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Postmodernist sanatçı Cindy Sherman, filmlerden ve feminen dergilerden ilham aldığı kurgusal portreleri ile eleştirel fotoğrafçılığı gündeme getirmiştir. Sherman’ın eserleri fotoğraf ve performans sanatını sentezleyip postmodernizme yeni bir bakış açısı kazandırmıştır. Sherman, kadın arketiplerini ve toplumsal cinsiyet konularını marjinal bir şekilde ifade etmeyi başarmıştır. Gündeme geldiğinden beri feminist bir sanatçı olarak tanımlanan Sherman’ın eserlerinde bedene yüklenen misyon izleyiciyi daha derinden etkileyebilmek ve kimliklerimizi daha eleştirel bir dille sorgulamamızı sağlamak amacıyla abartılı bir biçimde ifade edilmiştir. Araştırmanın amacı; feminist sanat hareketinin en önemli temsilcilerinden Cindy Sherman’ın eserlerini grotesk ve fantazmagori kavramları bağlamında incelemektir. Nitel araştırma yöntemlerinden doküman analizi kullanılan araştırmada konu ile ilgili veriler, psikanalitik eleştiri yöntemi ile analiz edilmiştir. Araştırma sonucunda; Sherman’ın eserlerinde idealize edilmiş güzelliğe tepki olarak kadın figürlerini, toplumsal cinsiyet rol kısıtlamalarını, kadınlarla ilişkilendirilmiş klişe rolleri, istismarı; iğrenç, çirkin, şaşırtıcı, tedirgin edici, ürkütücü misyonları grotesk bir tavırla fantazmagorik görüntülerle ifade ettiği sonucuna ulaşılmıştır. Postmodernist sanatçı Sherman eserlerinde, özelikle fotoğraf ve performans sanatını melez bir bakış açısıyla paradoksal olarak izleyiciye sunarak; kadınların sahte bronzluk, makyaj, kozmetik cerrahi ve moda aracılığıyla yaptıkları tuhaf seçimleri sorgulamaktadır. Eserlerindeki grotesk tavırlar, canlandırdığı rollerle empati kurarak hayranlık, parodi, suç ortaklığı ve alay arasında oldukça ince bir çizgide dengede kalmaktadır. İzleyicinin kurguya dâhil olduğu, ancak nasıl okunacağı konusunda yönlendirilmediği grotesk görüntüler; bazen büyüleyici, bazen şaşırtıcı, bazen savunmasız, bazen tehditkâr, bazen iğrendirici, bazen korkutucu ama her şeyden önemlisi asla Sherman’ın kendisi olmayan; oldukça yaratıcı ve eleştirel bir bakış açısının fantazmagorileridir.
Postmodernist artist Cindy Sherman has brought up critical photography with his fictional portraits inspired by films and female magazines. Sherman’s works synthesized the photography and performance art and gave a new perspective to postmodernism. Sherman has managed to express marginally women’s archetypes and social gender issues. Sherman’s work, which has been defined as a feminist artist since the day, has been exaggerated in an exaggerated way in order to be able to influence the audience more deeply and ensure that we can question our identities in a more critical language. The purpose of the study is to explore the works of Cindy Sherman, one of the most important representatives of the feminist art movement, in the context of grotesque and fantasy concepts. Qualitative research methods of document analysis used in the research data related to the subject were analyzed by psychanalytic critic method. According to the research, Sherman’s works, as a response to the idealized beauty, found that the female figures, the social gender roles restrictions, the clash roles associated with women, the abuse, the disgusting, ugly, surprising, annoying, scary missions were expressed in a grotesc attitude with fantasy images. Postmodernist artist Sherman, in his works, in particular the photographic and performance art in a paradoxical perspective to the audience; questioning the strange choices that women make through false bronze, makeup, cosmetic surgery and fashion. The grotesque attitudes in their works are balanced in a very thin line between admiration, parody, crime partnership and laughter, creating empathy with the roles they play. The grotesque images that the spectator is included in the fiction, but not directed on how to read; sometimes fascinating, sometimes surprising, sometimes unsustainable, sometimes threatening, sometimes angry, sometimes scary, but most importantly never Sherman himself; are the fantasies of a very creative and critical point of view.
Postmodernist artist Cindy Sherman has brought critical photography to the agenda with her fictional portraits inspired by films and women’s magazines. Sherman's works have synthesized photography and performance art and brought a new perspective to postmodernism. Sherman has managed to articulate female archetypes and gender issues in an eccentricl way. Defined as a feminist artist since she came under the spotlight, Sherman exaggerated the mission imposed on the body in her works to affect the audience more deeply and to enable us to question our identities with a more critical language. Purpose of the current research is to examine the works of Cindy Sherman, one of the most important representatives of the feminist art movement, in the context of the concepts of grotesque and phantasmagoria. The research uses document analysis, one of the qualitative research methods. The data were analyzed with the psychoanalytic criticism method. The research stipulates that Sherman’s works express female figures as disgusting, ugly, surprising, disturbing, frightening missions with phantasmagorical images in a grotesque manner in response to idealized beauty standards, gender role restrictions, stereotypical roles associated with women, and abuse. In her works, the postmodernist artist Sherman paradoxically presents photography and performance art to the audience with a hybrid perspective and questions the bizarre choices women make through fake tan, makeup, cosmetic surgery, and fashion. Empathizing with the roles she portrays, she balances a fine line between admiration, parody, complicity and mockery through the grotesque attitudes in her works. The grotesque images in which the viewer is involved in the setup but not guided in how to interpret are sometimes fascinating, surprising, or vulnerable, at other times threatening, disgusting, or frightening phantasmagorias of a highly creative and critical point of view, but above all, never of Sherman herself.
Alan : Hukuk; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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