation artists in line with the structure and production process of ceramic material, and how it brings different dimensions to the ideas and narratives of artists. The study is a qualitative research interpreted as a result of literature review, artwork observation and artist interviews carried out with data collection method. In the research, the first emergence of installation art, its development process and the changes experienced in the period until today's art understandings were investigated, and the use of ceramic material in the context of conceptualism in installation art was examined and interpreted through the works of artists.
Keywords: Installation Art, Conceptual Art, Ceramic Material