Abstract
This paper concerns monoprinting processes and the prints that emerge from them. Historically, the monotype holds the title of the only printing process to result in single, unique prints, whereas monoprints are “unique impressions that derive from the variable treatment of a matrix that also has some fixed, repeatable inscription on it” (Roberts, 2017 p.26). These terms are now generally used interchangeably, and for this discussion, I will use the term monoprint to encompass all unique prints, including the monotype, and one-off prints emerging from screenprinting, lithography, etching and relief processes.
References
Balfour, B. (2016), ‘The What and The Why of Print’ in Pelzer-Montada, R. (2018) Perspectives on Contemporary Printmaking: Critical writing since 1986. (Manchester: Manchester University Press). pp.114-126.
Centre for Print Research at The University of the West of England (2022) Themes- Impact Conference 12 Available at: https://cfpr.uwe. ac.uk/impactconference12/themes/ (Accessed: 23/05/2022).
Dunne, É. (2016) ‘Learning to Unlearn’. In Dunne, É. & Seery, A. (2016) The Pedagogics of Unlearning. (Baltimore, Maryland: Project Muse). pp.13-24.
Herrmann, D F, (2006) ‘Touching Upon Framing: Medial Conditions of Printmaking in Dieter Roth’s Komposition I-V (1977–1992)’ in Framing Borders in Literature and Other Media, 2006, BRILL, Amsterdam.
Inma Herrera (2018) Towards Samadhi. Available at: http://www.inma- herrera.com/Towards-Samadhi (Accessed: 23/05/2022).
Laidler, P. (2011) Collaborative digital and wide format printing: Methods and considerations for the artist and master printer. (Thesis). University of the West of England
McLeod, K. et al. (2020) ‘Principles for a pedagogy of unlearning’ in Reflective practice. 21:2, DOI: 10.1080/14623943.2020.1730782. pp. 183–197.
National Galleries Scotland (2021) Toucher. Available at: [https://www. nationalgalleries.org/art-and-artists/170119?artists%5B28062%5D=280 62&search_set_offset=5] (Accessed: 28th April 2022).
Phillips, C. (2022) Email to Miriam Hancill, 3rd April.
Phillips, C. (2022) Zoom conversation with Miriam Hancill, 26th April.
Phillips, J. (2005) Transforming print: key issues affecting the development of londonprintstudio. (Thesis). University of Brighton.
Reeves, K. (1999), ‘The Re-Vision of Printmaking’ in Pelzer-Montada, R. (2018)
Perspectives on Contemporary Printmaking: Critical writing since 1986. (Manchester: Manchester University Press). pp.72-81.
Roberts, J L. (2017) ‘The Metamorphic Press: Jasper Johns and The Monotype’ in Dackerman, R and Roberts, J L, Jasper Johns: Catalogue Raisonné of the Monotypes. (Matthew Marks Gallery and Yale University Press). pp.7-27.
Roberts, J, (2021). ‘Interference’ in Contact: Art and The Pull of Print. [online lecture series] Available at: https://www.nga.gov/research/ casva/meetings/mellon-lectures-in-the-fine-arts/roberts-2021.html. (Accessed: 07/10/2021.)
Stephen Friedman Gallery (2021) Claire Barclay in conversation with Katy Hessel.2021. Available at: https://www.stephenfriedman. com/exhibitions/153-claire-barclay-tenuity-multiple-iv/ (Accessed: 24/05/2022).
Weisberg, R. (1986), ‘The syntax of print: in search of an aesthetic context’ in Pelzer-Montada, R. (2018) Perspectives on Contemporary Printmaking: Critical writing since 1986. (Manchester: Manchester University Press). pp.56-68.
Ruth Pelzer Montada, ‘Drawing out new sounds from one’s instrument’, in Adragna, L. et al. (2020) CrossSections : Processing Artistic and Curatorial Research / ed. by Başak Şenova. Başak Şenova (ed.). [Online]. Berlin: De Gruyter. pp.114-115.
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2023 Miriam Hancill