{"id":4547,"date":"2024-08-09T00:23:23","date_gmt":"2024-08-08T22:23:23","guid":{"rendered":"https:\/\/nudeartworkshops.com\/?p=4547"},"modified":"2025-09-21T22:56:40","modified_gmt":"2025-09-21T20:56:40","slug":"1970lerde-nu-sanat-fotografciliginin-cagdas-donemi-derinlemesine-bir-kesif-sunuyor","status":"publish","type":"post","link":"https:\/\/nudeartworkshops.com\/tr\/the-contemporary-era-of-nude-art-photography-1970s-present-an-in-depth-exploration\/","title":{"rendered":"N\u00fc Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131n \u00c7a\u011fda\u015f D\u00f6nemi (1970'ler-g\u00fcn\u00fcm\u00fcz): Derinlemesine Bir Ara\u015ft\u0131rma"},"content":{"rendered":"

Bir Sava\u015f Alan\u0131 Olarak Beden: \u00c7a\u011fda\u015f D\u00f6nemde N\u00fc Foto\u011fraf\u00e7\u0131l\u0131k (1970'ler-G\u00fcn\u00fcm\u00fcz)<\/h1>\n

1970'lerden g\u00fcn\u00fcm\u00fcze uzanan \u00c7a\u011fda\u015f D\u00f6nem, n\u00fc foto\u011fraf tarihinde radikal bir d\u00f6n\u00fcm noktas\u0131na i\u015faret eder. Bir zamanlar \u00f6ncelikle estetik g\u00fczelli\u011fin ya da bi\u00e7imsel deneylerin konusu olan \u00e7\u0131plak beden, siyasi, sosyal ve ki\u015fisel m\u00fccadelenin sava\u015f alan\u0131 haline geldi. \u0130kinci dalga feminizmin y\u00fckseli\u015fi, LGBTQ+ haklar\u0131 hareketi, AIDS krizi ve kimlik politikalar\u0131n\u0131n patlamas\u0131yla beslenen foto\u011fraf\u00e7\u0131lar, zamanlar\u0131n\u0131n en acil konular\u0131n\u0131 ke\u015ffetmek i\u00e7in insan formunu bir tuval olarak kullanmaya ba\u015flad\u0131lar. Bu d\u00f6nem, seslerin ve bedenlerin radikal bir \u015fekilde \u00e7e\u015fitlenmesiyle tan\u0131mlan\u0131r ve kimlik, cinsiyet, \u0131rk ve g\u00fc\u00e7 konular\u0131yla genellikle k\u0131\u015fk\u0131rt\u0131c\u0131, son derece ki\u015fisel ve derinden etkili bir \u015fekilde do\u011frudan y\u00fczle\u015fir.<\/p>\n

Robert Mapplethorpe (1946-1989): K\u00fclt\u00fcr Sava\u015flar\u0131n\u0131n Provokat\u00f6r\u00fc<\/h2>\n
\"Foto\u011fraf\u00e7\u0131

Robert Mapplethorpe<\/p><\/div>\n

\u00c7ok az foto\u011fraf\u00e7\u0131 Robert Mapplethorpe kadar tart\u0131\u015fmalara yol a\u00e7m\u0131\u015ft\u0131r. Klasik tarzda \u00e7ekti\u011fi siyah-beyaz foto\u011fraflar\u0131 1980'lerin sonundaki Amerikan \"k\u00fclt\u00fcr sava\u015flar\u0131 \"nda bir parlama noktas\u0131 haline gelmi\u015f ve sans\u00fcr, sanat i\u00e7in kamu finansman\u0131 ve neyin \"sanat\" neyin \"m\u00fcstehcenlik\" oldu\u011fu hakk\u0131nda ulusal bir tart\u0131\u015fmay\u0131 zorlam\u0131\u015ft\u0131r.<\/p>\n

