Güncel Sanatta Farklı Pratikleri Kullanan Kadın Sanatçılar Ve Tasarım Süreçlerinde İzledikleri Stratejiler
Anahtar Kelimeler
With Dadaism, the course of art changed, the tools of art became different for artists and the boundaries of art expanded. After the 1950s, different expressions and postmodern art styles, apart from traditional expression forms, were included in art. In this context, art, freed from its traditional structure, has established an interdisciplinary bond with different materials and concepts. Especially under the leadership of these new paradigms, contemporary artists have produced their works in different forms and strategies on the issues they find problematic. These artists, where individuality is at the forefront, act with the shapes and forms they determine through their own individual identities. It can also be said that these artists use different strategies as a tool to produce their works. In this research, Linda Nochlin’s “Why Are There No Great Female Artists?” Based on the article, the expression styles of female artists in contemporary art and the strategies they follow are researched and explained with examples. In this context, the aim of the research is to reveal the existence of women artists in the art world, where they are almost ignored and struggle with many difficulties to sustain their artistic lives, and the strategies used by women artists in contemporary art, and to examine these artists in the context of their exemplary works. The importance of the research is that it is considered important to examine female artists in a holistic way through the contemporary art works they created with the different practices of today’s art. It is thought that this research will contribute to the field due to the scarcity of research on female artists in the field of art. The literature on the subject was scanned, and the works of female artists in contemporary art were examined. “Descriptive Scanning”, a qualitative data analysis method, was used in the research and the studies were evaluated under eight (8) main headings. These titles; “Female Artists Using Video as a Contemporary Art Practice”, “Female Artists Using Installation as a Contemporary Art Practice”, “Female Artists Using Picture as a Contemporary Art Practice”, “Female Artists Using Graphic Design as a Contemporary Art Practice”, Grouped as “Female Artists Using Three-Dimensional Works as a Contemporary Art Practice”, “Female Artists Using Ceramics as a Contemporary Art Practice”, “Female Artists Using Photography as a Contemporary Art Practice” and “Female Artists Using Performance as a Contemporary Art Practice” divided into themes. Some of the female artists whose art practices were included in the research carried out their artistic production from a feminist perspective, they metaphorically reflected their daily realities in their artistic practices in video art, photography, installation, performance, painting and three-dimensionally by establishing an intersemiotic relationship, and they interpreted photography as a model based on their autobiographical narratives and their own realities. It is possible to deduce from the studies examined that they use traumatic phenomena as art strategies, accompanied by gender, identity politics and feminist discourses, and that they use their bodies as tools and make their bodies the basis of their art practices. In post-1960 art practices, there is a process that hides the existence of the subject through performance, video art, installation and photography and is shaped according to the perceptions of female artists. Therefore, it has been observed that female artists add elements of their own culture and identity to their works under the influence of the geography they live in. It can also be said that there are ironic emphasis in the works produced by some of the artists examined, especially with the influence of today’s body politics. These artists, who disguise themselves with grotesque images, present their bodies physically, visually and psychologically to the audience as a critical reflection of today’s societies. It has been observed that artists who use current art practices and strategies do not produce works according to a single style or movement, as in the modern period. Contrary to formalist paradigms, artists who replace reality with different images by using interdisciplinary or transdisciplinary contemporary art practices such as video art, installation, performance, painting, sculpture and photography in accordance with the themes and forms they want to express, accompanied by postmodernist paradigms; They have applied all kinds of postmodern art strategies such as pastiche, parody, irony, appropriation, eclectic, pluralism, collage, assemblage, juxtaposition, reformating, serendipity, abjection, manipulation, metaphor, deconstruction and activism to their work production processes. When the female artists discussed in the research are examined, it is seen that they use different practices and create the infrastructure of their works with different expression possibilities. It can be said that contemporary art approaches daily life within the form-content relationship and that female artists use creative strategies in their works based on individual and social issues. It has been observed that especially female artists use violence as a tool and benefit from the shocking strategies of contemporary art. Therefore, artists who manipulate contemporary art according to their own shapes and forms have deconstructed all kinds of concepts of postmodernism and enabled them to be read in different contexts. It was observed that the female artists examined transformed female identities in different geographies into a form of political expression accompanied by cultural codes in their works. At the same time, it has been seen that these artists reflect the sexuality imposed on women and their exclusion from social life in their works with different contemporary art practices and postmodern art strategies. From the works examined, these artists; It is possible to say that they cover many themes in their works, from mythological narratives to anthropology and issues such as identity, ethnic discrimination, sexuality, individual and social violence, gender roles, power, capitalism and memory. As a result, it is possible to say that, unlike traditional expression methods as a common expression practice of women artists, the current existence of women artists is better revealed through contemporary art practices, and from now on, contemporary art practices will be used by women artists.
Kitap Adı:
Kadın Ve Tasarım-tasarım Süreçlerine Stratejik Bakış
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