Media Kit 2019 Dedicated to the Media Growing Conversation the Kit 2019 About the Photobook Photobook What Is the Photobook Review?

Total Page:16

File Type:pdf, Size:1020Kb

Media Kit 2019 Dedicated to the Media Growing Conversation the Kit 2019 About the Photobook Photobook What Is the Photobook Review? The PhotoBook Review Media Kit 2019 Dedicated to the Media growing conversation The Kit 2019 about the photobook PhotoBook What is The PhotoBook Review? Review The only publication of its kind dedicated to the consideration of the photobook. With a focus on the best photography books being published—from coffee-table books to handmade artists’ editions—The PhotoBook Review is a platform for accessible critical writing about the current state of photography in print, and the art of photobook publishing as a whole. Published twice yearly, in the spring and fall, The PhotoBook Review is distributed at no extra charge to Aperture magazine subscribers, at Paris Photo, and at other art- and photobook-focused festivals and events. Who is The PhotoBook Review for? The PhotoBook Review is for everyone interested in photography, as well as those with an established interest in the contemporary photobook. Designed to serve all producers and lovers of photobooks, The PhotoBook Review speaks to everyone from collectors to sellers, browsers to borrowers, publishers to photographers, designers to authors. Who is behindThe PhotoBook Review? The PhotoBook Review is an initiative from the not-for-profit Aperture Foundation, one of the oldest continuously active publishers and supporters of photography. It continues Aperture’s tradition of promoting dialogue and great writing about the medium. The PhotoBook Review was created in partnership with Paris Photo, the international fine-art photography fair, in support of the annual Paris Photo– Ideal Bookshelf: LAM, 2011 Aperture Foundation PhotoBook Awards. © Jane Mount The PhotoBook Review Media Kit 2019 aperture.org/pbr Circulation & Distribution Spring / 15,000 Fall / 20,000 Aperture magazine subscribers—distributed with the Summer issue Aperture magazine subscribers—distributed with the Winter issue Art fairs such as: 1–54 Contemporary African Art Fair; Cosmos at Les Rencontres d’Arles; Paris Photo Expo Chicago; LA Art Book Fair; NY Art Book Fair; Offprint London; San Francisco Art Book Fair; Unseen Photo Fair Additional art fairs and conferences such as: AIPAD; The Armory Show; Offprint Paris, Society for Photographic Education (SPE) National Conference; Untitled, Miami Beach Aperture Gallery and Bookstore Aperture Gallery and Bookstore Distribution partners Distribution partners PREVIOUS DISTRIBUTION PARTNERS INCLUDE: Cleveland Museum of Art; Fotobookfestival, Kassel, Germany; Le Bal Books; Milan Image Art Fair; School of Visual Arts, Editorial New York; Stedelijk Museum, Amsterdam The PhotoBook Review fills a void in the current media environment. While there are Publisher: Lesley A. Martin several international venues for literary book reviews, very few consistently review artists’ books, let alone photobooks specifically. Of all 100 titles included in the 2010 New York Times Past Guest Editors Include: David Campany, Bruno Ceschel, Charlotte Cotton, list of Notable Books, only two were illustrated. Deirdre Donohue, Joan Fontcuberta, Darius Himes, Kummer & Herrman, Jeffrey Ladd, Ramón Reverté, Markus Schaden, Daria Tuminas, Ivan Vartanian, While the number of photobook publishers is growing and there is incredible innovation Denise Wolff, Stanley Wolukau-Wanambwa taking place in this sector of the field, credible, authoritative resources for commentary and contextualization are few and far between. The PhotoBook Review is that platform. Contributing Editors: Chris Boot, Brendan Embser, Julien Frydman Regular features include book reviews, in-depth opinion pieces, artists’ selections, publisher spotlights, and interviews with photographers, book collectors, designers, and more. Issues frequently have a notable Guest Editor from the field. The PhotoBook Review Media Kit 2019 aperture.org/pbr Schedule Issue Reservations Art Due Distributed 016, Spring 2019 March 6 March 20 April 12 017, Fall 2019 September 26 October 10 November 6 Full Page & Half Page Back Cover: Horizontal: Rates Spring Fall 10w x 15.4h inches 10w x 7.375h inches Back Cover N/A $3,000 Full Page $2,100 $2,850 Half Page $1,300 $1,700 One Column $750 $1,000 Quarter Page $650 $800 Half Page Quarter Page: Vertical: 4.836 w x 7.375h inches ALL RATES ARE NET. 4.836w x 14.88h inches For more information, please contact: Elizabeth Morina, Partnerships and Advertising 917.691.2608 [email protected] Event Opportunities One Column: 2.3125w x 14.88h inches Please inquire about Aperture Gallery and Bookstore for hosting your book-related events. * NO BLEEDS. All measurements are width by height The PhotoBook Review Media Kit 2019 aperture.org/pbr Specifications Terms: Magazine Trim Size: 11.3386w x 16.14h in. (28.8w x 41h cm) All rates are NET. Printing Method: cold-set web printing All ads must be accompanied by a signed contract (insertion or purchase order). Paper Stock: 30 lb. newsprint Binding: folded Cancellations: Neither the advertiser nor its agents may cancel after the Reservations date. If, by the Reservations date, the Publisher has not received copy that, in its sole File Delivery Instructions: If sending files electronically, please use a discretion, is deemed acceptable for publication, Publisher may either repeat the file transfer service (we suggest wetransfer.com or hightail.com) and send to: advertiser’s most recent advertisement that it has published or publish nothing, charging [email protected] and [email protected] the agency and advertiser for any space reserved by them. Accepted File Format: High-res PDF only, all fonts embedded, sent via Billing: For established advertisers, invoices are issued upon publication CD/DVD-ROM or File Delivery Instructions (see above). (i.e., Distributed) date and payable within 30 days upon receipt. Payment not received within 90 days of invoice is subject to additional 1.5% service charge per month Graphics Resolution: 300 dpi until paid in full. Color Profiling: All ads should be set up in CMYK using the SNAP 2009 profile. For first-time advertisers, full payment must be received by the Art Due date. Make Black-and-white images should be in grayscale. check out in U.S. dollars and payable to Aperture Foundation. Send to: Aperture Black text should be in 1-color black only. Foundation, 547 W. 27th St., 4th Floor, New York, N.Y. 10001, Attn: The PhotoBook Review Black text should overprint, not knock out. No multicolored text smaller than 8 pt. Foreign payment must be made via credit card or bank transfer. No text that knocks out smaller than 8 pt. Proof Requirement: at advertiser’s discretion Ship Disks and Color Proofs To: Aperture/The PhotoBook Review 547 West 27th Street, 4th Floor, New York, N.Y. 10001, Attn: Dana Triwush Production Contact: Nelson Chan, Production Manager [email protected] 212.946.7163 The PhotoBook Review Media Kit 2019 aperture.org/pbr Aperture Foundation The PhotoBook Review is published by Aperture Foundation, a not-for-profit organization that connects the photo community and its audiences with the most inspiring work, the sharpest ideas, and with each other—in print, in person, and online. The foundation also publishes the highly respected quarterly magazine Aperture and award-winning books, including many seminal titles by artists such as Robert Adams, Diane Arbus, Dawoud Bey, Chuck Close, Bruce Davidson, Nan Goldin, Josef Koudelka, Sally Mann, Mary Ellen Mark, Richard Misrach, Sebastião Salgado, Stephen Shore, and Mickalene Thomas, to name but a few. Aperture’s other initiatives include workshops, limited-edition photographs, artist lectures, panel discussions, and a traveling exhibitions program that has presented shows at major museums and arts institutions in the United States and abroad. The three-thousand-square-foot Aperture Gallery and Bookstore opened in 2005 in New York’s Chelsea arts district and welcomes nearly 13,000 visitors a year. The foundation’s website is a showcase for all of the organization’s programs: over 40,000 visitors a month browse and buy Aperture’s books, magazines, and prints, discover upcoming events and exhibitions, and read web-exclusive content. Over 55,000 individuals worldwide subscribe to Aperture’s weekly e-newsletter. Additional advertising and partnership opportunities beyond The PhotoBook Review are available. Please contact us to find out more. ELIZABETH MORINA Partnerships and Advertising 917.691.2608 [email protected] LESLEY A. MARTIN Publisher 212.946.7104 [email protected] The PhotoBook Review Media Kit 2019 aperture.org/pbr.