Klasik Beden, Queer Bak\u0131\u015f<\/h3>\n

Mapplethorpe'un \u00e7al\u0131\u015fmalar\u0131n\u0131 bu kadar patlay\u0131c\u0131 yapan \u015fey, R\u00f6nesans heykellerini an\u0131msatan zarif, bi\u00e7imsel g\u00fczelli\u011fi, o zamanlar tabu olarak kabul edilen konularla, \u00f6zellikle de New York'taki BDSM alt k\u00fclt\u00fcr\u00fcn\u00fc belgelemesiyle birle\u015ftirmesiydi. Y\u00fcksek sanat\u0131n me\u015frula\u015ft\u0131r\u0131c\u0131 dilini queer arzuyu onaylamak i\u00e7in kulland\u0131. Foto\u011fraflar\u0131 \"Polyester Tak\u0131m Elbiseli Adam\" (1980)<\/strong> onun \u00e7at\u0131\u015fmac\u0131 tarz\u0131n\u0131n en iyi \u00f6rneklerinden biridir. G\u00f6r\u00fcnt\u00fcy\u00fc s\u0131k\u0131ca k\u0131rparak \u0131rk, cinsellik ve bak\u0131\u015f politikalar\u0131 hakk\u0131nda zorlu sorular ortaya atm\u0131\u015ft\u0131r.<\/p>\n

\"Polyester

\"Polyester Tak\u0131m Elbiseli Adam\" (1980)<\/p><\/div>\n

Meydan Okuyan Kad\u0131nl\u0131k: Lisa Lyon Serisi<\/h3>\n

\u0130lk kad\u0131n v\u00fccut geli\u015ftirme \u015fampiyonu ile yapt\u0131\u011f\u0131 i\u015fbirli\u011finde, Lisa Lyon<\/strong>Mapplethorpe geleneksel kad\u0131nl\u0131k ideallerine radikal bir \u015fekilde meydan okudu. Kad\u0131n\u0131n g\u00fc\u00e7l\u00fc ve kasl\u0131 fizi\u011fini, erkek \u00e7\u0131plaklar\u0131na uygulad\u0131\u011f\u0131 klasik sayg\u0131yla foto\u011fraflad\u0131. Ortaya \u00e7\u0131kan a\u015fa\u011f\u0131daki gibi g\u00f6r\u00fcnt\u00fcler \u00e7\u0131\u011f\u0131r a\u00e7\u0131c\u0131 olmu\u015f, sanat tarihinin yumu\u015fak, pasif n\u00fc'lerinden \u00e7ok farkl\u0131 bir kad\u0131n g\u00fcc\u00fc ve formu vizyonu sunmu\u015f ve g\u00fczelli\u011fe kar\u015f\u0131 g\u00fc\u00e7 hakk\u0131nda \u00f6nemli feminist tart\u0131\u015fmalara yol a\u00e7m\u0131\u015ft\u0131r.<\/p>\n

\"V\u00fccut

Lisa Lyon (1982)<\/p><\/div>\n

Nan Goldin (1953-g\u00fcn\u00fcm\u00fcz): Ki\u015fisel Olan Politiktir<\/h2>\n
\"\u00c7a\u011fda\u015f

Nan Goldin<\/p><\/div>\n

Mapplethorpe sava\u015flar\u0131n\u0131 galerinin resmi dilinde verirken, Nan Goldin politik olan\u0131 derin ki\u015fisel olana ta\u015f\u0131d\u0131. Onun samimi, enstantane tarz\u0131 esteti\u011fi \u00e7\u0131plakl\u0131\u011fa ham, g\u00fcnl\u00fcksel bir d\u00fcr\u00fcstl\u00fck getirdi ve feminist mantran\u0131n \"ki\u015fisel olan politiktir\" s\u00f6z\u00fcn\u00fc kan\u0131tlad\u0131.<\/p>\n

\"Cinsel Ba\u011f\u0131ml\u0131l\u0131\u011f\u0131n T\u00fcrk\u00fcs\u00fc\": Bir Neslin Ar\u015fivi<\/h3>\n

