The image of the body in contemporary printmaking art after 1960

This thesis focuses on the changing perception of the body in the field of art with the social, political and cultural transformations after 1960. In particular, how the body is handled as a trace, a carrier of expression and meaning in printmaking is analyzed. After 1960, the body is no longer merely a subject of anatomical study; it has become a carrier of memory, identity and resistance. The study begins by examining the position of the body in the historical process and how ideas about the body have evolved over time. The artists analyzed within the scope of the thesis sometimes make an identity visible through the body through different forms of representation, and sometimes take a stance against social oppression. The technical nature of printmaking - leaving traces, multiplying, building layered narratives - diversifies the way the body is handled and the meanings it carries. This study evaluates how artists create personal and collective narratives by drawing and directly involving the body in the production process. In conclusion, this thesis aims to make visible how and in what ways the body has found a place as a means of expression, an ideological object and a way of being in contemporary printmaking after 1960.