Post-Dijital Çağda İşbirliğine Dayalı Baskı Stüdyosu ve Melez Sanat Eseri Üretimi

Abstract

While printing, which dates to the pre-written history, was only a means of reproduction at the beginning, with its artistic use, it directly became one of the forms of artistic expression. In addition to traditional printmaking techniques, the use of today's technologies in printmaking allows hybrid approaches in printmaking to emerge. Especially with the hybridization of analog and digital technologies, prints with post digital aesthetics are being produced. This new version of printmaking encourages artists to work in collaboration with experts from different disciplines. Printmaking, which forms the basis of graphic arts; requires serious technical knowledge in addition to workshops with high installation and operating costs. This makes printmaking inaccessible to many artists and turns printmaking into an overly conventional production. For artists who do not have sufficient technical knowledge, skills in printing techniques or who do not have access to printing workshops; collaborative printing workshops and master printers are institutions that allow artists from different disciplines to produce works in the field of printing. Throughout history, collaborative printmaking workshops and master printers have been helpful to reveal the true potential of printmaking and by escaping the traditional attitude of printmaking, they have contributed to printmaking becoming one of the means of contemporary art production. This thesis aimes; to research how printing can get rid of its traditional attitude, to make inferences about how it can turn into a direct medium in contemporary art, and to examine the future of printing. For this purpose, while the study examines the history and literature of printing in the first part, the printmaking and hybrid approaches in the post-digital age were discussed in the second part in order to discuss the future of printing and its plastic potential. In the third part of the study, the concepts of collaborative printing workshop and master printmaker were discussed in order to examine how printmaking can function in the contemporary art market, and in the fourth section, in order to test the information obtained from the literature and make evaluations; the working conditions and methods of the workshop were examined, and the events organized were evaluated through the example of Dou Printstudio, the collaborative lithography workshop established within the scope of the thesis. The findings are discussed in the conclusion part and by making suggestions about the future of printing, its potential and its place in the contemporary art market; the outcomes of Dou Printstudio are evaluated.