This paper presents the findings of new research undertaken amongst contemporary printmaking practitioners to determine markers of transition between traditional and new forms of printmaking, framed by conception of “Born Digital – New Materialities” - where a print object is conceived and/or created wholly in digital form (The-Library-of-Congress, 2010) whereby artists, utilising digital technologies, demand new conceptions, forms and aesthetics – “towards a new printmaking materiality”.
The research was undertaken through social network platforms to coordinate the collation and curation of a digitally mediated international exchange survey of contemporary “print” developed through digital mediation for digital exhibition, publication and editioning.
The research examines notions of “new materiality”, set against new concepts of electronic consumption for the second generation of printmaking formed by “ a multiply produced object made with a new type of template” [Kushner 2009] or printmaking 2.0, driven by burgeoning demand[s] for electronic distribution of digitally mediated prints.