Goldin'in ufuk a\u00e7\u0131c\u0131 \u00e7al\u0131\u015fmas\u0131, \"Cinsel Ba\u011f\u0131ml\u0131l\u0131\u011f\u0131n Balad\u0131\" (1986)<\/strong>Boston, New York ve Berlin'in bohem alt k\u00fclt\u00fcrlerindeki arkada\u015flar\u0131 ve sevgilileri olan \"kabilesini\" belgeleyen, s\u00fcregelen bir g\u00f6rsel g\u00fcnl\u00fckt\u00fcr. Yatakta bir \u00e7iftin \u015fefkatli portresi gibi g\u00f6r\u00fcnt\u00fcler son derece ki\u015fiseldir ve a\u015fk, uyu\u015fturucu kullan\u0131m\u0131, yak\u0131nl\u0131k ve kay\u0131p anlar\u0131n\u0131 g\u00f6z\u00fc kara bir samimiyetle yakalar. Bu \u00e7al\u0131\u015fma, k\u0131sa s\u00fcre sonra AIDS krizi taraf\u0131ndan harap edilecek bir toplulu\u011fun dokunakl\u0131 bir ar\u015fivi haline geldi ve ki\u015fisel projesini hayati ve y\u00fcrek par\u00e7alay\u0131c\u0131 bir tarihi belge haline getirdi. \u00c7al\u0131\u015fmalar\u0131ndaki \u00e7\u0131plakl\u0131k asla performatif de\u011fildir; bu sadece bir varolu\u015f halidir, insan ba\u011flant\u0131s\u0131n\u0131n ham k\u0131r\u0131lganl\u0131\u011f\u0131n\u0131n bir kan\u0131t\u0131d\u0131r.<\/p>\n

\"Nan

\"Cinsel Ba\u011f\u0131ml\u0131l\u0131\u011f\u0131n T\u00fcrk\u00fcs\u00fc \"nden<\/p><\/div>\n

Sally Mann (1951-g\u00fcn\u00fcm\u00fcz): Tart\u0131\u015fmal\u0131 Anaerkil<\/h2>\n
\"Amerikal\u0131

Sally Mann<\/p><\/div>\n

Sally Mann'\u0131n ailesine ve G\u00fcney Amerika'ya ait g\u00fczel ve ak\u0131lda kal\u0131c\u0131 foto\u011fraflar\u0131 aile, masumiyet ve temsiliyet hakk\u0131nda derin sorular ortaya atm\u0131\u015ft\u0131r. Geni\u015f formatl\u0131 kameralar ve antika foto\u011frafik s\u00fcre\u00e7ler kullanan sanat\u00e7\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131, \u00e7o\u011fu zaman tart\u0131\u015fmal\u0131 i\u00e7eri\u011fini gizleyen zamans\u0131z ve ressamca bir niteli\u011fe sahiptir.<\/p>\n

\"Yak\u0131n Aile\" ve Annenin Bak\u0131\u015f\u0131<\/h3>\n

Onun serisi \"Immediate Family\" (1984-1994)<\/strong>K\u00fc\u00e7\u00fck \u00e7ocuklar\u0131n\u0131n \u00e7\u0131plak foto\u011fraflar\u0131n\u0131 i\u00e7eren bu foto\u011fraf, sanat ve istismar aras\u0131ndaki \u00e7izgi hakk\u0131nda \u015fiddetli bir tart\u0131\u015fmaya yol a\u00e7t\u0131. A\u015fa\u011f\u0131daki gibi g\u00f6r\u00fcnt\u00fcler, hem pastoral bir \u00e7ocuklu\u011fu hem de tedirgin edici, erken bir yeti\u015fkinlik duygusunu yakalayan g\u00fc\u00e7l\u00fc bir ikili\u011fe sahiptir. Y\u0131llar sonra, serisi \"Gururlu Beden\"<\/strong> kocas\u0131n\u0131n ya\u015flanan bedeni \u00fczerine \u015fefkatli ve g\u00f6z\u00fc kara bir \u00e7al\u0131\u015fma sunarak, geleneksel bak\u0131\u015f\u0131 radikal bir \u015fekilde tersine \u00e7evirip a\u015fk\u0131 ve \u00f6l\u00fcml\u00fcl\u00fc\u011f\u00fc bir kad\u0131n\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131ndan ke\u015ffetti.<\/p>\n