Recommended publications
  • Manifestopdf Cover2
    A Manifesto for the Book Sarah Bodman and Tom Sowden A Manifesto for the Book Sarah Bodman and Tom Sowden with an edited selection of interviews, essays and case studies from the project What will be the canon for the artist’s book in the 21st Century? 1 A Manifesto for the Book Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm This publication is a result of a project funded by the Arts and Humanities Research Council from March 2008 - February 2010: What will be the canon for the artist’s book in the 21st Century? The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk ISBN 978-1-906501-04-4 © 2010 Publication, Impact Press © 2010 Images, individual artists © 2010 Texts, individual authors Editors Sarah Bodman and Tom Sowden The views expressed within A Manifesto for the Book are not necessarily those of the editors or publisher. Impact Press, Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0) 117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] 2 Contents Interview with Eriko Hirashima founder of LA LIBRERIA artists’ bookshop in Singapore 109 A Manifesto for the Book Sarah Bodman and Tom Sowden 5 Interview with John Risseeuw, proprietor of his own Cabbagehead Press and Director of ASU’s Pyracantha Interview with Radoslaw Nowakowski on publishing his own Press, Arizona State University, USA 113 books and artists’ books “non-describing the world” since the 70s in Dabrowa Dolna, Poland.
    [Show full text]
  • A Case Study of Project Space by Tracy Ann Stefanucci Bachelor Of
    Making Space for Publication: A Case Study of Project Space by Tracy Ann Stefanucci Bachelor of Education, University of British Columbia, 2009 Bachelor of Fine Arts, University of British Columbia, 2008 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF PUBLISHING in the Publishing Program Faculty of Communication Art and Technology © Tracy Ann Stefanucci 2016 SIMON FRASER UNIVERSITY Summer 2016 This work is licensed under a Creative Commons Attribution-4.0 International License. You are free to share—copy and redistribute the material in any medium or format—and adapt— remix, transform, and build upon the material. Approval Name: Tracy Ann Stefanucci Degree: Master of Publishing Title of Project: Making Space for Publication: A Case Study of Project Space Dr John W Maxwell Associate Professor, Publishing Program, Senior Supervisor Mauve Page Lecturer, Publishing Program, Supervisor Leanne Johnson Gave and Took Publishing, Vancouver BC Industry Supervisor Brian McBay Director, 221A, Vancouver, BC Industry Supervisor Date Approved: May 18, 2016 ii Abstract The proliferation of digital technologies has initiated a need for radical changes to publishing business models, while simultaneously laying the foundation for a renaissance of the print book akin to that which occurred in the 1960s and 70s. This “second wave of self-publishing” has come about as a widespread surge, particularly in the realm of contemporary art and graphic design, but also in literary and DIY circles. As was the case in the “first wave,” this expansion has resulted in the development of brick-and-mortar spaces that house and nurture the activities of this niche, particularly the production of publications, exhibitions and additional programming (such as lectures and workshops).
    [Show full text]
  • BOOK ARTS NEWSLETTER ISSN 1754-9086 No
    BOOK ARTS NEWSLETTER ISSN 1754-9086 No. 76 September - October 2012 Published by Impact Press at the Centre for Fine Print Research, UWE Bristol, UK ARTIST’S COVER PAGE: LONDON CENTRE FOR BOOK ARTS (SEE PAGE 19!) IN THIS ISSUE: NATIONAL AND INTERNATIONAL ARTISTS’ BOOKS EXHIBITIONS PAGES 1 - 19 ANNOUNCEMENTS PAGES 19 - 20 COURSES, LECTURES & WORKSHOPS PAGES 20 - 26 OPPORTUNITIES PAGES 26 - 28 ARTIST’S BOOK FAIRS PAGES 28 - 30 INTERNET NEWS PAGES 30 - 32 NEW ARTISTS’ PUBLICATIONS PAGES 32 - 45 REPORTS & REVIEWS PAGES 45 - 49 STOP PRESS! PAGES 49 - 51 Artists’ Books Exhibition, UWE, Bristol, UK technology and science. The advantage of image over text Tom Trusky Exhibition Cases, Bower Ashton Library is that all layers of meaning can be seen simultaneously, and don’t have to be read one after the other in a linear Otto fashion. Furthermore, different ways of constructing the 3rd September - 30th October 2012 book as an object can encourage and offer different ways of Otto is a graphic artist who practices as an illustrator, reading. Alternative folding techniques allow for non-linear screenprinter and book artist. narratives that develop laterally. Since graduating in 1991 from Bristol Polytechnic with a BA Hons in Graphic Design he has been working as freelance illustrator and has been illustrating political, social and economic subjects for international newspapers and magazines. Otto’s image-making is influenced by Russian Constructivist designs, Polish poster art and Renaissance painting. Alien invasion, Otto, 2012 Solo and Visa, Otto 2011 Faced with the challenges presented by digital media and During his MA studies in Illustration at Kingston University its inherent ‘non-reality’, Otto believes in the continued in 1996 he discovered screenprinting.
