Abstract
This essay was prompted by my own experiences and interests as a printmaker. It examines the surface of the contemporary art print as a means to position printmaking in relation to contemporary painting, photography, and new media. Terry Smith's differentiation between “viscerality” and “enervation,” Richard Shiff's account of the changing perception of the surface in modernity, and the concept of the “haptic” as developed by Laura Marks with regard to experimental video will serve to trace similarities and differences between print and other contemporary media and to conceptualize aspects of the surface of print.1 In particular, I shall be asking whether there is a distinct haptic quality or haptics of and to the print.
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