Plastik Sanatlarda Toplumsal Cinsiyet: Feminizme Karşı Feminizm

Year 2017, Issue: 55, 413 - 444, 27.07.2017

M. Demet Ulusoy

Abstract

İnsan davranışının belirleyicisinin doğa mı yoksa sosyal kurumlar mı olduğu tartışması hala cevabını aramaktadır. Onca yıldır bu bağlamda devam eden amansız mücadelenin, birbiri ile çelişen kanıtlar eşliğinde geldiği nokta konunun tek yönlü olarak ele alınmasının eksik olacağı ve yanılgılara neden olacağıdır. Bu çerçevede toplumsal cinsiyet tartışmalarının da bu eksende olmasının çok daha verimli olacağı açıktır. Feminist sanat tarihi literatürü incelendiğinde sanat ve toplumsal cinsiyet tartışmalarının bu entellektüel serüvenden kendine düşen payı almış olduğu görülmektedir. Feminist sanat tarihi, temel feminist paradigmanın argümanları altında seyrini takip ederken ünlü sanat tarihçi Nochlin’in formülasyonu ile farkındalık yakalayan “plastik sanatlarda kadının neden yok olduğu” sorunsalını sosyolojik, psikolojik ve antropolojik bakış açılarını büyük oranda ıskalayarak, ister istemez kadını güçsüz ve edilgen bir konuma yerleştirmiş ve üstesinden hala gelemediği bu durumdan kurtulmak için de giderek radikalleşmeyi seçmiş ve böylelikle daha da güçsüz hale gelmesine ya da öyle algılanmasına katkıda bulunmuştur. Oysa kadın sosyal gerçekliğin kurgusunda aktif rol oynayan stratejist taraflardan biridir. Bunun en taze kanıtı da onun değişen sosyal koşullara bağlı olarak çağımızda kendini yeniden inşa etme girişiminde bulunmasıdır. Bu bakış açısı ile çalışmamızın araştırma sorusu; “kadının plastik sanatlarda neden yeterince var olmayı tercih etmediği” üzerine kurgulanmıştır. Bu bağlamda, çalışmamız plastik sanatlar üzerinden, feminizme belki de her zamankinden daha fazla ihtiyaç duyduğumuz günümüzde içine düştüğü çelişkileri ve çıkmazları disiplinlerarası bir bakış açısıyla yeniden tartışması için açık bir çağrı niteliğindedir.

Keywords

Toplumsal cinsiyet, feminizm, feminist sanat, postmodernizm, evrimsel psikoloji

Gender in Plastic Arts: Feminism versus Feminism

Abstract

The debate on whether it is social institutions or nature determines that human behavior

is yet to be resolved. All those years of ongoing debates in this context, accompanied by

contradictory pieces of evidence, have reached the final point, in which addressing this

issue in a unilateral way could be considered incomplete and can thus lead to delusions. In

this context, engaging in gender debates would be much more efficient. When feminist art

history is examined, it cab be seen that the debates on gender and art have also occurred

during this intellectual journey. While feminist art history has followed its own course

under the fundamental feminist arguments, the question “Why have there been no great

women artists?” exemplifies the belief of the renowned art historian Nochline who, in his

analysis, inevitably placed women in a powerless and passive position by overlooking

the sociological, psychological, and anthropological perspectives. In overcoming this

situation—something that Nochline has been unable to do—the formulation has become

increasingly radicalized, further reinforcing the “weakness” of women or the perception

of women having a weak and passive position. However, as we all know women play an

active role in the construction of social reality. The most current proof of their role is their

attempt to reconstruct themselves according to the changing social conditions. Within this

perspective, our study is founded upon the research question “Why have there been few

women who prefer to create in the plastic arts?” Based on plastic arts, our study is an open

call for feminists to discuss their contradictions and dilemmas using an interdisciplinary

perspective.

Keywords

Gender, feminism, feminist art, postmodernism, evolutionary psychology

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