    [Show full text]
  • Kelly Rogers Thesis
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE Post-Digital Publishing Practices in Contemporary Arts Publishing A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the Degree of Master of Arts in Art History By Kelly Rogers Norman, Oklahoma 2019 Post-Digital Publishing Practices in Contemporary Arts Publishing A THESIS APPROVED FOR THE SCHOOL OF VISUAL ARTS BY THE COMMITTEE CONSISTING OF Dr. Robert Bailey, Chair Dr. Alison Fields Dr. Erin Duncan-O’Neill © Copyright by Kelly Rogers 2019 All Rights Reserved. !iv TABLE OF CONTENTS ABSTRACT …………………………………………………………………………… v INTRODUCTION……………………………………………………………………… 1 CHAPTER 1: POST-DIGITAL PUBLISHING……..………………………………….. 12 CHAPTER 2: POST-DIGITAL PUBLISHERS..……………………………………….. 29 CHAPTER 3: POST-DIGITAL PUBLICATIONS…..…………………………………. 43 CONCLUSION…………………………………………………………………………. 54 BIBLIOGRAPHY………………………………………………………………………. 57 APPENDIX………………………………………………………………………………61 !v ABSTRACT A consideration of the ways in which post-digital influence impacts visual culture, and specifically arts publishing. The post-digital moment creates a unique opportunity for analog/digital crossover, which manifests in publishing practices and publications. This thesis aims to dedicate a space for discourse concerning these contemporary practices. Focusing on self-reflexive sources about arts publishing, this study analyzes the hybridization of media, pointing to mediatization as a result of our contemporary moment and its integrated digital influences. I address design and object composition of publications and artistic publishing practices using visual analysis to evaluate the tangible (or non-tangible) aspects of the publication and assess the multidisciplinary reach of arts publishing. This type of analysis supports the ideas of arts publishing as artistic practice, and allows us to develop a literary and aesthetic commentary about contemporary arts publishing and the latest developments in this field.
    [Show full text]
  • BOOK ARTS NEWSLETTER No. 44 September 2008
    ISSN 1754-9078 (Print) UWE Bristol, School of Creative Arts, Department of Art and Design ISSN 1754-9086 (Online) BOOK ARTS NEWSLETTER No. 44 September 2008 In this issue: National and International Artists’ Books Exhibitions Pages 1 - 7 Announcements Pages 7 - 8 Courses and Workshops Pages 8 - 9 Artist’s Book Fairs & Festivals Pages 9 - 11 Opportunities Pages 11 - 12 Wanted Page 13 Internet News Page 13 New Artists’ Publications Pages 14 - 16 Reports and Reviews: Wilcannia Wilderness - Julie Barratt’s artist’s book residency Page 17 I am paper Mary Pullen Page 17 Acccordion and Tunnel Books: 20 Years of Exploration Rand Huebsch Pages 17 - 19 Late News page 20 Artists’ Books Exhibitions at Bower Ashton Library My interest over the years lies in exploring what I consider to School of Creative Arts, Department of Art and Design be the special qualities of ‘books’ rather than the familiar University of the West of England, Bristol, UK appearance of them, the way in which a book gradually reveals its contents page by page, detail by detail, or even word by COVER ME IN COWHIDE - UMJETNICKE KNJIGE word, yielding at its own pace its narrative and its potential Andrew Norris 1988 - 2008, Simultaneous 20th Anniversary while engaging the reader in a moment of quiet contemplation. Retrospective Exhibitions of Artists’ Books in City Library of Zagreb, Croatia, and Bower Ashton Library, Bristol, England. Therefore, I consider a stick, with its text spiraling along its length, A Wood Some Trees (2002/2008), a mathematical 8th September - 8th October 2008 construction that twists and turns to meet words with images, River, Rocks and Foliage (1991), or a cow-hide covered frieze of The artists’ books, book-works and book-objects that I have friesian cows, HERD (1993) as falling under the same ‘artist’s been making over the past 20 years have, as a common theme, book’ genre.
