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עמוד:14
Pattern and Disruption : On Printmaking in Contemporary Art Workshop technical and historical knowledge ; and a course of action that gradually unfolds in time and space . Ever since the late 18 century , printmaking has been present at every aesthetic , social and political juncture in Western culture , from the rise of the Enlightenment to the crisis of modernity and the emergence of postmodernism . When photography replaced printmaking as the dominant medium used to replicate images , freeing print from traditional role as a means of reproduction and distribution artists began integrating photographs into prints and processing them by means of different techniques . The change in role transformed printmaking into a mediator between the reproductive mediums of photography and flm , which preclude the existence of an original , and unique artworks , while enabling it to reexamine Walter Benjamin’s concept of the "aura" in dynamic and political manner . Photography thus enabled print to realize its conceptual relevance , as well as its potential evolve and assimilate new ideas . An additional aspect of printmaking is revealed by the Gordian knot tying it to the history of printed matter : books newspapers , comics , advertisements , posters , protest lea ֳ ets and graffti , as well as the new digital media . In the 20 century , this connection transformed the nature of printmaking providing artists with an aesthetic and critical sphere in which they could respond to the impact of language on subjective experience and on identity formation , as well as to its role the production of meaning . The ability to transfer photographs and readymade materials into print allows artists to explore the boundaries of the medium , to free themselves from subjective gestures and react to a reality suffused with media images and to the Uniqueness and aura vs . reproduction and distribution ; "high art vs . "low" art ; center vs . margins ; serial production and repetition vs . suspension and disruption ; surface vs . depth and materiality ; intermediate states vs . fnished works ; traditional techniques vs . advanced technologies–all these themes resonate in the feld of printmaking , highlighting its relevance to contemporary artists . Print processes and related material formal , and conceptual approaches continue to develop and proliferate . In addition to traditional techniques for creating etchings , such as screenprints , woodcuts , linocuts , lithographs letterpress , monotypes , and artists' books , these processes also include multiples , various forms of digital media , and three-dimensional installations . Printmaking draws artists working in diverse media photography , sculpture , installation , video , and performance These artists integrate print into their work , using it to distill underlying artistic principles . In her essay "The Syntax the Print , " Ruth Weisberg argues that "In each age , artists reanimate printmaking for their own purposes–mostly in hope of investing their images with the resonance which only the panoply of printmaking materials , techniques , and processes can provide . " The range of tools and approaches pertaining printmaking calls attention to the complexity of the gaze , and the forces that defne it and shape its changing performative character . Printmaking in ֳ uences the education and training of art students , as well as the thought and creative processes of artists , since it requires a collaboration between several "players" : these include the artist's hand and his personal form of expression ; the symbiotic relationship between artist master printer , and workshop ; mechanical processes based
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