Printmaking has always found itself at the forefront of society's technology. The need of a culture for visual multiples has been satisfied with new processes of printing for over 500 years. First there was the relief print, the woodcut, and soon its literary cousin, movable type. It was followed in a heartbeat by intaglio techniques allowing for finer details in imagery. When demands increased Alois Sennefelder invented stone lithography in Germany. The rise of photography soon took over reproductive tasks. In the 1930s screen printing was created and today it is digital technologies which are at the frontier.

This tight connection between the state of technology and the need of society to visually address the issues which arise in a constantly changing world has always been recognized by artists as an exciting opportunity to connect with the zeitgeist of the times and to express their angst and hopes for the future.

Printmaking from its beginning as the "democratic" medium has expressed those thoughts, criticisms and reflections often in a stark way to inform, editorialize and satirize the powers that be.

The "bite of the print" is the term used for the stinging acuteness that an artist's observations can deliver as well as to describe part of a technical process in printmaking (the biting of a metal plate with acid as in an etching).
Holbein's Totentanz, Goya's Los Caprichos and Disasters of War and the German Expressionists' screams of two horrendous World Wars about to happen come readily to mind.

The "bite of the print" is very much alive and needed today.