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Brown, Steve Royston. "The physicality of print." Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/1134/.
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Printmaking within the applied arts is an extremely diverse practice that can extend the concept of what a print can be. Rather than the dissemination of published images and text, in this context printed information is transformed into objects and materials, ceramics, textiles, tableware, clothing. Prints such as these are not ʻreproductionʼ they are ʻproductionʼ.Process is crucial to both printmaking and the applied arts and the determining aspect of production plays a vital part in defining the qualities of a work such as print-decorated ceramic objects. To work with a printmaking process in this sector requires interpretation, predictive foresight and a degree of ʻthinking-through-makingʼ to transpose an image into the physical world of materials and objects. Printmaking, specifically within the ceramic discipline, is often plagued by issues of integrity brought about by problems relating to ʻdivisionʼ, these issues include: - - The physical divisions between image and object - The divided tasks in production that can disrupt thinking and making - A division of perceptions surrounding the surface/form relationship that considers the surface as supplementary or artificial Commercial production has developed approaches and techniques to integrate surface and form, combat these negative perceptions and raise the value of this type of work. These methods are not, however, always appropriate or accessible to individual ceramist-printmakers working in the studio. How can this sector overcome these negative factors and adopt strategies that invest some value of visual integrity within production? The research project answers this question in two ways: A low-tech, accessible method was developed in the studio with the aim to offer a new practical approach that physically integrates complex ceramic forms with the printed image. The aim was to facilitate this unity at an early ʻraw-clayʼ stage, where the combined manipulation of surface and form can take place together, resulting in an aesthetic that has ʻvisual integrityʼ. The second aim of the research has been to identify the inherent qualities of working and thinking ʻwithinʼ the language of ceramics and print materials and processes. ʻSyntacticʼ qualities and factors have been determined through research into historical innovations and the observation of current commercial practice in the field of screenprinting and screenprinted ceramics. This has helped to establish approaches to overcome negative factors relating to the perception of division, and invest integrity in the work through principled approaches to practice. The project adopts a methodology of ʻthinking-through-makingʼ where iterative studio experimentation is undertaken through tacit understanding, gained from experiential knowledge combined with research of contemporary and historical precedents. This approach is reflected upon and informed by writers who discuss working within the inherent language of printmaking. The research contributes to the advancement of knowledge through the development of a new versatile technique that can be easily accessed by ceramists and printmakers who wish to produce integrated ceramics and print works. This contributes to the advancement of technology, perception and knowledge in the field of printed ceramic objects. My approach and the development of a value system also offers a tool to further the critical
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Frederick, Amy Reed. "Rembrandt's Etched Sketches and Seventeenth-Century Print Culture." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1390500621.
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Yamani, Morteza. "Printmaking and illustration with heat : identifying techniques and determining the suitability of print materials." Thesis, University of Gloucestershire, 2006. http://eprints.glos.ac.uk/3153/.
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The practice-led research was concerned with the development of the combination of high relief prints and the creation of different shades of printmaking inks through heat. The research was in the proportion of 60% practice and 40% theory. To locate this research within contemporary practice, the study began with the literature review and consideration was given to the work of artists, who use heat in their work. The literature review also investigated embossed patterns and relief techniques including the work of artists who produce imagery through pronounced relief. Existing colour systems were reviewed and these assisted a framework for correlating the colour samples that were modified through the application of heat to printing ink. This review demonstrated that there was no compelling evidence to suggest that artists had seriously taken into account the connection between heat, colour and relief pattern. Studio research consisted of a series of studies that explored the potential of heat and its facility to change the effect of printmaking inks. In this research, temperature, variation and duration were all recorded. Research also examined the ability of heat to relax and release paper fibres under pressure thereby achieving extremes of positive and negative relief, as well as embossed and textured surfaces. This was done by exploring different methods of pressing paper under heat to form and print a variety of high relief, involving concave and convex forms. The research also examined punctured paper, tears, and embossed holes and examined how the fragmentation of paper fibres could be enhanced through heat. The research culminated in the making of a series of full scale prints that demonstrate the use of heat and its ability to enable high relief prints and subtle changes of colour. The research concluded with an examination exhibition and a written dissertation.
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Rydalch, Sally Jayne. "Personal Puzzles: Exploring Meaning in a Printmaking Workshop." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6751.