\"Sally

\"Yak\u0131n Aile \"den<\/p><\/div>\n

Joel-Peter Witkin (1939-g\u00fcn\u00fcm\u00fcz): Grotesk ve Abject Beden<\/h2>\n

\u00c7\u0131plakl\u0131\u011f\u0131n s\u0131n\u0131rlar\u0131n\u0131 geleneksel g\u00fczelli\u011fin \u00e7ok \u00f6tesinde zorlayan Joel-Peter Witkin, insan varolu\u015funun en karanl\u0131k k\u00f6\u015felerini ke\u015ffeden karma\u015f\u0131k, \u00fcrk\u00fct\u00fcc\u00fc tablolar yarat\u0131yor. \u00c7al\u0131\u015fmalar\u0131nda klasik resimden, \u00f6zellikle de Goya ve Bosch'un eserlerinden b\u00fcy\u00fck \u00f6l\u00e7\u00fcde etkilenen Witkin'in \u00f6zneleri toplumun u\u00e7 s\u0131n\u0131rlar\u0131ndan geliyor: cesetler, hermafroditler ve fiziksel deformasyonlara sahip bireyler.<\/p>\n

Sefaletle Y\u00fczle\u015fmek<\/h3>\n

Witkin'in foto\u011fraflar\u0131, filozof Julia Kristeva'n\u0131n \"abject\" dedi\u011fi \u015feyle -kimli\u011fi, sistemi ve d\u00fczeni bozan \u015feyle- do\u011frudan bir y\u00fczle\u015fmedir. \u00c7al\u0131\u015fmalar\u0131 izleyiciyi g\u00fczellik, normallik ve insan formunun kutsall\u0131\u011f\u0131 tan\u0131mlar\u0131n\u0131 sorgulamaya zorluyor. Negatiflerini \u00e7izerek ve de\u011fi\u015ftirerek, \u015fok edici konular\u0131n\u0131 unutulmu\u015f, kabus dolu bir tarihten kal\u0131nt\u0131lar gibi hissettiren s\u0131k\u0131nt\u0131l\u0131, antika bir nitelik yarat\u0131yor. Grafik do\u011falar\u0131 nedeniyle burada hi\u00e7bir g\u00f6rsele yer verilmemi\u015f olsa da, \"\u00d6p\u00fcc\u00fck\" (kesik bir kafan\u0131n yer ald\u0131\u011f\u0131) gibi eserler, meydan okuyan, transgresif sanat\u0131n d\u00f6n\u00fcm noktalar\u0131d\u0131r.<\/p>\n

Cindy Sherman (1954-g\u00fcn\u00fcm\u00fcz): Yap\u0131s\u00f6k\u00fcm\u00fcne U\u011frayan Postmodern Beden<\/h2>\n

Erken d\u00f6nem \u00e7al\u0131\u015fmalar\u0131 kad\u0131n arketiplerini yap\u0131bozuma u\u011frat\u0131rken, Cindy Sherman'\u0131n \u00e7a\u011fda\u015f d\u00f6nemdeki sonraki \u00e7al\u0131\u015fmalar\u0131 bedenin kendisini yap\u0131bozuma u\u011fratmaya ba\u015flad\u0131. 1980'lerin sonlar\u0131nda ve 1990'larda kendi portresinden uzakla\u015farak t\u0131bbi mankenler ve protez v\u00fccut par\u00e7alar\u0131 kullanarak grotesk, rahats\u0131z edici sahneler yaratt\u0131. \u00d6rne\u011fin \"Seks Resimleri\" serisi, a\u00e7\u0131k, neredeyse klinik pozlarda par\u00e7alanm\u0131\u015f anatomik bebekler i\u00e7eriyor. Bu g\u00f6r\u00fcnt\u00fcler, pornografi ve pop\u00fcler k\u00fclt\u00fcrde kad\u0131n bedeninin nesnele\u015ftirilmesi ve par\u00e7alanmas\u0131na y\u00f6nelik g\u00fc\u00e7l\u00fc bir ele\u015ftiri niteli\u011fi ta\u015f\u0131yor. Sherman, kendi varl\u0131\u011f\u0131n\u0131 ortadan kald\u0131rarak ve yapay bedenler kullanarak, \u00e7\u0131plak hakk\u0131ndaki tart\u0131\u015fmay\u0131 postmodern bir sonuca g\u00f6t\u00fcr\u00fcr: \"do\u011fal\" beden gitmi\u015f, yerine bir sim\u00fclasyon, d\u00fczenlenecek ve yeniden d\u00fczenlenecek bir par\u00e7alar koleksiyonu gelmi\u015ftir.<\/p>\n

