Introduction
The chapter “Junk and Culture” of “Visible Signs” by Crow is dedicated to how discarded everyday objects can become art pieces and why some objects are treated with reverence while others stay forgotten. The chapter examines a variety of aspects, from the creative value of dirt to the transition of rubbish to valuable objects. This paper will examine the various points that are brought up by the chapter, and examples of each point will be provided.
Examples
The article opens with a quote by Mary Douglas in which she examines the nature of dirt and its place in human society. She examines dirt as not only the material dirt but as the status of being dirty. For example, she states that while shoes may be clean, if they are placed on the dining table they become seen as a sign of dirtiness (Crow 145). The main point of her quote is that when something contradicts the classifications placed by society on an object, then the object becomes dirt. Another example of this might be the act of eating in a car. Even if the person eats in a neat fashion and if the car is recently washed, it still creates a feeling of dirtiness within some people.
The article continues exploring this theme by considering the danger that is often associated with objects that are outside the social conventions, like chipped plates or gloves with holes. While the actual danger may be minimal, these issues are often the reason behind objects being discarded. The concepts of official and unofficial language are brought up to show that dirt and rubbish objects are often representative of the unofficial language (Crow 146).
The author proposes the ides of patterns and disorder. Patterns represent official language, but they are considered to be limited in some ways, while disorder has no limits and can make for an infinite pattern (Crow 147). For instance, an art piece such as a portrait of a noble has strict rules that it has to follow to be accepted as a portrait. On the other hand, an old crane left in an abandoned town may seem beautiful even though it is practically useless.
The subsequent section of the chapter is dedicated to “Rubbish Theory” and how different authors approach it. The section begins by posing a question about the nature of rubbish that we keep in spare rooms, garages or other types of domestic storage. An essay titled “Rubish Theory” by Jonathan Culler states that it may include mementos left from relatives, postcards or outdated clothing (Crow 148). Such items often become elements of art installations due to their ability to show a visual representation of memory.
Michael Thompson’s ideas on the “Rubbish Theory” add the concept of semiotic categories of objects. He separates all objects into three categories based on their economic value. The first is transient cultural objects. Objects of this category depreciate in value over time. For example, a trendy gadget such as a fidget spinner may lose its value in a matter of months. The second category is called “durable objects.” These objects do not depreciate with time and in fact, may increase in their value. Such objects can be represented by antique paintings, classic cars, and various types of collectible goods such as vintage music albums.
Some items may even start as inexpensive and seemingly transient objects, but years later they could become fashionable again (Crow 143). Coins for instance often become collectible when a new standard or monetary system is introduced into the market (Corsi et al. 730; Foss 954). The third semiotic category of objects unites all the objects that never have value. While certain design conventions can experience a revival in popular culture, those that were not popular when they were introduced are not likely to experience such a change. For example, a pair of imitation Nike shoes would not become valuable later because it has next to no value currently (Crow 151; Maftei 246).
Mary Douglas’ essay “Purity and Danger,” a quotation from which was used in the opening of the chapter, provides a parallel to the idea of transient items through the examination of dirt. While dirt is seen as an unwanted element when it is present in a clean setting, it loses this identity when it is surrounded by other dirt or rubbish. In a way, it loses its value as a dangerous object. However, when dirt is formless, it can be seen as a constructive force (Crow 152). For example, a field with fertile soil is extremely valuable, but when the same soil is present in food, it becomes destructive and unwanted.
The last section examines how cultural rubbish becomes authorized and recognized as art. Johnathan Culler’s “Rubbish Theory” is brought up again to showcase the two types of artifacts: utilitarian and those without purpose (Crow 154). The purposeless artifacts often become cultural objects such as the works of the Dada art movement (Bigsby 13; Papanikolas 62). These are often represented by practical objects that are presented in a non-practical manner. Often they are found objects and not created by the author (Crow 155). Their transition is often met with controversy, but the elicited emotion only adds to their value.
Conclusion
Art created from rubbish can allow people to reexamine their view of everyday objects. Such objects can have various levels of value or may have no value at all. However, even practical objects can become art pieces through reinterpretation.
Works Cited
Bigsby, C. W. E. Dada & Surrealism. Routledge, 2017.
Corsi, J., et al. “Compositional Analysis of a Historical Collection of Cisalpine Gaul’s Coins Kept at the Hungarian National Museum.” Journal of Analytical Atomic Spectrometry, vol. 30, no. 3. 2015, pp. 730–737.
Crow, David. Visible Signs. 2nd edition, AVA Publishing, 2011.
Foss, Clive. “Coinage and Circulation in Byzantine Palestine.” Journal of Roman Archaeology, vol. 28. 2015, pp. 954–56. Cambridge Core,
Maftei, Loredana. “The Emergence of the European Counterfeit Markets.” CES Working Papers, vol. 2013, no. 2, 2013, pp. 246–53.
Papanikolas, Theresa. Anarchism and the Advent of Paris Dada: “Art and Criticism, 1914-1924 “. Routledge, 2017.