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In an effort to assist self-guided artists in constructing meaning and creativity through the technique of printmaking, the author has compiled a curriculum to engage these artist/students in thoughtful research, discussion, art-making, and critique. In this qualitative case study there are eight participants from age 14 to 79, with varying educational and art experience, who enrolled in a relief print workshop with no recompense other than participation. The particular benefits of learning relief printing are described. The author's goal is exploration of student responses to a curriculum centered around constructing meaning and engaging in introspective and informed discussion. In fostering open inquiry and analysis, the author was able to cultivate a place of personal discovery in a community class and gain insights into teaching, learning, and curriculum design.
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Dwyer, Léah. "Mapping Pinpoints." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587035794031017.
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Kemble, Sally Savage. "Printmaking from 1400 to 1700 with a catalogue of the print collection at the Dallas Museum of Art /." Ann Arbor (Mich.) : University microfilms international, 1986. http://catalogue.bnf.fr/ark:/12148/cb355363971.
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Criss, Erica J. Ms. "No More Writing on the Merry-Go-Round: A series of etchings." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334546869.
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Turpijn, Saskia C. "William Bernard Cooke, George Cooke, and J.M.W. Turner: Business of the Topographical Print Series." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6073.
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The organization of eighteenth and nineteenth-century British printmaking and publishing was based on economic principles and occurred in the collaborative sphere of the engraver’s studio. Print designers, engravers, printers, and publishers formed a professional network that operated on economic principles, publishing prints that served to generate income for its participants. These ventures faced great challenges in the lengthy and laborious processes of engraving and publishing, and in financing the project for the duration of that time.
This project examines the economic structure of early nineteenth-century prints. Using comprehensive accounting records, it analyzes two well-known topographical print series. The profitable Southern coast by William Bernard Cooke and George Cooke is compared to the financially unsuccessful Tour of Italy by James Hakewill, series that both were partly based on watercolors by J.M.W. Turner.
A well-managed organization and a sound financial framework laid the foundation for a profitable venture. The success of print series hinged on several critical success factors, such as access to sufficient capital, strict cost containment, and optimized print editions.
An examination of the conflict that ended the collaboration between Turner and the engravers Cooke, originating in Turner’s demand for higher design fees, puts the validity of the arguments of both parties in a new light.
The investigation into the work practice of the engravers Cooke and the economic factors that determined the outcome of their labor contributes to a better understanding of the printmakers’ opportunities and challenges at the onset of the modern art market.
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Turcato, José Milton. "Das paisagens gravadas em metal." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-27042009-112610/.
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Trata-se da produção de gravuras em metal, gravadas sobre cobre, com os procedimentos da água-forte, água-tinta, buril e ponta seca, estampadas em papéis diversos. Todas as gravuras foram produzidas a partir da observação da realidade captada de lugares visitados, na tentativa de apreendê-los em diferentes níveis. Registradas por anotações desenhadas e gravadas diretamente na matriz envernizada, foram posteriormente reinventadas no ateliê, com atenção às qualidades de linguagem e às especificidades do meio de produção da gravura em metal.<br>It is the production of metal engravings, etched on copper, with the procedures of etching, aquatint, burin and drypoint, printed in diverse papers. All prints were produced from the observation of reality captured in places visited, in the attempt to apprehend them in different levels. Registered by delineated annotations or recorded directly in the varnished matrix, were subsequently reinvented in the studio, with attention to the quality of language and the specificities of the means of production of metal engraving.
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Gregory, Sharon Lynne. "Vasari, prints and printmaking." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342380.
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Horrell, Douglas. "The engaging line: E. Mervyn Taylor's prints on Maori subjects." Thesis, University of Canterbury. Art History, 2006. http://hdl.handle.net/10092/891.
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E. Mervyn Taylor (1906-1964) was a pakeha artist whose prints drew influence from Maori culture and motif. He was one of a small number of artists who developed interest in Maori culture during the 1940s and 1950s. He expanded interest into detailed study of Maori culture, and interaction with Maori, and produced a significant body of prints on this subject during his career. Taylor's prints were acclaimed during his lifetime, but in the decades after his death, his reputation faded to the extent that he became relatively obscure. This persisted until the late 1980s, when art historical reassessment of his work began. This thesis forms a part of this continued re-evaluation. It focuses on Taylor's prints on Maori subjects, an area not sufficiently scrutinised in an academic context. It aims to reach deeper understanding of his prints through historical analysis of the factors that influenced him to choose Maori, and their culture as subjects for his artwork. The thesis also examines why Taylor's reputation was so emphatically based on his New Zealand heritage, as well as the quality of his craftsmanship, his beliefs about which formed the foundation of his philosophy. Nationalist and regionalist notions also figured in his aesthetic ideals. His prints are also placed in relation to the modern debate over cultural appropriation in art. Greater recognition and understanding of Taylor's oeuvre may be achieved by establishing why he chose Maori subjects, and what specific features they contributed to the character of his work.
