혼성 모방과 외적 인격의 예술사진 고찰 - 신디 셔먼 사진을 중심으로 -

Abstract

Photography is not just a simple means of mechanical reproduction.. As a brush is a tool for a painter, a camera is a mechanical tool for a photographer. This study focuses on the analysis of the works of Cindy Sherman, who, in the late 20th Century and beginning of the 21st Century, is a standard-bearer for postmodernism. This research is intended to help readers understand the characteristics of media influx. Visual arts, paintings, prints, sculptures, and video art comprise one cultural code, and have widely and deeply penetrated daily life through the message they convey: a visual language in which cannot be understood without understanding contemporary photographic images and history. Cindy Sherman defines herself as an "artist" rather than a photographer and many diverse elements are found in her works. She secured her name as one of the most notable artists in the late 20th century by turning a camera to herself. Although her major works are self-portraits in disguise, or as a persona, they are not portraits of the person you could meet. Instead, she takes advantage of herself by means of raising a variety of social issues. Through photographies of special and various roles such as woman, artist, and as a actress portraying important issues, she constructs and develops her special and unique style. In Sherman's art photography, text images, metaphor, and allegoric meaning reach the tacit language of photography via the route of visual ecstasy. Thus, this study intends to illuminate the idea and artistic view of Sherman, one of the most notable artists in the present time and feminist artist, and the position of her art photography in modern art history by analyzing and examining her entire ouvre. The focus of analyzing her world of art is on visual image and allegoric meaning of individual art.