MULTIPLYING ORIGINALITY: CONSTRUCTION OF PLURAL ORIGINALITY IN PRINTMAKING

Özgür Uğuz

Article Details

MULTIPLYING ORIGINALITY: CONSTRUCTION OF PLURAL ORIGINALITY IN PRINTMAKING

Authors:

Özgür Uğuz

Publisher:

Anadolu University

Main Topics:

Baskı Resim

Journal:

Sanat ve Tasarım Dergisi Issue 15- Özel sayı, pp.167-183

Document Type:

Article

Publication Date:

10/2025

Document Language:

Turkish

Document ID (Org No.):

2001360242

pISSN:

2146-9059

Keywords:

Abstract:

 This study argues that originality in printmaking is not limited to the physical production process, but is a concept constructed by the artists intervention, technical variables and the institutional mechanisms of the art market. The study analyzes how the reproducible structure of art shapes the perception of originality by addressing the concept of originality in printmaking within the framework of art history, philosophical approaches and institutional standards. Using a qualitative research method and literature review method, views on the subject of the status of originality in printmaking were examined and decisive discussions were emphasized. In this context, the status of originality in printmaking was examined in the context of Nelson Goodmans autographicallographic distinction, Walter Benjamins concept of aura, Martin Heideggers understanding of temporality and Baudrillards simulacrum stages. In addition, how originality in printmaking is determined by the art market and institutional actors through the institutional guidelines developed by the 1960 Vienna 3rd International Congress of Plastic Arts, the 1968 National Painter-Printmakers Association of England, and the 1975 American Printmaking Association is discussed within the framework of Michel Foucaults determining role of institutions and powers. The findings show that printmaking has a multi-layered understanding of originality shaped not only by physical production processes but also by the artists intervention, technical variables and the discourses of the art market. Therefore, it is concluded that the concept of originality should be addressed with a different approach in printmaking. This study presents a comprehensive assessment of the relationship between the reproducible nature of printmaking and originality by revealing the dynamics that determine the originality status of printmaking.

 This study argues that originality in printmaking is not limited to the physical production process, but is a concept constructed by the artists intervention, technical variables and the institutional mechanisms of the art market. The study analyzes how the reproducible structure of art shapes the perception of originality by addressing the concept of originality in printmaking within the framework of art history, philosophical approaches and institutional standards. Using a qualitative research method and literature review method, views on the subject of the status of originality in printmaking were examined and decisive discussions were emphasized. In this context, the status of originality in printmaking was examined in the context of Nelson Goodmans autographicallographic distinction, Walter Benjamins concept of aura, Martin Heideggers understanding of temporality and Baudrillards simulacrum stages. In addition, how originality in printmaking is determined by the art market and institutional actors through the institutional guidelines developed by the 1960 Vienna 3rd International Congress of Plastic Arts, the 1968 National Painter-Printmakers Association of England, and the 1975 American Printmaking Association is discussed within the framework of Michel Foucaults determining role of institutions and powers. The findings show that printmaking has a multi-layered understanding of originality shaped not only by physical production processes but also by the artists intervention, technical variables and the discourses of the art market. Therefore, it is concluded that the concept of originality should be addressed with a different approach in printmaking. This study presents a comprehensive assessment of the relationship between the reproducible nature of printmaking and originality by revealing the dynamics that determine the originality status of printmaking.

 This study argues that originality in printmaking is not limited to the physical production process, but is a concept constructed by the artists intervention, technical variables and the institutional mechanisms of the art market. The study analyzes how the reproducible structure of art shapes the perception of originality by addressing the concept of originality in printmaking within the framework of art history, philosophical approaches and institutional standards. Using a qualitative research method and literature review method, views on the subject of the status of originality in printmaking were examined and decisive discussions were emphasized. In this context, the status of originality in printmaking was examined in the context of Nelson Goodmans autographicallographic distinction, Walter Benjamins concept of aura, Martin Heideggers understanding of temporality and Baudrillards simulacrum stages. In addition, how originality in printmaking is determined by the art market and institutional actors through the institutional guidelines developed by the 1960 Vienna 3rd International Congress of Plastic Arts, the 1968 National Painter-Printmakers Association of England, and the 1975 American Printmaking Association is discussed within the framework of Michel Foucaults determining role of institutions and powers. The findings show that printmaking has a multi-layered understanding of originality shaped not only by physical production processes but also by the artists intervention, technical variables and the discourses of the art market. Therefore, it is concluded that the concept of originality should be addressed with a different approach in printmaking. This study presents a comprehensive assessment of the relationship between the reproducible nature of printmaking and originality by revealing the dynamics that determine the originality status of printmaking.