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Mardilovich, Galina. "Printmaking in late Imperial Russia." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610714.
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Brutscher, Chandler C. "In Remembrance of Me." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556464898482899.
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Saiki, Fernando Cardoso. "Corpo interminável e outros corpos." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-26112015-114745/.
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corpo interminável e outros corpos apresenta uma série de experimentos poéticos que buscam investigar as possibilidades gráficas da técnica japonesa de xilogravura à base d\'água como modo de expressão na produção atual de estampas. De modo a estabelecer um diálogo entre diferentes perspectivas, o estudo foi iniciado no Departamento de Artes Visuais da Escola de Comunicação e Artes da Universidade de São Paulo e continuado no Departamento de Xilogravura da Universidade de Artes de Tóquio. Resultado de uma pesquisa empírica, que se apoia em observações e experiências vividas, o trabalho resulta de inquietações acerca de um corpo ficcionado e coletivo, que cresce pelas bordas e se desdobra por propagação. Composto por linhas de intensidades variáveis, esse corpo ocupa a superfície conforme combinações harmônicas e multiplicáveis.<br>endless body and other bodies presents a series of poetic experiments that seek to investigate the graphic possibilities of the Japanese woodblock printing, as a means of expression within the production of printmaking nowadays. In order to establish a dialogue between two very different cultural perspectives, this study has taken place at both the Visual Arts Department of the University of São Paulo and the Printmaking Department of the Tokyo University of the Arts. This essentially empirical research explores the concept of corpus in a dual meaning. Both in a literal sense as the predominance of the human figure in the works, and in a constructed sense referring to an ever-expanding universe of sources. By combining lines of different shapes and intensities, the bodies in the works aim to fill harmoniously the surface through multipliable combinations.
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Sanders, Joan. "Combined techniques in intaglio printmaking." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/834125.
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The artist's imagery mainly consists of carrousel horses and reptiles. The only thing that relates the images of the reptiles and the carrousel horses in the artist's work is the fact that she finds both images fascinating and intriguing, but at the same time, finds both of these images some what repulsive and frightening. As a child, the artist developed a fascination for carrousel horses and reptiles. At this time these images mainly inspired feelings of fear in the artist. In the artist's opinion, carrousel horses seem to be frantic and frenzied. The artist feels that this aspect of carrousel horses makes them an image with expressive possibilities and she attempts to capture feelings of fear, curiosity and fascination in her prints. The artist is amazed at the variety of colors and textures found on reptiles. She finds them interesting images because although most reptiles are menacing creatures, they are also beautiful and exotic. The artist feels that this aspect of the reptile makes it an intriguing subject matter to work with.Intaglio is a form of printmaking in which a metal plate, traditionally copper or zinc, is manipulated by certain techniques such as: line etch (where a dry-point needle is used to scratch the surface of the plate onto which hard ground [an acid resistant, waxy substance] has been applied and the plate is etched in acid to incise the lines and form a line drawing); and aquatint (a technique to achieve a wide range of tones in an intaglio print). Aquatint has an appearance similar to that of a water color wash. To create the aquatint tonal areas, powdered rosin is sprinkled evenly over the plate and the plate is then heated until the rosin melts and adheres to the plate. The areas that are to remain white are covered with a hard ground "block out." The plate is etched in acid for a period of time to be determined by the artist and is then taken out and rinsed with water to stop the acid from etching the plate any further. This process is repeated until a desired range of tones are created. Another technique usually used is a hybrid combination of burnishing and scraping using a burnisher or scraper. A burnisher and a scraper are patented tools that are used to polish (burnish) and scrape (that is, cut/remove metal from the plate) the surface of the plate to create highlights, lighten an area, or to totally erase an incised area of the plate. Embossing is another form of intaglio printmaking in which three layers of illustration board are cut to form a positive image on a piece of dampened arches paper that is pressed into the carved image by means of a printing press. The deeper the embossment, the more elevated the image will be on the paper. Pressing the paper down into the layers of illustration board forms an embossed image. No ink is used to create the image. Thus, this form of intaglio printmaking is known as "blind" printing, that is printing without ink.In the artist's work, all of the intaglio techniques discussed are used in combination with each other on the same plate to create a rich image. Researching different techniques has allowed the artist to have a better understanding and appreciation for the intaglio prints of historically renowned artists, who were printmakers before the artist.<br>Department of Art
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Wivel, Matthias. "Colour in line : Titian and printmaking." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609239.