Bedeni Geri Kazanmak: Kimlik, Irk ve Queerlik<\/h2>\n

Bu d\u00f6nemde marjinalle\u015ftirilmi\u015f topluluklardan sanat\u00e7\u0131lar politik n\u00fc sanat\u0131<\/strong> kimliklerini geri kazanmak ve onlar\u0131 s\u0131kl\u0131kla d\u0131\u015flam\u0131\u015f ya da kli\u015fele\u015ftirmi\u015f olan sanat tarihine meydan okumakt\u0131. Bu sanat\u00e7\u0131lar i\u00e7in n\u00fc sadece ki\u015fisel de\u011fil, politik bir kendini onaylama ve tarihsel d\u00fczeltme eylemiydi.<\/p>\n

Rotimi Fani-Kayode (1955-1989): S\u00f6m\u00fcrge Sonras\u0131 Beden<\/h3>\n

Rotimi Fani-Kayode'nin \u00e7al\u0131\u015fmalar\u0131 \u0131rk, cinsellik ve post-kolonyal kimlik \u00fczerine g\u00fc\u00e7l\u00fc bir ke\u015fifti. Nijeryal\u0131 Yoruba miras\u0131ndan ve e\u015fcinsel bir erkek olarak deneyimlerinden yararlanarak, Siyah erkek bedenini s\u00f6m\u00fcrgeci bak\u0131\u015ftan yeniden temell\u00fck eden sahnelenmi\u015f, sembolik portreler yaratt\u0131. \u0130\u00e7inde \"Bronz Kafa\" (1987)<\/strong>ya\u015fayan, nefes alan bedenini klasik bir Afrika eseriyle yan yana koyarak k\u00f6kenler, maneviyat ve hem bedenin hem de k\u00fclt\u00fcrel miras\u0131n geri kazan\u0131lmas\u0131 hakk\u0131nda derin bir diyalog yarat\u0131yor.<\/p>\n

\"Bronz

Rotimi Fani-Kayode taraf\u0131ndan yaz\u0131lan \"Bronz Kafa\" (1987)<\/p><\/div>\n

Ajamu X (1963-g\u00fcn\u00fcm\u00fcz): Ne\u015fenin Queer Ar\u015fivi<\/h3>\n

Ajamu X, \u00e7al\u0131\u015fmalar\u0131 Siyah queer kimli\u011finin canl\u0131 ve \u00f6z\u00fcr dilemeyen bir kutlamas\u0131 olan \u0130ngiliz bir sanat\u00e7\u0131d\u0131r. Portreleri a\u00e7\u0131k\u00e7a politiktir, kli\u015felere meydan okur ve arzu, zevk ve \u00f6z-sevgi temalar\u0131na odaklan\u0131r. Onun \"Siyah Beden Manzaralar\u0131\"<\/strong> serisi, a\u015fa\u011f\u0131daki g\u00fc\u00e7l\u00fc g\u00f6rselde g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, Siyah queer ya\u015fam ve arzunun bir ar\u015fivini olu\u015fturmak i\u00e7in devam eden bir projedir ve \u00f6znelerini bir silme tarihine kar\u015f\u0131 radikal bir direni\u015f eylemi olan bir g\u00fcven ve ne\u015fe ile sunar.<\/p>\n

