If we kill the multiple do we learn more?

As a student in our program, editioning seems to fall by the wayside, but thats okay. It gives us the chance to get more ideas on paper, instead of just honing our technical skills. I feel like we have a unique opportunity to explore the medium as art, instead of just a process. Does anyone see editioning becoming a key factor in their work in the future? There are ways to edition what we make now, but will we?

Peter Callesen

Half Way Through, 2006

Acid free A4 115 gsm paper, pencil, and glue

We're coming off a fantastic week with Island Press artist Mark Fox. It seems that our work last week involved more cutting than printing. Does anyone want to speculate on the origin and/or significance of the current paper cutting phenomenon in contemporary art?

Check out these artists who use cut paper:
Nicola Lopez
Mark Fox
Kako Ueda
Diana Cooper
Beatrice Coron
Peter Callesen
Kara Walker
Yuken Teruya
Imi Hwangbo

What is a print?

Moma.org says a print is created not by drawing directly on paper, but through an indirect transfer process. In addition, they say that a print is "made up of ink on paper and existing in multiple examples."

If you go to MOMA's Flash site, What is a print?, you can check out their explanation of prints and print processes. It's a nice basic discussion and a good insight into how the rest of the world, if given the chance, understands what we do.

Does one-of-a-kind always = Monoprint?

Can I make drawings and call them monoprints?  What if I drew it all backwards, scanned it, reversed it in photoshop, and then used a laser-printer to make ONLY one "print"?