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Green, Peter Wright. "Architecture and the tectonics of printmaking." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/24005.
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Flaherty, Patrick M. "Muncie's urban landscape : an exploration in printmaking." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266026.
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This project involved making a series of woodcut and intaglio prints based on Muncie's urban landscape. The idea of a generic specific - a place unique to one area yet readily recognized across the industrialized world as familiar - is introduced and explored. In addition the idea of impermanence and flux is discussed in terms of how the time that I am living in now has its own unique features that will be obsolete, ruins, or altogether forgotten in the next fifty to seventy-five years. The work also explores the aesthetic merits of buildings like gas stations and vehicles - objects that are generally unconsidered in that way. In completing this series a historical documentation of this period of time was created, valuable to both those living now and those to come.<br>Department of Art
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Humphrey, Mitzi. "In Search of the Meandering Absolute: The Prints of Mitzi Humphrey." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4083.
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Art is more than just a bridge to (or a reflection of) the natural world; it is a natural force in itself. The author is a strong advocate of "artist's prints," prints which are conceived and printed by the artist. She believes that there is a natural sequence of actions and thoughts which cannot be approximated by the substitution of an artist/printer collaboration unless the artist is truly involved with the printer or assistant in every step of the decision-making and mark-making processes.
The prints of this series are not about realistic pictorial space; they are about interior space--that of the mind and the heart. The artist is interested in creating variations on a matrix, making one-of-a-kind prints or altered prints, even impure prints. Sometimes this work is investigative, instructive, meditative, or celebratory. This work is not printmaking in accord with the common notion of prints as exact replications of a picture from another medium for the sake of general availability. Nor is it printmaking in accord with the atelier concept of an artist-created print matrix editioned with the aid of professional print craftsmen.
On the contrary, the artist approaches printmaking as a form of experimentation and ritual, seeing the cosmic in the microcosmic. She says, "I strive to create unique prints which cannot reasonably be duplicated in other media by other people--or even at another time by me. I try to give meaning and definition to inchoate perceptions using art as visual metaphor."
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Teubner, Cory S. "Framing, inversions, and materiality in William Blake's prints and printmaking." Thesis, Wichita State University, 2011. http://hdl.handle.net/10057/5212.
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William Blake sought, though his poetry and printmaking, to change the fundamental
nature of reality and to set humanity on a redemptive course. Inspired in his studio, the artist
channeled what he called "Divine Vision" into his complicated poetry and visual designs—what
is commonly referred to as his unique "composite" art. The cosmic transformations that Blake
sought to bring about through the dissemination of his art, however, began in the material
processes of his studio, in the performance of the novel "relief etching" method of printmaking
he invented. This paper examines two tropes Blake used extensively in his art, what I call
"framing" and "inversions," and traces their origins in his works' production. I consider framing
as it is displayed in the short lyric "The Tyger," which is about physical and conceptual acts of
framing at the same time that it uses frames in its structure and poetics. To define and describe
Blake's inversions, this paper focuses on Blake's epic poem Jerusalem The Emanation of the
Giant Albion, in which inversions infuse the language and visual designs even as they govern the
poem's narrative order. A concluding section demonstrates the two tropes' intersection in a series
of framings and inversions performed by the artist in his studio where, working the wheels of his
press, Blake animates not only his illuminated books but, in his mind, alternative orders of
reality.<br>Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of English.
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Itabashi, Miya. "The Reception of Japanese Prints and Printmaking in Britain, 1890s - 1930s." Thesis, Royal College of Art, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503039.
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Garubba, Keith. "Art/Science and a Blended Inquiry." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405436323.
