Artist, scholar, innovator, entrepreneur---Donald Saff worked closely for decades with major figures of late twentieth century art, including Jim Dine, Nancy Graves, Roy Lichtenstein, Philip Pearlstein, Robert Rauschenberg, James Rosenquist, and James Turrell. This book charts the history of his collaborations, from the late 1960s when he founded Graphicstudio through the 1990s when he headed Saff Tech Arts, as well as his own career as an artist. It reveals the energy and inspiration that Saff brought to the creation of prints, paintings, and sculptures that pushed boundaries and allowed those with whom he partnered to take risks and ultimately produce Iconic art. --Book Jacket.

Jim Dine - David Hockney - Jasper Johns - Roy Lichtenstein - Robert Rauschenberg - James Rosenquist - Frank Stella.

Winner - American Graphic Design Award, Graphic Design USA Conveying the authors' love of the letterpress process and product, this book presents the technical, historical, aesthetic and practical information necessary for both students and instructors. The 2nd edition of For the Love of Letterpress includes an updated gallery of contemporary images of letterpress printing, as well as a new chapter of letterpress assignments from the United States, United Kingdom and Europe. Both additions attest to the dynamic and continued relevance of the media. The authors show how contemporary digital processes have expanded the boundaries of traditional letterpress. By writing with passion and experience, they indicate why a 15th century printing technology based upon crafting with one's hands, still has appeal and value to 21st century artists and designers. Whether incorporated into an academic curriculum or used for self-study, For the Love of Letterpress is a must for students who wish to learn letterpress and instructors seeking inspiration and reference.

In our present cultural moment, when God is supposed to be dead and metaphysical speculation unfashionable, why does postmodern fiction—in a variety of genres—make such frequent use of the ancient rhetorical form of allegory? In Religion without Belief, Jean Ellen Petrolle argues that contrary to popular understandings of postmodernism as an irreligious and amoral climate, postmodern allegory remains deeply engaged in the quest for religious insight. Examining a range of films and novels, this book shows that postmodern fiction, despite its posturing about the unverifiable nature of truth and reality, routinely offers theological and cosmological speculation. Works considered include virtual-reality films such as The Matrix and The Truman Show, avant-garde films, and Amerindian and feminist novels.

How the valorization of artistic and political dissidence has contributed to the rise of Chinese contemporary art in the West. Interest in Chinese contemporary art increased dramatically in the West shortly after the 1989 Tiananmen Square protests. Sparked by political sympathy and the mediatized response to the event, Western curators, critics, and art historians were quick to view the new art as an expression of dissident resistance to the Chinese regime. In this book, Marie Leduc proposes that this attribution of political dissidence is not only the result of latent Cold War perceptions about China, but also indicative of the art world's demand for artistically and politically provocative work—a demand that mirrors the valorization of free expression in liberal democracies. Focusing on nine Chinese artists—Wang Du, Wang Keping, Huang Yong Ping, Yang Jiechang, Chen Zhen, Yan Pei-Ming, Shen Yuan, Ru Xiaofan, and Du Zhenjun—who migrated to Paris in and around 1989, Leduc explores how their work was recognized before and after the Tiananmen Square incident. Drawing on personal interviews with the artists and curators, and through an analysis of important exhibitions, events, reviews, and curatorial texts, she demonstrates how these and other Chinese artists have been celebrated both for their artistic dissidence—their formal innovations and introduction of new media and concepts—and for their political dissidence—how their work challenges political values in both China and the West. As Leduc concludes, the rise of Chinese contemporary art in the West highlights the significance of artistic and political dissidence in the production of contemporary art, and the often-unrecognized relationship between contemporary art and liberal democracy.

An essential addition to the library of anyone concerned with contemporary printmaking.