The Power of Print: Investing in Art, History and Community
By Danijela Cook
William Kentridge, Procession I, 2023, direct gravure with drypoint on gampi white chine colle, published by David Krut Workshop and Jillian Ross Print. ENQUIRE.
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I have spent a fair amount of time surrounded by original prints on paper. In the studio, in the gallery or at the art fair. There have been recurring conversations in these spaces, one’s that go a bit like this: “Wait, so is it digital?”, “Oh, so it’s not an ‘original’?” and of course there’s the occasional blank stare when you start mentioning things like acid baths, scratching into substrates and UV sensitive emulsions. This is of course not to place any snobby judgement onto the viewer but, it has always baffled me that a medium that arguably trails back to earliest forms of visual expression remains so misunderstood.
The essence of printmaking traces back all the way to the stencil images found in ancient rock art progressing into the revolutionary Renaissance creation of the printing press, the ancient woodblock prints coming out of Asia and of course the contemporary practice today. The medium stands as a versatile, enduring art form, yet despite its long and rich history, printmaking remains somewhat mystified, often overshadowed by the perceived superiority of other mediums like painting, sculpture, or drawing.
Although comparing mediums based on their value or allure creates an apple and oranges situation, it can be said that prints hold many unique values beyond notoriety, market trends or investment potential. Their worth lies in the unique processes involved, distinct quality of marks and the collaborative relationship between artist, printmaker, and the press. More so, in its undeniable modes of bold and accessible dissemination of information throughout history - notably in South Africa.
South Africa holds a remarkable legacy of printmaking— beginning at the early stencil art of the San and Khoikhoi people to its role in disseminating powerful messages quickly and boldly during Apartheid and where we stand now with the works of contemporary artists like Diane Victor, Deborah Bell, and newer generation such as Monotype Babe and Thokozani Madonsela. Printmaking has served as a powerful narrative tool, conveying complex stories through both bold graphics and more traditional narrative imagery.
Diane Victor, Miss September, 2011, R17 500 (ex VAT), Peffers Fine Art. Available to buy HERE
South African print workshops have been instrumental in this journey. Long-standing institutions like The Artists’ Press, Artist Proof Studio, and David Krut Projects provide critical support for artists, particularly those from marginalised backgrounds pre-94. These spaces have offered artists the technical resources, mentorship, and creative platform necessary to bring their stories to life. In doing so, these studios have played an essential role not only during the apartheid era but in the years since, supporting voices of restructuring and resilience in post-1994 South Africa, creating an avenue for artists to get their work in circulation.
As the years have gone on, the influence and contributions of collaborative print spaces has not waned - but only opened up to more artists and projects.
The Artists’ Press (TAP), was also established in 1991 in the heart of Johannesburg at the legendary Bag Factory by Mark Attwood. TAP specialises in fine art lithography printing and primarily collaborates with South African artists. After a decision by the founder to relocate out of Johannesburg, the studio now offers an off the grid, sustainable oasis for artists to visit and unplug from the hustle and bustle. This allows artists to focus on producing prints of the highest quality under the masterful guidance of Tamarind trained, Mark Attwood.
Sam Nhlengethwa, Green Chair, R11,000.00 ex. VAT, nine colour lithograph, available to buy HERE, presented by The Artists' Press.
David Krut Workshop had a great influence on the development of printmaking in Johannesburg since being established in 2002, bringing in equipment and master printers from all over to train eager printmakers that have gone on to produce incredibly complex projects. Most recently the team, in collaboration with Jillian Ross Print produced complex, large-scale intaglio prints that accompany William Kentridge’s latest stage work, The Great YES and The Great NO. Alongside these large projects, David Krut Projects welcomes artists and ideas from all levels to come in and work with a dedicated team of printmakers in creating a series of works that are often exhibited and supported by the associated gallery team - in 2023 the Workshop produced nearly 200 individual artworks through 16 collaborative projects with artists.
William Kentridge and Jillian Ross in collaboration with David Krut Projects, 2024, image: David Krut.
And of course we then have the spaces run by smaller teams, many of which are a one man/woman production, such as Eleven Editions, Loft Editions and Chocolate Ink Studio - each studio provides paramount contributions that keep the power of print alive.
So with all these boasts in mind - the question remains of why should you collect an editioned print compared to an original work such as a painting or drawing, or ironically other editioned mediums such as sculptures and photography, which have somehow managed to evade the perceptions of the editioned work that hang over the traditional print on paper. Well here’s why:
Unique Technical Qualities
Prints hold an undeniably unique technical impression that can morph and mirror the impressions of paint or pencil while still maintaining a quality of mark that could simply not be made through any other medium. The possibilities with prints are endless, once you’ve wrapped your head around the sometimes intimidating techniques, living with a print will mean you have an endless field of exploration, as well as having a fabulous conversation starter to flex your knowledge of technique and narrative.
Accessibility and Affordability
Prints are accessible. Editioned works are often placed at a lower entry cost for artists with high value and are almost always guaranteed to be appreciative. The magic of the affordable element is collectors, budding or seasoned, are able to introduce big names into their collections - you may not have the resources or space to collect a Walter Oltmann sculpture, but perhaps you do for a print.
It is also a simple way for collectors to support emerging artists and play a part in their growing legacy. With this in mind, and the misunderstood idea of reproduction in mind it is important to remember that editions are in fact still rare and valuable. They become collectables much like any other niche high rising collectables - like pokemon cards. Editioned prints allow for artworks to exist in multiple collections, both personal and institutional. Through this, the works reach wider audiences, increasing their visibility, their value and the artist’s provenance.
Cultural and Social Significance
The print works of many South African artists are rooted in a sense of social responsibility and engagement. Many images capture so many important factors of our history, identity, and resilience, both celebratory and critical. The history seeped into these works is bound to create a deep emotional and appreciative connection with both the artists and the medium's ability to translate their messages.
Of course each artistic medium holds its own magic, perhaps prints may need a bit more context to reveal theirs. So, as a closing note, I urge you to explore the world of prints—learn how to identify them, engage with printmakers to understand the techniques, and involve yourself into the inky, tedious, and ever rewarding world of printmaking - I promise, it’s worth it.
Further Reading In Articles
African Artist Directory