Between digital and physical: some thoughts on digital printmaking

Paper discussing how digital printmaking relates to traditional physical printmaking. The relationship between online image and the physical product and how they fundamentally differ. Paul Coldwell uses examples of his own work to explore these ideas

Materiality and surface of the digital print

This paper discusses how the materiality and surface of the digital printmaking process may be seen as visually evidenced in the resulting printed imag

Christiane Baumgartner: between states

This essay has been written and published following a public conversation with Christiane Baumgartner at Chelsea College of Art & Design

In exciting times

An overview of contemporary printmaking

Art in the Age of Networks - Networks as a Way of Thinking

The theme-based and material-based units (with lessons and lesson sequences) propose a curriculum for one academic semester in an undergraduate visual arts school (for sophomore, 2nd year, or junior, 3rd year students). However the lessons could be modified and tailored to any age group developmentally. This curricular framework aims to foster collaboration (within individuals, materials and disciplines), explore networked pedagogy and networks in pedagogy as a collaborating force through and with the visual arts and explore the materiality of the code and the digital media. The course also engages with new media theory and literature, investigates the materiality of the digital media as collaborators, mediators and metaphors and reflects on how technology affects pedagogy and allows students to tailor projects according to their own interests. The course content is flexible in its approach with plenty of elbowroom. The 3rd Unit of the suggested curriculum also seeks to advocate for social justice; students cultivate perspectives about the power of digital media to address social issues, they probe into matters of social justice or injustice with the featured artists and make connections with the artistic processes and goals of the artists (listed in the lessons) to reflect on the sociopolitical context of their own art making. The students also think about networks as an abstract or tangible concept (digital, social, physical, and biological networks) and create works in an open-ended, student-centric environment that encourages critical thinking, independent decision-making and enables them to chose their own nature/ track of projects.https://scholarscompass.vcu.edu/cstae_resource_higher_education/1002/thumbnail.jp

The development of style in Malaysian printmaking: 1930-2000 / Mohd Jamil Mat Isa

The development of printmaking started as a medium of communication, be it a religious propaganda or as a tool to achieve independence. Printmaking can be classified into several categories, such as relief printing, intaglio, planographic and now in the modern era, is a digital print. Malaysian printmaking has been developing since the Colonial Era (1930s) by Chuah Thien Teng and Abdullah Ariff. Woodcut and linocut are the techniques chosen by them. Later on, other artists explored the medium; they applied more techniques included the latest digital technology. The objectives of this study are to trace on the development of style in Malaysian printmaking, to identify the factors that influence the development of style in Malaysian printmaking and to document the historical development of Malaysian printmaking. This research will use qualitative methods with art historical approach based on the primary and secondary data. The data collected in the form of text from books, exhibition catalogues, and art auction catalogues. The works of printmaking are divided into two main categories, namely the Pre-Independence Era (1930-1957) and Post-Independence Era (1958-2000)

Method and Meaning: Selections from the Gettysburg College Collection

What is art historical study and how it should be carried out are fundamental questions the exhibition Method and Meaning: Selections from the Gettysburg College Collection intends to answer. This student-curated exhibition is an exciting academic endeavor of seven students of art history majors and minors in the Art History Methods course. The seven student curators are Shannon Callahan, Ashlie Cantele, Maura D’Amico, Xiyang Duan, Devin Garnick, Allison Gross and Emily Zbehlik. As part of the class assignment, this exhibition allows the students to explore various art history methods on individual case studies. The selection of the works in the exhibition reflects a wide array of student research interests including an example of 18th century Chinese jade chime stone, jade and bronze replicas of ancient Chinese bronze vessels, a piece of early 20th century Chinese porcelain, oil paintings by Pennsylvania Impressionist painter Fern Coppedge, prints by Salvador Dalí and by German artist Käthe Kollwitz, and an early 20th century wood block print by Japanese artist Kawase Hasui. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1014/thumbnail.jp

Graphic Content Warning; Personal and Political Traumas

The written portion of this thesis work is meant to address and further investigate the visual work created using mediums of print and found video. This artistic research has been interested in examining varying associations with truth, recollection, and evidence. This includes the recollection of public histories and news-media narratives as well as my own history and trauma. Through this work my aim was to create a deconstruction and revolt against how associations are formed, and how to understand imagery as information. This thesis first discusses my relationship to appropriated imagery, then connects and examines it through the addition of poetic elements and events from my own lived experience