\"Ajamu

Ajamu X'in \"Black Bodyscapes\" adl\u0131 kitab\u0131ndan<\/p><\/div>\n

Laura Aguilar (1959-2018): Peyzajda Alan \u0130ddias\u0131<\/h3>\n

Laura Aguilar'\u0131n otoportreleri radikal bir alan talep etme eylemiydi. B\u00fcy\u00fck bedenli, i\u015f\u00e7i s\u0131n\u0131f\u0131ndan, Latin bir lezbiyen olarak, \u00e7al\u0131\u015fmalar\u0131n\u0131 geleneksel g\u00fczellik standartlar\u0131na meydan okumak ve ana ak\u0131m sanat taraf\u0131ndan genellikle g\u00f6rmezden gelinen bedenlere g\u00f6r\u00fcn\u00fcrl\u00fck kazand\u0131rmak i\u00e7in kulland\u0131. Onun \"Do\u011fa Otoportresi\"<\/strong> serisinde, \u00e7\u0131plak bedenini Amerika'n\u0131n g\u00fcneybat\u0131s\u0131n\u0131n sade manzaralar\u0131na yerle\u015ftiriyor. Ortaya \u00e7\u0131kan g\u00f6r\u00fcnt\u00fcler, a\u015fa\u011f\u0131daki gibi, onun formunun kaya ve toprakla birle\u015fti\u011fini g\u00f6steriyor ve aidiyet, k\u00f6kl\u00fcl\u00fck ve do\u011fayla uyum i\u00e7indeki t\u00fcm bedenlerin g\u00fczelli\u011fi hakk\u0131nda g\u00fc\u00e7l\u00fc bir ifade yarat\u0131yor.<\/p>\n

\"Laura

Laura Aguilar'\u0131n \"Nature Self-Portrait\" serisinden (1996)<\/p><\/div>\n

Bi\u00e7im \u00dczerine Yeni Perspektifler: Soyutlama, Yak\u0131nl\u0131k ve \u00d6l\u00e7ek<\/h2>\n

Di\u011fer \u00e7a\u011fda\u015f sanat\u00e7\u0131lar, formun kendisini temsil etmenin yeni yollar\u0131na odaklanarak veya \u00e7\u0131plakl\u0131\u011f\u0131n daha sessiz, daha samimi bir vizyonunu ke\u015ffederek farkl\u0131, daha az do\u011frudan politik yakla\u015f\u0131mlar sundu.<\/p>\n

Spencer Tunick (1967-g\u00fcn\u00fcm\u00fcz): Cinsellikten Ar\u0131nd\u0131r\u0131lm\u0131\u015f Kolektif<\/h3>\n

Spencer Tunick, y\u00fczlerce veya binlerce \u00e7\u0131plak kat\u0131l\u0131mc\u0131n\u0131n yer ald\u0131\u011f\u0131 b\u00fcy\u00fck \u00f6l\u00e7ekli enstalasyonlar\u0131yla \u00fcnl\u00fcd\u00fcr. Bunu yaparak \u00e7\u0131plakl\u0131\u011f\u0131 cinsellikten ar\u0131nd\u0131r\u0131r ve kolektif insan formunu kamusal alanlarla etkile\u015fime giren canl\u0131, soyut bir heykele d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. 2007 y\u0131l\u0131nda ger\u00e7ekle\u015ftirdi\u011fi Mexico City'nin Z\u00f3calo meydan\u0131<\/strong>18.000 \u00e7\u0131plak g\u00f6n\u00fcll\u00fcn\u00fcn kat\u0131ld\u0131\u011f\u0131 etkinlik, \u015fehrin tarihi merkezini insan etinden olu\u015fan geni\u015f ve ge\u00e7ici bir peyzaja d\u00f6n\u00fc\u015ft\u00fcrerek kamusal alan ve bireysel beden alg\u0131lar\u0131m\u0131za meydan okudu.<\/p>\n

\"Spencer

Spencer Tunick'in \"Mexico City 4 (Z\u00f3calo)\" (2007) adl\u0131 \u00e7al\u0131\u015fmas\u0131<\/p><\/div>\n

