The dissertation sets out to consider the development of printmaking
forms, during the course of the twentieth century, in order to
trace the conceptual and technical concerns which, in particular,
have defined the nature of a contemporary identity in relation
to the visual arts as a whole.
It is proposed that printmaking and printforms possess a unique
identity because they form a link between art and a technology
in which certain common denominators are a fundamental part of
both. Therefore the nature of this identity is particularly of
its time in relation to a contemporary technology. This proposition is pursued through the consideration of a prevailing
situation which specifies, in general terms, those concerns which
currently define the nature of the printform. An historical observation
isolates particular activities and events which have played
a primary role in structuring both conceptual and physical developments.
This is followed by the consideration of a contemporary situation which correlates the outcome of the historical process
in relation to current activity in printforms and technique.
A dialogue relates the contentions of the main argument to the
concerns of the practical print works produced in parallel with
A Master's Thesis. Submitted in partial fulfilment of the requirements for the award of Master of Philosophy of Loughborough University.