Abstract


 
 
 This review refers to the artist book publication re:print published by Marmalade Publishers of Visual Theory in 2018. Edited by Véronique Chance and Duncan Ganley, it was conceived as an extension of the Symposium and Exhibition RE:PRINT/RE:Present convened in July 2015 at Cambridge School of Art, Anglia Ruskin University, Cambridge. With contributions, both visual and textual, from twenty artists, the publication does much more than adhere to the original aim of the symposium and exhibition, which sought to examine the impact of technological developments of print within trans-medial art practice. It archives these proposals and ideas, formally documenting the oftentimes hard-to-find critical discourse on print. Often disregarded for an emphasis on technique and reproducibility, here, print assumes greater critical significance, evidenced in the scope of its influence on those featured. Coming from various fields of enquiry, the contributors of re:print demonstrate a diversity of situations and register the activity and theory of print as it is located and explored within contemporary art practice, research and education today.
 
 

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