Mona Kuhn (1969-g\u00fcn\u00fcm\u00fcz): Eterik ve Mahrem<\/h3>\n

Mona Kuhn'un ruhani foto\u011fraflar\u0131 \u00e7\u0131plak bedeni r\u00fcya gibi, nat\u00fcralist ortamlarda sunar. \u00c7al\u0131\u015fmalar\u0131 y\u00fczle\u015fmeden uzakla\u015f\u0131yor, bunun yerine zamans\u0131zl\u0131k, samimiyet ve do\u011fayla ba\u011flant\u0131 hissine odaklan\u0131yor. Onun \"Kan\u0131t\"<\/strong> serisinde, bir Frans\u0131z naturist kolonisinin sakinlerini foto\u011fraflad\u0131. Ortaya \u00e7\u0131kan g\u00f6r\u00fcnt\u00fcler, a\u015fa\u011f\u0131daki gibi, s\u00fckuneti ve rahat, \u00f6z-bilin\u00e7ten uzak bir varolu\u015f halini \u00e7a\u011fr\u0131\u015ft\u0131ran yumu\u015fak, s\u0131cak bir \u0131\u015f\u0131kla yakalanm\u0131\u015ft\u0131r.<\/p>\n

\"Mona

Mona Kuhn'un \"Kan\u0131t\" serisinden (2007)<\/p><\/div>\n

Beden Pozitifli\u011fi ve Kendini \u0130fade Etmenin Y\u00fckseli\u015fi<\/h2>\n

Yak\u0131n zamanda ortaya \u00e7\u0131kan \u00f6nemli bir hareket, moda ve medyan\u0131n idealize etti\u011fi bedenlere do\u011frudan kar\u015f\u0131 \u00e7\u0131kmak i\u00e7in foto\u011fraf\u0131 kullan\u0131yor ve t\u00fcm beden tiplerini, boyutlar\u0131n\u0131 ve bi\u00e7imlerini kutluyor. Bu, ana ak\u0131m k\u00fclt\u00fcr taraf\u0131ndan s\u00fcrd\u00fcr\u00fclen ve \u00e7o\u011fu zaman zarar veren g\u00fczellik standartlar\u0131na do\u011frudan bir yan\u0131tt\u0131r.<\/p>\n

Yossi Loloi (1979-g\u00fcn\u00fcm\u00fcz) ve \"Full Beauty\" Projesi<\/h3>\n

Yossi Loloi'nin \"Tam G\u00fczellik\" projesi b\u00fcy\u00fck beden v\u00fccutlar\u0131n do\u011frudan ve g\u00fc\u00e7l\u00fc bir kutlamas\u0131d\u0131r. A\u015fa\u011f\u0131daki resimde g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, klasik \u0131\u015f\u0131kland\u0131rma ve zarif pozlar kullanarak, \u00f6znelerini tarihsel olarak idealize edilmi\u015f, ince formlar i\u00e7in ayr\u0131lm\u0131\u015f ayn\u0131 sayg\u0131nl\u0131k ve sanatla sunuyor. \u00c7al\u0131\u015fmalar\u0131, estetik yeniden \u00e7er\u00e7evelemenin politik bir eylemidir.<\/p>\n

\"Yossi

Yossi Loloi'nin \"Full Beauty\" projesinden<\/p><\/div>\n

Polly Penrose (1974-g\u00fcn\u00fcm\u00fcz) ve Mekanda Beden<\/h3>\n

Polly Penrose'un otoportreleri, bedeni ile yak\u0131n \u00e7evresi aras\u0131ndaki fiziksel ili\u015fkiyi ara\u015ft\u0131r\u0131yor. Penrose s\u0131k s\u0131k ev i\u00e7i mek\u00e2nlara s\u0131\u011facak \u015fekilde formunu b\u00fckerek -bir sandalyenin \u00fczerine \u00f6rt\u00fclm\u00fc\u015f, bir k\u00f6\u015feye s\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f- soyut, mizahi ve bazen de rahats\u0131z edici \u015fekiller yarat\u0131yor. \u00c7al\u0131\u015fmalar\u0131, bedenlerimizin i\u015fgal etti\u011fimiz alanlarda nas\u0131l ya\u015fad\u0131\u011f\u0131na ve bu alanlar taraf\u0131ndan nas\u0131l \u015fekillendirildi\u011fine dair e\u011flenceli ama derin bir ara\u015ft\u0131rmad\u0131r.<\/p>\n

