CİNDY SHERMAN'S APPROPRİATE MADONNA AND CHİLD JESUS SQUARE #216

Abstract

The action of "appropriation", which arises as a reaction to the tendency of modern art products to be unique (singularity) or a creative original (pure), has been developed to express the impossibility of producing something new in artistic production. The originality of the work, which has been appropriated by the artist, is preserved and regains its existence in a new context. Undoubtedly, the quoted work changes in terms of time and the quoting artist updates it by adding a piece of himself. With the art of appropriation or the method of appropriation, which finds its place as a technique in postmodern art, it is ensured that the originality of the works of art is preserved, their recognition is not deteriorated and they are revised accordingly. One of the important features of postmodernist photography, which is practiced by many artists, especially Cindy Sherman, is that it is reproduced faithfully to the original work. He questioned and reproduced Jean Fouguet's painting "Mary Surrounded by Angels and Child Jesus" in the 'Untitled#216' frame that Sherman dealt with, in the method of appropriation. The similarities of the figures between the work that the artist appropriated and the composition he created preserved the recognition of the original work. It has been concluded that Sherman is both a defender of feminism and references to modern period paintings with his Postmodernist photographs in his works that have multiple meanings. Based on these results, the appropriation method in the photograph "Untitled #216", which is considered in the inter-art dimension, has been evaluated. In this study, the art of photography, which is seen as an experimental approach, and Sherman's appropriation method in art practice are examined. At the same time, how the artist uses this technique in his works with different methods and how he expresses the meaning that determines the content has been determined by examining the original work.