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Rather, Anna B. "Dreaming of the ocean, I wish I was a fish : an exploration in printmaking." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313949.
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This project involved a series of linoleum, woodcut, and intaglio prints whose subject matter was derived from my imagination. The inspiration for this work is the ocean and the myriad life forms found there. I perused books on the ocean and created characters from these images. These prints also have a psychological edge and emotional aspect reflecting the state of mind I was in when 1 created them. Putting these ideas together in the intaglio prints as well as using different techniques was the challenge in making this work. My goal was also to explore linoleum and woodcut prints where I used multiple blocks and/or rolled more than one color on a block to achieve a multitude of hues for one image. I found this complex way of making images exciting and feel that the works created have been successfully resolved.<br>Department of Art
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McClean-Cameron, Alison. "El Taller de Grafica Popular : printmaking and politics in Mexico and beyond, from the popular front to the Cuban Revolution." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310120.
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Ball, Nicholas W. "Decay: A Series of Prints Dealing with the Decay of Biomorphic Forms through Multiple States." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1276637560.
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Kruckenberg, Whitney. "Degas, Cassatt, Pissarro and the Making and Marketing of the Belle Epreuve." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304620.
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Art History<br>Ph.D.<br>Focusing on the prints of Edgar Degas, Mary Cassatt and Camille Pissarro, my dissertation explores the development of the belle épreuve, or the fine print, in relation to the Impressionist movement. I firstly consider the commercial tactics of the Impressionists in the face of the evolution of the modern art market and the decreasing relevancy of the Salon and expound on previous scholarship by demonstrating how the Impressionists' modes of presentation proved especially conducive to showcasing works on paper and how we might apply observations about the speculative nature of the Impressionists' formal innovations to their prints. Additionally I highlight contemporaneous observations about the heterogeneity of the Impressionist exhibitions that reveal meaningful insights into the nineteenth-century perception of the artists' relationships to each other, thus questioning the tendency to divide the exhibitors into two groups, the Degas-led realists and the Monet-led colorists. Then I consider the printmaking practices of Degas, Cassatt and Pissarro individually, elucidating how each artist's attitudes toward work, craft and business manifest formally in a small selection of examples from their printed oeuvres intended for exhibition or publication. Among the core members of the Impressionist group, Degas, Cassatt and Pissarro represented those most enamored with printmaking, even collaborating to create prints for a never-realized journal during the winter and spring of 1879 and 1880. I posit that the artists' shared compulsions for regular work, fascination with artistic processes, technical flexibility and curiosity and forward-thinking disregard for the traditional hierarchy accorded to media rendered them particularly suited for making rarified, laborious prints. A final factor that connects Degas, Cassatt and Pissarro is that all three artists had complicated relationships with the business of art or the need to sell. The dichotomy of art making versus art marketing manifested itself in their prints. While printmaking as a process implies multiple pulls of an original image for commercial reasons, by emphasizing handicraft through idiosyncratic techniques, Degas, Cassatt and Pissarro accentuated the artistry and labor of their prints. Because of the complicatedness of their practices, printmaking did not turn out to be particularly lucrative for any of them, yet the artists' efforts correlate to a concurrent vogue for intimate exhibitions and works, in terms of both size and technique, and Degas, Cassatt and Pissarro seemingly undertook printmaking with the progressive clientele already established for Impressionism in mind. I thusly connect my discussions of biography and personality to a consideration of Impressionism's relationship to the changing art market of the late nineteenth century, in which facture, as a record of artistic temperament, became a sought-after commodity for collectors of avant-garde art. Despite superficial differences with regard to their subject matter and approaches, an examination of Degas, Cassatt and Pissarro's printmaking practices reveals the assumed draftsmen and the colorists of the New Painting as kindred spirits, for whom the how of art-making proved just as significant as the what and for whom marketing was important but making was vital. The artists' uses of combinations of etching, softground, drypoint and aquatint demonstrates concerns for both design and tone, and each artist accordingly strove to achieve in their prints a balance of personal sensations and decorative artifice. <br>Temple University--Theses
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Casagrande, Juliane Fuganti. "Jardim de Passiflora: impressões, marcas e devaneios." Programa de Pós-Graduação em Artes visuais da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/9828.
