신디 셔먼과 야스마사 모리무라의 <초상화> 도용에 관한 연구

Abstract

Defining appropriation in the postmodernism as single concept is difficult. However, appropriation has always set forth as a premise, which appropriated image had already been existent. Besides, appropriation with artist’s creative performance can gives original works rebirth with different and new signification. In early 1980’s, deconstruction and appropriation of Douglas Crimp, appropriation and allegory of Craig Owens and postmodern parody theory of Linda Hutcheon clearly which hauled young photographers to the main current of fine arts suggests the concept of appropriation and misappropriation. Based on them the above, this thesis reviews the subjects that Cindy Sherman’s “History of Portrait” and Yasumasa Morimura’s “Daughter of Art” series appropriated, and the way to reproduce them. Two artists have their own different starting mark as man and woman and the West and the Orient. Thus through the comparison with two artists the above, this thesis would like to vertically consider the Western Art History’s effect to the gender, race and formation of ethics, horizontally confirm how postmodernism artists newly would establish the relation the subject and others, or an individual and crowd, and recognize their critical point. In Sherman’s History Portrait, this thesis could confirm only a stereotyped model of female as the communal identity without stated ego. By doing gender, Sherman shows that they cannot be symbolized as genuine model of female since original images was just socially formed. After removal of herself, her self-portrait exactly shows herself to find Ego that has been created and changed, but not fixed. Morimura wanted to reveal that, as a marginal man, she was located at the further place than western female artists by overlapping herself in the western fine arts in the series of Daughter of Art History. In other words, Morimura has destroy preexisted western fine arts and their logic which is dual structure with the center and the margin by, in her works, specifying component to resist the dominant paradigm in an white male-dominated society. Such her works paradoxically helps her easily enter the main stream of western fine arts with the current of photo-centric fine arts and her position of the marginal man. To conclude, through two artists’ putting themselves in the circular orbit of art history by the appropriation of Portrait, they would like to find their identity as an artist. At the same time, they object the formation of race, gender and class. Through their works, this thesis could confirm that the appropriation strategy required finality, historical attitude and proper insight on the contemporaneity of the performance of appropriation to deconstruct original works and add new ingredient