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The mokuhanga (or Japanese woodblock) prints of British abstract painter Rebecca Salter (b. 1955) and Australian multimedia artist Brook Andrew (b. 1970) illustrate the distinct and diverging characteristics of this artistic practice in the broader context of global contemporary art. The adoption of mokuhanga by these two artists raises larger questions about the role of skill, craft and physical, as well as conceptual labour in the production of art.

My paper aims to present reflections for debate on the interrelationship between drawing and print in the contemporary art context rather than in historical terms. In particular it asks how the changes in drawing and printmaking which are summed up by the notion of an ‘expanded practice’ have brought these two areas into closer proximity. By focusing on three works by Kiki Smith, Christiane Baumgartner and Oscar Muñoz, shown at the 2009/10 Philagrafika International Print Triennal in Philadelphia, the paper engages with the effect of the implicit and explicit decoupling of the hand as a primary tool and signifier of drawing through the adoption of print- and/or camera-based strategies. To which extent does the expansion of techniques and, indeed, technologies change and challenge the discourse on drawing with its focus on trace, mark, gesture? How do such approaches question the assumed immediacy and directness of drawing as well as its proximity to the body? What are the implications of such strategies and techniques for the subjectivity of the maker and viewer as well as signification as such? In which way does the incorporation of circuitous print techniques and the adoption of camera images function at the level of image and meaning? In what manner do they reinforce as well as cast doubt on medium-specific assumptions and effects? (Where) do we draw the line (between drawing and print)?

Title of Output: ‘Sensing Print: Reflections on the Materiality of the Contemporary Art Print’Author(s): Ruth Pelzer-MontadaDate(s) of Output: September 2011Keywords: Materiality; contemporary art print; embodied sensory knowledge; screen; imprint; skinType of Output: Peer-reviewed conference paper PRCpp 53-59ISBN 978-1-906501-03-7Other Details: published in: Hoskins, S (ed) IMPACT 6 Multidisciplinary Printmaking Conference Proceedings; Location: BristolVenue or Publisher: IMPACT Press

The late fifteenth and early sixteenth century was a significant transitional period for printmaking, book printing, and manuscript production. Owners bought single-sheet illuminations and hand-coloured prints on the open market, and often pasted them into printed books and manuscripts; indeed, some books and prints were even designed to incorporate user interaction. Hand colouring in both printed books and single-leaf prints was one aspect of the blurred boundaries between mechanically produced and hand-crafted media. However, the relationship between hand-coloured books and hand-coloured single-leaf prints has yet to be thoroughly investigated in art-historical and bibliographic scholarship, despite the fact that fifteenth- and sixteenth-century artists, printers, and owners drew less of a distinction between the two than we do today. Thus, this thesis addresses how the broad proliferation of hand-coloured prints in this period aligned with the emerging printed book culture in the late fifteenth and early sixteenth centuries, focusing on the socio-cultural practice of hand colouring in Nuremberg in the work of the printmakers in the circle of Albrecht Dürer. The thesis is divided into two main parts: Objects, and People. The first section, Objects, is based on evidence from surviving prints and illustrated books. The three chapters in this section discuss printer-commissioned hand colouring in illustrated books and single-leaf woodcuts, and owner-commissioned colouring in engravings, as well as deluxe and devotional illustrated books. The second section, People, examines the colourists and collectors of coloured prints, using a broad range of evidence from surviving hand-coloured impressions, archival documents, and inventories. The thesis demonstrates that coloured prints aligned with coloured books in two ways: firstly, unique colouring visually mimicked the aesthetic of illuminated manuscripts, even more than a century after the introduction of print; secondly, and most importantly, both printed illustrated books and single-leaf prints with text were routinely coloured at the behest of printers, and were subject to standardised stylistic norms. I have termed this practice ‘batch colouring,’ whereby printers of illustrated books and single-leaf woodcuts commissioned identical colouring of either part or the entirety of a print run before sale. Hand colouring was therefore not a later addition to a print, but an inherent part of the production of printed images. The success of batch colouring as a phenomenon has profound implications for the impact of the printing press. The mechanised production of hundreds, and in some cases thousands of identical woodcut images led to a revolution in artistic production, whereby the colouring of these illustrations developed into a uniform and formulaic mode of application in order to provide polychromatic images in an economically efficient way. This thesis therefore sheds new light on the production and reception of printed images at the intersection of book printing, printmaking, and manuscript illumination.

It is the aim of this practice-led PhD to explore the processes that attend to the production of a linocut relief print through a framework whose key concepts are liminality and embodiment. In this pursuit the thesis investigates the subjects of skin and surface as well as cuts and cutting through themes and issues of touch and time that include connection and continuity, ‘direct’ creative touch, artist-tool/technology relations, memory, repetition and rhythmicity, transmissions of time, translation, tracking, chronology and equivalence. These subjects and themes’ liminal qualities and characteristics are mirrored by a methodology devised and employed throughout the research. This methodology employs the interpenetrative, interconnected, reflexive and autoethnographic methods of a durational, physically challenging repeat printmaking project, longhand letter writing, and the multiple-register writing of this thesis. It does so in a purposely oblique and ‘wayfaring’ (Tim Ingold, 2011) approach. Binaries and boundaries are thus explored without risking their further enforcement, allowing diverse aspects and subjects to flow into and between one another with the freedom to contrast, contradict, and manifest inconsistently whilst ultimately moving towards a more comprehensive understanding of the thesis’ subjects. This liminal methodology contributes a set of research tools and framework propositions to the existing field of research in and of creative practice, including printmaking, and its embodiment.