This book examines twenty-five print projects by thirty-two of Britain's leading artists. The prints - about three hundred and. fifty in total - range from single images created for a group portfolio (Screen, published in 1997) to a series of eighty-three Disasters of War etchings made by Jake and Dinos Chapman. The artists span several generations and cross various disciplines, from the Screen artists who took part when they were in their late twenties or thirties and had, for the most part, little experience of printmaking, to Terry Frost and Patrick Heron who had been making prints for the best part of fifty years. Some of the artists are primarily sculptors and others are primarily painters;some work with computers and others work with video. The common denominator is that all the prints were commissioned and published by the Paragon Press between 1995 and 2000...

Since THE PARAGON PRESS was founded in 1986,it has established a reputation as one of the major print publishers of our time. Based in London, Paragon specialises in producing original print series by leading contemporary British artists, including Damien Hirst, Gary Hume, Anish Kapoor and Rachel Whiteread. This book illustrates and documents all twenty-five projects produced between 1995 and 2000, a period which has witnessed an extraordinary growth in interest in contemporary British art. Most of the series contain around to prints each, while some are much larger: the Chapmans' Disasters of War set comprises 83 separate etchings. Working in series, the artists have created narratives, or through repetition and emphasis have built a larger, grander statement than would be possible with single prints. In this way each project counts as an exhibition in itself , and most have taken months, if not years, to complete. The print techniques include screenprint, etching, linocut, woodcut and pigment prints.

The book contains a foreword by Charles BoothClibborn, founder of The Paragon Press, an introduction by Patrick Elliott, Assistant Keeper at the Scottish National Gallery of Modern Art in Edinburgh, and an essay by Jeremy Lewison, Keeper of Collections at the Tare, London. The print projects are illustrated in colour in chronological order and are followed by detailed narratives, mainly based on in-depth interviews, by Patrick Elliott. There are biographies and bibliographies of each artist. The book offers a thorough and indispensible survey of the many different trends in Contemporary British Art.

FOREWORD

Charles Booth-Clibborn

INTRODUCTION

Patrick Elliott

CONTEMPORARY BJTITISll ART

IN PRINT?

Jeremy Lewison

CONTEMPORARY ART IN PRINT

EMOTIONAL DETOXIFICATION, 1995

SHOW & TELL, 199G

TEN ETCHINGS, 199G

ENCLOSURE & IDENTITY, 199G

DEMOLISHED, 199G

A SERIES OF TWELVE PRINTS BY SIX ARTISTS, 199G

NORTH WALES, 199G

GRASSHOPPER, 1997

SCREEN, 1997

WHEN I WOKE UP IN THE MORNING,

THE FEELING WAS STILL THERE, 1997

MOTIF LIGHT, 1998

WOUNDS AND ABSENT OBJECTS, 1998

PORTRAITS, 1998

MADRON WOODCUTS, 1998

KILOMETRE THEATRE AND SEVEN

OTHER SEMINAL ARCHITECTURAL PROJECTS, 1998

BETWEEN SPACE AND TIME, 1999

THE DISASTERS OF WAR, 1999

THE BRUSHWORK SERIES, 1999

THE LAST SUPPER, 1999

ORCHARD TAMBOURINES, 1999

THE BEEKEEPER, 2000

EXQUISITE CORPSE, 2000

EMULSION, 2000

SPRING ANGELS, 2000

GARDEN , 2000

CATALOGUE COMMENTARY

Patrick Elliott

APPENDIX

BIOGRAPHIES AND BIBLIOGRAPHIES

GLOSSARY OF PRINT TERMS AND TECHNIQUES

INDEX