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Previous issue date: 2011-12-07<br>Jardim de passiflora: Impressões, marcas e devaneios é o título desta dissertação na linha de pesquisa de Processos Criativos. Partindo de experimentações teóricas e práticas, almejou-se realizar uma pesquisa na qual a obra fosse o objeto central de investigação, considerando o seu processo de criação e as variações que ocorreriam na sua realização. No decorrer desse processo, questões da memória e da contemporaneidade relacionadas ao conceito de imprimir foram surgindo, ao mesmo tempo que as técnicas de desenho, fotografia, gravura e cerâmica foram se entrelaçando. Os autores eleitos para dar suporte à pesquisa foram: Gaston Bachelard, Georges Didi-Huberman e Maria Celeste Wanner, entre outros.<br>Salvador
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Wehn, James R. III. "Inventing the Market: Authenticity, Replication, and the Prints of Israhel van Meckenem." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case155428951539756.
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Baillie, Giselle Katherine. "Printmaking at the Dakawa Art and Craft Project : the impact of ANC cultural policy and Swedish practical implementation on two printmakers trained during South Africa's transformation years." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002190.
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In 1998, the national Department of Arts, Culture, Science and Technology published a document aimed at the growth of culture industries in South Africa (DACST, "Creative South Africa", July 1998). Focussing on aspects of economic growth which this development could generate for South Africa, it nonetheless points to issues of cultural understanding which need to be addressed. Projects aimed at the development of arts and culture in South Africa have followed troubled paths. While projects aimed at establishing discourse for this development have succeeded on many levels, the imperatives of showcasing, rather than implementing cultural concepts appropriate to South African contexts, have tended to dominate. When the Dakawa Art and Craft Project was established by the ANC, in 1992, in Grahamstown, as the locus for the deve! opment of an arts and culture discourse in the liberated South Africa, all seemed set for success. Yet, less than four years after opening, the Project was closed. While speculatory reasons for closure tended to focus on financial and administrative problems, the basis for this closure had its roots in problems of cultural understanding manifesting themselves at the Project. These reflected a lack of cultural understanding on the part of the ANC and SIDA, the Swedish administrators sent to the Project, and the lack of clear cultural guidelines on the part of the trainees to the Project itself. These reasons for the Project's failure are integral to an understanding of arts add culture development and needs in South Africa today. As other projects, aimed at the same issues of development grow, an understanding of the history of the Project's failure is essential, for it poses questions still in need of answers. Part One examines the historical significance of the Dakawa Art and Craft Project between 1982 and 1994, recording the reasons for its establishment, the path of implementation it followed, and the cultural misunderstandings it posed to development. Part Two examines the cultural context of the trainees to the Project, followed by an account of the printmaking teaching practice, and the effects of cultural concepts on two printmakers trained during the Project's initial establishment, at the time of South Africa's political transformation.
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Conidaris, Amanda Jane. "Contemporary South African printmaking : a study of the artform in relation to socio-economic conditions, with special reference to the Caversham Press." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49720.
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Date in university's graduation list: April 2003.<br>Thesis (MA (VA))--Stellenbosch University, 2002.<br>ENGLISH ABSTRACT: The body of the thesis explores contemporary South African printmaking by focusing on The
Caversham Press, established in 1985. Caversham's success encouraged the opening of four
other studios, which formed the core of professional printmaking in South Africa up to 2000.
Positioning Caversham in a broader arena, the politicised nature of printmaking in South
Africa prior to 1985 is discussed and six projects produced at the Press between 1985 and
2000 are examined to situate the Press within the South African socio-economic and cultural
context. Finally, the interaction between prints from Caversham Press projects and the art
market in Johannesburg is described and analysed to ascertain the extent to which these six
projects were products of their time and place in South African art history. In Appendices IV
and V, the candidate's own printmaking work, which examines male midlife depression and
its impact on the marital relationship, is discussed.<br>AFRIKAANSE OPSOMMING: Die hoofdeel van die tesis ondersoek die hedendaagse Suid-Afrikaanse drukkuns op die werk
van The Caversham Press wat in 1985 gestig is, te fokus. Caversham se sukses het aanleiding
gegee tot die ontstaan van vier ander drukkunsateljees wat die kern van professionele
drukkuns gevorm het tot in die jaar 2000. Deur Caversham in 'n breër konteks te plaas, word
die gepolitiseerde aard van drukkuns in Suid-Afrika voor 1985 bespreek. Verder word die ses
ondernemings wat deur Caversham tussen 1985 en 2000 opgelewer is in die konteks van
sosio-ekonomiese en kulturele omstandighede ondersoek. Ten slotte word die interaksie
tussen Caversham Press projekte en die kunsmark van Johannesburg ontleed en bespreek met
die doelom vas te stel tot hoe 'n mate hierdie ses projekte die tyd en plek van die Suid-
Afrikaanse kunsgeskiedenis reflekteer. In Bylae IV en V, word die kandidaat se eie
drukkunswerke, wat depressie in mideljarige mans ondersoek en die gevolg daarvan op die
huweliksverhouding uitbeeld, bespreek.