\"Polly

Polly Penrose<\/p><\/div>\n

Sonu\u00e7: Bir \u0130fade Olarak Beden<\/h2>\n

\u00c7a\u011fda\u015f D\u00f6nem, \u00e7\u0131plak bedeni ki\u015fisel ve politik ifadeler i\u00e7in g\u00fc\u00e7l\u00fc bir ara\u00e7 haline getirdi. \u0130ster bir alt k\u00fclt\u00fcr\u00fc belgeliyor, ister stereotiplere meydan okuyor, ister marjinalle\u015ftirilmi\u015f bir kimli\u011fi geri kazan\u0131yor ya da beden \u00e7e\u015fitlili\u011fini kutluyor olsunlar, bu foto\u011fraf\u00e7\u0131lar yaln\u0131zca esteti\u011fin \u00f6tesine ge\u00e7tiler. \u00c7\u0131plak bir bedenin foto\u011fraf\u0131n\u0131n bir meydan okuma eylemi, bir kimlik beyan\u0131 ve i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z d\u00fcnyaya dair derin bir yorum olabilece\u011fini kan\u0131tlad\u0131lar. Bu, onlar\u0131n en kal\u0131c\u0131 miras\u0131d\u0131r: \u00c7\u0131pla\u011f\u0131 zamans\u0131z bir idealden g\u00fcncel, acil ve son derece insani bir ifadeye d\u00f6n\u00fc\u015ft\u00fcrmek.<\/p>\n

\n

Sanat\u00e7\u0131n\u0131n Bak\u0131\u015f A\u00e7\u0131s\u0131:<\/strong> Bu \u00e7a\u011fda\u015f foto\u011fraf\u00e7\u0131lar\u0131n yenilik\u00e7ili\u011fi ve cesareti bug\u00fcn de sanat\u00e7\u0131lara ilham vermeye devam ediyor. Koleksiyonerler ve merakl\u0131lar\u0131 i\u00e7in, \u00f6d\u00fcll\u00fc n\u00fc sanat foto\u011fraf\u00e7\u0131s\u0131n\u0131n s\u0131n\u0131rl\u0131 say\u0131da \u00fcretilen eserleri Burak Bulut Y\u0131ld\u0131r\u0131m<\/strong> gibi sayg\u0131n platformlarda mevcuttur. Saatchi Sanat<\/a><\/strong> ve Artsper<\/a><\/strong>. \u00c7a\u011fda\u015f projelerinden olu\u015fan portf\u00f6y\u00fcn\u00fcn tamam\u0131n\u0131 \u015fu adresten inceleyebilirsiniz burakbulut.org<\/a><\/strong>.<\/p>\n

Y\u0131ld\u0131r\u0131m ayr\u0131ca on y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcredir uzmanl\u0131\u011f\u0131n\u0131 Berlin'de n\u00fc sanat foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 at\u00f6lyeleri<\/strong>. Bu at\u00f6lyeler, foto\u011fraf\u00e7\u0131lara t\u00fcr\u00fcn zengin tarihiyle etkile\u015fim kurma ve destekleyici, profesyonel bir ortamda \u00e7\u0131plakl\u0131\u011fa \u00e7a\u011fda\u015f yakla\u015f\u0131mlar\u0131 ke\u015ffetme f\u0131rsat\u0131 sunuyor. Yakla\u015fan at\u00f6lyeler hakk\u0131nda daha fazla bilgi edinmek veya i\u015fbirliklerini tart\u0131\u015fmak i\u00e7in bizimle Instagram'da ba\u011flant\u0131 kurun veya e-posta g\u00f6nderin hello@nudeartworkshops.com<\/a>.<\/p>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":4661,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4547","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-2"],"_links":{"self":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4547","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/comments?post=4547"}],"version-history":[{"count":3,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4547\/revisions"}],"predecessor-version":[{"id":20397,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4547\/revisions\/20397"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media\/4661"}],"wp:attachment":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media?parent=4547"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/categories?post=4547"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/tags?post=4547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}