 Bu çalışma, baskıresimde özgünlüğün fiziksel üretim süreciyle sınırlı olmayıp, sanatçının müdahalesi, teknik değişkenler ve sanat piyasasının kurumsal mekanizmalarıyla inşa edilen bir kavram olduğunu öne sürmektedir. Çalışma, baskıresimde özgünlük kavramını sanat tarihi, felsefi yaklaşımlar ve kurumsal standartlar çerçevesinde ele alarak, sanatın çoğaltılabilir yapısının özgünlük algısını nasıl şekillendirdiğini analiz etmektedir. Nitel bir araştırma yöntemi ve literatür taraması yöntemi ile baskıresmin özgünlük statüsüne dair konuya ilişkin görüşler incelenmiş ve belirleyici tartışmalar üzerinde durulmuştur. Bu bağlamda, Nelson Goodmanın autographicallographic ayrımı, Walter Benjaminin aura kavramı, Martin Heideggerin zamansallık anlayışı ve Baudrillardın simülakr evreleri bağlamında baskıresmin özgünlük statüsü incelenmiştir. Ayrıca, 1960 Viyana 3. Uluslararası Plastik Sanatlar Kongresi, 1968 İngiltere Ulusal Ressam-Baskıresimciler Derneği ve 1975 Amerikan Baskı Sanatları Birliği tarafından geliştirilen kurumsal yönergeler üzerinden baskıresimde özgünlüğün sanat piyasası ve kurumsal aktörler tarafından nasıl belirlendiği Michel Foucaultun kurumların ve iktidarların belirleyici rolü çerçevesinde tartışılmıştır. Bulgular, baskıresmin yalnızca fiziksel üretim süreçleriyle değil, aynı zamanda sanatçının müdahalesi, teknik değişkenler ve sanat piyasasının söylemleriyle biçimlendirilen çok katmanlı bir özgünlük anlayışına sahip olduğunu göstermektedir. Bu nedenle özgünlük kavramının baskıresim özelinde farklı bir yaklaşımla ele alınması gerektiği sonucuna varılmıştır. Bu çalışma, baskıresmin özgünlük statüsünü belirleyen dinamikleri ortaya koyarak, baskıresmin çoğaltılabilir doğası ile özgünlük arasındaki ilişkiye dair kapsamlı bir değerlendirme sunmaktadır.

Article Details

MULTIPLYING ORIGINALITY: CONSTRUCTION OF PLURAL ORIGINALITY IN PRINTMAKING

Authors:

Özgür Uğuz

Publisher:

Anadolu University

Main Topics:

Baskı Resim

Journal:

Sanat ve Tasarım Dergisi Issue 15- Özel sayı, pp.167-183

Document Type:

Article

Publication Date:

10/2025

Document Language:

Turkish

Document ID (Org No.):

2001360242

pISSN:

2146-9059

MULTIPLYING ORIGINALITY: CONSTRUCTION OF PLURAL ORIGINALITY IN PRINTMAKINGBaskıresim

Özgünlük

Çoğaltım

Aura

Çoğul Özgünlük

Issues

Article Details

MULTIPLYING ORIGINALITY: CONSTRUCTION OF PLURAL ORIGINALITY IN PRINTMAKING

Authors: Özgür Uğuz

Publisher: Anadolu University

Main Topics: Baskı Resim

Journal: Sanat ve Tasarım Dergisi Issue 15- Özel sayı, pp.167-183

Document Type: Article

Publication Date: 10/2025

Document Language: Turkish

Document ID (Org No.): 2001360242

pISSN: 2146-9059

MULTIPLYING ORIGINALITY: CONSTRUCTION OF PLURAL ORIGINALITY IN PRINTMAKINGBaskıresim

Özgünlük

Çoğaltım

Aura

Çoğul Özgünlük

Issues

Authors:

Özgür Uğuz

Publisher:

Anadolu University

Main Topics:

Baskı Resim

Journal:

Sanat ve Tasarım Dergisi Issue 15- Özel sayı, pp.167-183

Document Type:

Article

Publication Date:

10/2025

Document Language:

Turkish

Document ID (Org No.):

2001360242

pISSN:

2146-9059