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Johnson, Shelley. "This little chicken went to Africa : a historical survey into the development of narrative structures within relief printmaking in community centres in South Africa and a formal analysis of the relevance of the medium in contemporary children's picture book illustration." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1725.
Full textAbstract:
Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.<br>When dealing with emergent literacy in South Africa, the didactic aspects of picture books are often privileged over their aesthetic quality and the idea of reading for pleasure. The themes of the books are not always locally relevant and for economic reasons, they often fail to reach the communities that need them the most.
By looking at the history of relief printing within a community environment, I hope to highlight how communities themselves may be able to develop locally relevant children’s picture books, instituting a ‘grassroots’ approach rather than the paternalistic ‘top down’ approach of the past. I will also be looking at the narrative and stylistic elements of relief printing that are complimentary to the picture book genre and how these can be utilised for a pleasurable rather than didactic approach to the narratives.
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Scheu, Julia. "Ut pictura philosophia." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2017. http://dx.doi.org/10.18452/17801.
Full textAbstract:
Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache.<br>The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.
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CHIEN, YI-JU, and 錢怡汝. "The Role of Taiwan Digital Printmaking in Contemporary Print Practices – from International Print Biennial Exhibit." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/c7f25h.
Full textAbstract:
碩士<br>大葉大學<br>設計暨藝術學院碩士班<br>105<br>In the creation of Taiwan prints, the printing technology gradually digital, the use of new technology, digital art creators more and more, constantly seeking innovation, in recent years there are many different from the early types of prints, the future will inevitably face the emergence of digital Greater impact and impact. The motivations of research began under the influence of digital technology, and the creative media was no longer a single orientation. At the same time, digital printmaking was the place of contemporary art and the development of Taiwan printmaking. The current trend of art. The scope of the study set the "International Print Biennial Exhibit" Taiwan award and exhibition works.
In this study, the most influential international exhibition in Taiwan, "International Print Biennial Exhibit" from 1987 to 2016 between Taiwan's award-winning version of the number and number of changes caused by Taiwan's contemporary print art impact and impact. Research methods through the literature analysis, comparative research method, to summarize the relevant experts and scholars of the research and writings, literature, the relevant literature collation, review and organize the Taiwan print art related literature for the context of the content summarized, to understand the we can clearly see the future development of print., the previous Taiwan winning version of the statistical analysis, through the data chart to be compared, and then explore the reasons.
The results of the study are based on the trend of Taiwan prints and the trend of contemporary art in Taiwan. In view of the digital prints, we can see that the changes of the times affect the creative forms of artists. Under the influence of science and technology, Towards a faster, high quality goal of development.
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Kooperkamp, Nathanael. "Remains To Be Seen: Recollecting Memory." 2018. https://scholarworks.umass.edu/masters_theses_2/726.
Full textAbstract:
Abstract
Remains to be Seen, a multi-media installation, provides the opportunity for reconfiguration, re-contextualization and re-remembering of visual memory. Geoffry Cubit, a historian of memory, has noted that “memory has no fixed, stable, unitary meaning to which we can invariably recur: it has always been, and legitimately, a concept in flux and under review”.[1]My work in this exhibition (and as discussed throughout this paper) addresses the unstable and revisionist nature of memory—both culturally and individually. Additionally, I attempt to address how memory (collective, visual, familial and individual) is implicated in the creation of selfhood, of personal narrative, and of family myth. In this exhibition, I marry traditional print and paper-making techniques with contemporary digital technologies to explore the ways in which memory is created and re-created by and across individuals, families, and social-historical contexts. I use family video footage from 1950’s Kentucky to utilize the nostalgia for another time, confronting and exposing problematic familial and cultural ideology and narratives. While images from the past may evoke sentimentality, the use of moving images over still digital print allows viewers to reflect on narrative interplay among static and mobile images in order to confront, expose and rework this tendency. Rather than portraying a static narrative of the past, I use the moving image to decontextualize the vernacular of the print. The images then function as a catalyst for and invitation to dialogue between the past and the present.
