By Richard S. Field
1. Prints are metonymous statements about the pervasiveness of binary thought, opposites, reversals, and mirrors.
2. Prints represent a deeply transgressive mechanization of culture, i.e., the principles of biological reproduction transferred to that of cultural reproduction.
3. The physical act of transferring information from one surface to another is analogous to the transfer of information from one linguistic field to another.
4. Prints arose in the context of the general pursuit of methods of “mass production” during the 15th century.
5. Prints are multiples, the products of collaboration.
6. Prints are the natural expression of the masses because they are expressions of the means of production.
7. Prints are highly individualized statements within the confines of rigidly defined technical means; they embody a condition of modernism-the conflict between man and machine, the handmade and the replicated, the original and the copy.
8. Fine prints privilege the modernist notion of originality and authorship, of which the concept of the signed, limited edition is their sign, but popular prints privilege reproduction and communication, of which the very quantity of anonymous prints is their sign.
9. The print implies a chain of prototypes, something that always precedes; the print is an “always already.”
10. Prints layer information, embodying traces of past thought and acts; they are metaphors for the way in which memory traces impose themselves on all perceptions and thought.
11. Prints are demonstrations of the process of representation, that all pictures of the world are codified and conventionalized, never indexical reflections.
12. Prints are metalanguages-languages about language-whose codes are total abstractions. The more descriptive, the more abstract.
13. Prints embody exactly repeatable visual information, but the implication that they themselves are precise replications must be reexamined.
14. The codes (or “syntax”) or prints can modify or over-modulate the message so that the codes become the message.
15. Codeless prints do not exist. The codes may be invisible, but the properties of techniques always impact content.
16. The information in many prints is encoded in binary systems of “on” and “off,” of black and white. Gray does not exist.
17. Prints draw up on the nature and resistance of materials, signifying the opaqueness of languages.
18. The necessary delays between thought and image in printmaking are analogous to present-day information processing (CPU time) and serve as reminders that images are only relatively instantaneous just as they are only relatively codeless.
19. In printmaking, contour, light, and shadow are both particulate and linear.
20. The imperceptible space of the prints-evoked by the deformation of the paper by plates, blocks, and stones-is an important part of their content and operates as an analogue for mental space.
21. Prints made possible the propagation of the history of art as history of style; for two centuries, prints privileged sculptural interpretation.
22. The print is an index of technological intention-prints represent the technology that made technology possible.
23. Prints have always implied a text and have traditionally conjoined that which originated from very similar impulses (printed imagery preceded and inspired printed text).
24. The historical burden of prints is communication, just as their subject has always been reproduction.
25. Prints are unique works of art, expressing the intentions of the artist.
26. Prints mediate art and craft, often location meaning in process.
27. Prints are not site specific but the ultimate in transportable art.
28. Prints are multiples, implying reception by multiple viewers and public experience.
29. Prints are mechanical tools that mediate private thought and public experience; as such they comprise media, the means of cultural transmission.
30. Prints (and photography) prepared the ground for mass media and the overwhelming presence of surrogate experience in contemporary culture.
2. Prints represent a deeply transgressive mechanization of culture, i.e., the principles of biological reproduction transferred to that of cultural reproduction.
3. The physical act of transferring information from one surface to another is analogous to the transfer of information from one linguistic field to another.
4. Prints arose in the context of the general pursuit of methods of “mass production” during the 15th century.
5. Prints are multiples, the products of collaboration.
6. Prints are the natural expression of the masses because they are expressions of the means of production.
7. Prints are highly individualized statements within the confines of rigidly defined technical means; they embody a condition of modernism-the conflict between man and machine, the handmade and the replicated, the original and the copy.
8. Fine prints privilege the modernist notion of originality and authorship, of which the concept of the signed, limited edition is their sign, but popular prints privilege reproduction and communication, of which the very quantity of anonymous prints is their sign.
9. The print implies a chain of prototypes, something that always precedes; the print is an “always already.”
10. Prints layer information, embodying traces of past thought and acts; they are metaphors for the way in which memory traces impose themselves on all perceptions and thought.
11. Prints are demonstrations of the process of representation, that all pictures of the world are codified and conventionalized, never indexical reflections.
12. Prints are metalanguages-languages about language-whose codes are total abstractions. The more descriptive, the more abstract.
13. Prints embody exactly repeatable visual information, but the implication that they themselves are precise replications must be reexamined.
14. The codes (or “syntax”) or prints can modify or over-modulate the message so that the codes become the message.
15. Codeless prints do not exist. The codes may be invisible, but the properties of techniques always impact content.
16. The information in many prints is encoded in binary systems of “on” and “off,” of black and white. Gray does not exist.
17. Prints draw up on the nature and resistance of materials, signifying the opaqueness of languages.
18. The necessary delays between thought and image in printmaking are analogous to present-day information processing (CPU time) and serve as reminders that images are only relatively instantaneous just as they are only relatively codeless.
19. In printmaking, contour, light, and shadow are both particulate and linear.
20. The imperceptible space of the prints-evoked by the deformation of the paper by plates, blocks, and stones-is an important part of their content and operates as an analogue for mental space.
21. Prints made possible the propagation of the history of art as history of style; for two centuries, prints privileged sculptural interpretation.
22. The print is an index of technological intention-prints represent the technology that made technology possible.
23. Prints have always implied a text and have traditionally conjoined that which originated from very similar impulses (printed imagery preceded and inspired printed text).
24. The historical burden of prints is communication, just as their subject has always been reproduction.
25. Prints are unique works of art, expressing the intentions of the artist.
26. Prints mediate art and craft, often location meaning in process.
27. Prints are not site specific but the ultimate in transportable art.
28. Prints are multiples, implying reception by multiple viewers and public experience.
29. Prints are mechanical tools that mediate private thought and public experience; as such they comprise media, the means of cultural transmission.
30. Prints (and photography) prepared the ground for mass media and the overwhelming presence of surrogate experience in contemporary culture.
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