Some Thoughts on Contemporary Graphic Print

Authors

DOI:

https://doi.org/10.18533/journal.v5i9.1010

Keywords:

Art, artist, cultural, culture, technologies, technology.

Abstract

The production requirements of original graphic works of art have changed since 1980. The development of digital printing using lightfast colors now rivals traditional techniques such as wood cut, screen print, lithography, etching etc. Today, with respect to artistic legitimacy, original graphics using traditional printing techniques compete with original graphics produced by digital printing techniques on the art market. What criteria distinguish traditional printing techniques from those of digital printing in the production and acquisition of original graphics? What consequences is the serious artist faced with when deciding to implement digital print production? How does digital print change original graphic acquisition decisions?

Author Biography

  • Stefan Skiba, Atelier Stefan Skiba Hohenlohestraße 16 28209 Bremen Germany

    Stefan Skiba’s visual art

    1. The artist Stefan Skiba’s life com­prises three distinct phases.
    a. The perception phase: - Memories - Experiences - Fears and hopes - Dreams.
    b. The reflection phase in which he reflects, »distinguishes«* and perceives.
    c. The production phase in which he produces what is »observable«*: A universal »sign language«** / a »code consisting of geometric forms«** »with content-related marking«*.
    The artist Stefan Skiba displayed both enthusiasm and passion in each of these three phases.

    2. Stefan Skiba’s visual art is independent. Neither religion, nor politics nor the world of business can exploit his art for their own ends.

    3. Artistic quality is achieved when form and content come closest. It is then that the resulting likeness most close­ly approximates the theme, namely essence of the original image.

    4. Observers, no matter where they may find themselves in the world, can »relate graphic symbols to an identification code«**, »distinguish between reality«* and perceive art. 
    Stefan Skiba’s visual art aims at - sensitising the perception of inner and outer images, - enhancing the powers of visualisation and - developing both the conscious and subconscious.

    See:
    * Niklas Luhmann, Art as a Social System
    ** Umberto Eco, The Role of the Reader: Explorations in the Semiotics of Texts

References

Bourdieu, P. (2001): Die Regeln der Kunst, ISBN 978-3-518-29139-9

Bourdieu, P. (2016): The rules of art, ISBN 978 0 7456 1778 7 (pbk), page 225, third paragraph

Böhringer, J., Bühler, P., Schleich, P. (2014): Kompendium der Mediengestaltung: Produktion und Technik für Digital- und Printmedien (X.media.press) ISBN 978-3642205811

Fritzsche, B. atelier, Die Zeitschrift für Künstlerinnen und Künstler, Nr. 206 4/2016 http://www.atelier-verlag.de

Luhmann, N. (1997): Die Kunst der Gesellschaft, ISBN 3-518-28903-9

Luhmann, N. (2000): Art as a Social System (Meridian: Crossing Aesthetics), ISBN 978-0804739078

Senefelder, A. (2012): Lehrbuch der Lithographie und des Steindruckes, ISBN 978-3864446764 9

Skiba, S. (2015): The monitor acts as my canvas – the use of vector graphics in contemporary art, http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2015/3607

Skiba, S. (2016): Expressive Schwarz-Weiß-Vektorgrafik in der zeitgenössischen Kunst, ISBN 978-3000529948

Wojda, F. (2015): Das Sammeln zeitgenössischer Kunst, 2015, ISBN 978-3903004665

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Published

2016-09-29

Issue

Vol. 5 No. 9 (2016): September

Section

Essay

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