[1]Geoffry Cubit, History and Memory, (NYC: Manchester University Press, 2007), 7.
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Rall, Michelle. "Images of nature in recent South African printmaking and ceramics." Thesis, 2000. http://hdl.handle.net/10413/3883.
Full textAbstract:
This dissertation considers nature imagery in selected South Afiican ceramics and printmaking. The main focus is on ecological issues in recent art productions. The text consists of five chapters. The first examines the ideologies of Fritjof Capra in relation to issues about deep ecology and ecofeminism; this chapter seeks to clarify the scope of the words 'land' and 'landscape' as used in a late 20th century context. The second chapter examines some historical works and ideas that have influenced perceptions of nature imagery in South Afiica. Chapters three, four and five constitute the main body of the thesis, and examine nature imagery in selected examples of contemporary printmaking and ceramics. Chapter three investigates selected landscape images ofceramist Esias Bosch and printmakers Gerda Scholtemeijer and Kim Berman. In chapter four the focus is on the flora as the point of reference. Prints of Gerhard Marx, Douglas Goode, EIsa Pooley and Karel Nel, who were all participants in the Art meets Science: Flowers as Images exhibition, will be examined. Important issues such as the separation ofbotanical and fine art, and art and science will be discussed with reference to their work. This will be followed by discussion of works of Susan Sellschop (a ceramic mural) and Bronwen Jane Heath (a wood engraving) in order to demonstrate the different intentions and outcomes ofthese to artists. Three dimensional works of the three ceramists, Lesley-Anne Hoets, Samantha Read-and Katherine Glenday are discussed in the final section of chapter four. Chapter five examines the interrelationship oflandscape and land. This chapter comprises two main sections. The first deals with aspects of landownership in South Africa reflected in recent ceramics and printmaking. Examples of the work of Marion Arnold and Ellalou O'Meara reinterpret images of early explorers and colonists situating them in a contemporary arena, demonstrating connections between past and present. Landownership is the overt subject in the Fee Halsted Berning, whose ceramic relief panel reflects a different perspective of landownership from the prints ofthe Schmidtsdrift artists. The second section surveys work of four artists whose images draw attention to ecological matters. Wendy Ross, Diana Carmichael, Marion Arnold and Carol Hofrneyr create images that higWight different aspects of the fragile balance of nature.<br>Thesis (M.A.) - University of Natal, Pietermaritzburg, 2000
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"Helen Hyde and Her "Children": Influences, Techniques and Business Savvy of an American Japoniste Printmaker." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.41261.
Full textAbstract:
abstract: After the opening of Japan in the mid-1800s many foreigners flocked to the
nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many
of her predecessors, however, she went as a single woman and was so taken with Japan
she made it her home over the span of fourteen years. While a number of cursory studies
have been written on Helen Hyde and her work, a wide range of questions have been left
unanswered. Issues regarding her specific training, her printmaking techniques and the
marketing of her art have been touched on, but never delved into. This dissertation will
explore those issues. Helen Hyde's success as a printmaker stemmed from her intense
artistic training, experimental techniques, artistic and social connections and diligence in
self-promotion and marketing as well as a Western audience hungry for "Old Japan," and
its imagined quaintness. Hyde's choice to live and work in Japan gave her access to
models and firsthand subject matter which helped her audience feel like they were getting
a slice of Japan, translated for them by a Western artist. This dissertation provides an in
depth bibliography including hundreds of primary newspaper articles about Hyde who
was lauded for her unique style. It also expands and corrects the listing of her printed
works and examines the working style of an American working in a Japanese system with
Japanese subjects for a primarily American audience. It also provides a listing of known
exhibitions of Hyde's works and a listing of stamps and markings she used on her prints.<br>Dissertation/Thesis<br>Doctoral Dissertation Art History 2016
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Meyerhöfer, Dietrich. "Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler." Doctoral thesis, 2020. http://hdl.handle.net/21.11130/00-1735-0000-0005-13B0-E.
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