Results for 'Printmaking'

17 found
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  1.  48
    Printmaking as an Art.Catharine Abell - 2015 - Journal of Aesthetics and Art Criticism 73 (1):23-30.
    Many forms of printmaking involve drawing or painting onto a plate to produce a matrix and then producing prints from that matrix by mechanical processes. One might be skeptical about the artistic significance of such prints, on the basis that only the process of drawing or painting the matrix enables printmakers to exercise intentional control over the features of the resultant prints. This might lead one to think that such forms of printmaking lack artistic significance independent of drawing (...)
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  2.  23
    Printmaking in the Service of Botany: Catalogue of an Exhibition. Gavin D. R. Bridson, Donald E. Wendel, James M. White.Karen Reeds - 1987 - Isis 78 (2):278-278.
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    Prints and Printmaking: An Introduction to the History and Techniques. Antony Griffiths.Adrian Johns - 2000 - Isis 91 (1):128-129.
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  4.  4
    The Invention of the Italian Renaissance Printmaker. Evelyn Lincoln.Bernadine Barnes - 2001 - Isis 92 (3):601-602.
  5. Introduction to Special Issue on Printmaking.Christy Mag Uidhir - 2015 - Journal of Aesthetics and Art Criticism 73 (1):1-8.
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  6. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, (...)
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  7. Pictorial Orientation Matters.John Dilworth - 2003 - British Journal of Aesthetics 43 (1):39-56.
    Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...)
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  8. Comics, Prints, and Multiplicity.Roy T. Cook & Aaron Meskin - 2015 - Journal of Aesthetics and Art Criticism 73 (1):57-67.
    Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own (...)
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  9. The Role of Luck in Originality and Creativity.Peg Zeglin Brand Weiser - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” (...)
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  10.  29
    Are All Multiples the Same? The Problematic Nature of the Limited Edition.K. E. Gover - 2015 - Journal of Aesthetics and Art Criticism 73 (1):69-80.
    The aim of this inquiry is to determine whether printmaking is best understood ontologically as analogous to a work-performance relation. Are prints the visual analogue of symphonies? My motivation for pursuing the comparison of printmaking to music is twofold. First, because relatively little has been written on the ontology of fine art prints, our use of an already developed body of scholarship will help us to gain some traction on the question. Second, within the existing literature on the (...)
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  11.  30
    Varying Impressions.David Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (1):81-92.
    My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those (...)
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  12.  11
    Patient Reflections on the Disenchantment of Techno-Medicine.Devan Stahl - 2018 - Theoretical Medicine and Bioethics 39 (6):499-513.
    Over one hundred years after Max Weber delivered his lecture “Science as a Vocation,” his description of the work of the physician in a disenchanted world still resonates. As a chronically ill patient who interacts with physicians frequently, I struggle with reconciling my understanding of my ill body with how my physician makes sense of my illness. My diagnosis created an existential crisis that caused me to search for meaning in my embodied experience, but I soon learned there is little (...)
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  13.  4
    Reading Vs. Scanning: Notes on Re:Print.Duncan Ganley - forthcoming - AI and Society:1-14.
    Published in 2018, ‘Re:Print’ is an experimental artists’ book, edited by Véronique Chance and Duncan Ganley, that brings together images and text by 20 contributors whose work addresses the role and language of the reproducible image. This article by Duncan Ganley discusses the challenges of translating artworks and text originally presented in the context of an exhibition and symposium, into a work of print an artists’ book. The range of contributors emphasizes the diverse scope of forms, processes and ideas in (...)
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  14.  1
    Raphaels Vitruvius and Marcantonio Raimondi‘s Caryatid Façade.Kathleen W. Christian - 2016 - Bulletin of the John Rylands Library 92 (2):91-127.
    Marcantonio Raimondis so-called Caryatid Façade has received scant attention, yet it occupies an important place in the printmakers oeuvre and was widely admired and imitated in the sixteenth century. The image, which features an architectural façade adorned with Caryatid and Persian porticoes and an oversized female capital, does not fit easily with the usual narrative about Raimondis career in Rome, summed up in Vasaris account that he collaborated with Raphael to publicise the masters storie. Rather than being an illustration of (...)
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    Circle Back: Immigrant Memories and Fungal Networks.Tanja Softić - 2019 - Journal of Speculative Philosophy 33 (2):300.
    This article is about three bodies of visual work that raise questions of cultural belonging, hybridity, and memory. They visualize memory without loci, remixed, mobile like a theater curtain. They speak through languages of printmaking, drawing, photography, and poetic text. The processes themselves and metaphors they offer, the physicality of paper and drawing media, the visual sources I use—all inform these works. There is no discernible center of my images: the floating elements come in and out of focus, alternatively (...)
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  16.  1
    Perceiving the Arts: An Introduction to the Humanities.Dennis J. Sporre - 2008 - Pearson.
    Introduction. What are the arts and how do we respond to and evaluate them? -- Pictures : drawing, painting, printmaking, and photography -- Sculpture -- Architecture -- Music -- Literature -- Theatre -- Cinema -- Dance.
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  17. Unlimited Additions to Limited Editions.Christy Mag Uidhir - 2009 - Contemporary Aesthetics 7.
    In this paper I target the relationship between two prints that are roughly qualitatively identical and share a causal history. Is one an artwork if and only if the other is an artwork? To answer this, I propose two competing principles. The first claims that certain intentional relations must be shared by the prints (e.g., editioned prints vs. non-editioned prints). The second, which I endorse, appeals only to minimal print ontology, claiming that the two prints need only be what I (...)
     
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