- Volume 9 Issue 2
Prints in the contemporary art has the radical aspects at not only to maintain the characteristic of printmaking in a field of visual image but also to fulfill and communicate a desire of the public. We can see this from the change of the printmaking forms among the alternation of diverse expression methods and media such as from the line-cut at the Renaissance to colored print process, photography, the beginning of 20th century cartoons, advertisement, art, and graphic poster. From that, we can understand the printmaking as a fluid media, not fixed, has finely accomplished its functions as an act of visual language to smoothly communicate with the individual desire and character than word or language at the complex and various cultural surface. This study is focused on that prints as an avant-garde language in popular culture. Therefore, I have examined the following two aspects. First, with focussing at the specific characters of the graphic posters, I try to define the differences between language and visual language and the effect from it to our emotional perception and behavior with the politic and economic point of view. Second, how has the printmaking art as an fine arts finely accomplished an linguistic action. These are the purpose of this study.
- M. William and Jr. Ivins, Prints and Visual Communication, Harvard University Press, 1953.
- T. Susan, The Contemporary print from pre-pop to Postmodernism, Thames and Hudson inc., New York, 1996.
- M. William, Jr. Ivins, How Prints Look: Photographs with Commentary, Revised by Marjorie B. Cohn, Beacon Press, 1987.
- G. Bamber, How to Identify Prints: A complete guide to manual and mechanical processes from woodcut to inkjet, Thames and Hudson inc., New York, 2004.
- W. J. T. Mitchell, What do Picture Want?-The Lives and Loves of Images, The University of Chicago Pressand London, 2005.
- W. Deborah, Committed to Print: Social and Political themes in Recent American Print Art, New York, the Museum of Modern Art, 1988.
- G. Pat, Modern Print, London: Studio, 1970.
- F. Hal, Compulsive Beauty, Cambridge, MIT press, 1993.
- G. Pat, The Mechanized Image: An Historical Perspective on Twentieth Century Print, London:: Arts Council of Great Britain, 1978.
- E. Panofsky, Meaning in the Visual Art, Garden, NY, 1955.
- B. Adkins, Death and Desire, in Hegel, Heidegger and Deleuze, Edinburgh Univ., Press.
- H. Marcuse, 김인환역, 에로스와 문명, 나남출판, 2001.
- 이창재, 정신분석과 철학, 학지사, 2005.
- B. Richard, Death and Desire Psychoanalytic Theory in Lacan's Return to Freud, Routledge, 1991.
- A. Schope, 김광명역, 프로이트와 현대철학, 열린 책들, 2001.
- Brice, Morden PRINT, 1961-1991, LONDON TATE Gallery, 1992.
- 미셀 푸코, 김현 역, 이것은 파이프가 아니다, 민음사, 1995.
- R. Christine, The Aesthetics of Disengagement, -contemporary Art and Depression, Univ., of Minnesota Press, 2006.
- W. George and B. Naren, Digital Printmaking, Watson-Guptill Publications, New York, 2003.
- C. H. Linda, The Print in The Western World, Univ.,of Wisconsin Press, 1996.