    [Show full text]
  • Phil Sanders CV
    Phil Sanders [email protected] 631-252-4270 /c\ Education University of Florida BFA in Studio Art, Printmaking Summa Cum Laude, 1999 BA in Art Education Magna Cum Laude, 1999 Art History Minor, 1999 Tamarind Institute Printer Training Program - Certificate, 2001 Penland School of Crafts Summer Study 1998- Wood, 1999- Collaboration / Public Art Leadership Experience PS Marlowe Inc Founder | Director March 2009 – Present Asheville, NC www.psmarlowe.com PS Marlowe is a creative services industry consultancy firm specializing in guiding businesses and non- profits through difficult transitions, founder’s syndrome, incorporation, vision & strategic planning, performance audits, public/private real estate development projects, and business education for artists and designers. Clients include: Arts & Social Service Non-Profits; Schools & Academic Institutions, Real Estate Developers, Creative Capital Corporations; Municipal Governments & Agencies, Manufactures & Designers; Art Galleries & Museums, Foundations, Collectors, and Artists. A portion of profits is invested in the arts through publication of fine art projects. Project collaborators include: Glen Baldridge, Chakaia Booker, Will Cotton, Joseph Hart, Kreh Mellick, Eddie Martinez, Raymond Pettibon, and Chuck Webster. Select publications have been acquired by The Metropolitan Museum of Art, The New York Public Library, and The Library of Congress. Responsibilities: Manage all aspects of corporate activity including: client solicitation and retention, subcontractors, accounting, legal, marketing, strategic planning, primary provider of client services, primary instructor and developer of proprietary educational materials, manage and select artists’ publishing projects, art sales, and collections management. The Elizabeth Foundation for the Arts Chief Operating Officer May 2008 – March 2014 New York, NY www.efanyc.org EFA is a 501 (c)3 not-for-profit public charity in Midtown Manhattan servicing the NYC arts community through the Robert Blackburn Printmaking Workshop, EFA Project Space, and EFA Studio Program.
    [Show full text]
  • 5–7 November 2010
    Printed matter, inc. presents the NY art book fair For immediaTe release September 8, 2010 5–7 November 2010 NOVEMBER 5–7 at moma PS1 PREVIeW: NOVEMBER 4, 6-9 p.m. www.nyartbookfair.com “Smart, weird, engrossing, beautiful…” —The New York Times, 2009 “bigger and better then ever…time and a sturdy bag were essential accessories.” –Artforum, 2009 (September 8, 2010 – New York, NY) Printed Matter, the world’s largest nonprofit organization dedicated to publications by artists, presents the fifth annual NY Art Book Fair, November 5–7 at MoMA PS1, Long Island City, Queens. Free and open to the public, the Fair hosts over 230 international presses, booksellers, antiquarian dealers, artists and publishers from twenty-one countries, offering the best in contemporary art-book publishing. Philip Aarons, Chairman of the Board for Printed Matter, said: “The NY Art Book Fair is the premier venue to find what’s new in art publishing. While it has spawned a new generation of independent art book fairs world-wide, it remains the biggest, the best, and by far the most fun.” The NY Art Book Fair includes special project rooms, screenings, book signings, and performances, throughout the weekend. Other events include the third annual Contemporary Artists’ Books Conference and The Classroom, a curated series of informal conversations between artists, together Press Inquiries: with readings, workshops and other artist-led events. Peter J. Russo [email protected] A list of exhibitors, event schedule, and more information is available at www.nyartbookfair.com. Tel. 240 472 7260 About Printed Matter, Inc. To join a list to receive Printed Matter’s Printed Matter, Inc.
    [Show full text]
  • No. 106, September
    BOOK ARTS NEWSLETTER ISSN 1754-9086 No. 106 September - October 2016 Published by Impact Press at the Centre for Fine Print Research, UWE Bristol, UK ARTIST’S COVER PAGE: LINDA WILLIAMS In this issue: National and International Artists’ Books Exhibitions Pages 2 - 19 Announcements Pages 20 - 21 Courses, Conferences, Lectures & Workshops Pages 22 - 30 Opportunities Pages 30 - 37 Artist’s Book Fairs & Events Pages 37 - 44 Internet News Page 44 New Artists’ Publications Pages 44 - 57 Reports & Reviews Pages 58 - 63 Stop Press! Page 64 Artists’ Books Exhibitions in the Bower Ashton Library CARBON FOOTPRINT (2007) CarbonArt, City Hall, cases, UWE, Bristol, UK London. An exhibition addressing issues on Climate Change. Footprints from a global database, including her Sumi Perera et al. [SuperPress EDITIONS] own Sri Lankan diaspora were used. These etched footprints 1st September - 30th October 2016 were inked with marmite, peanut butter, saffron etc., An interdisciplinary artist working within various medical, considered imported exotic non-local foods to Sri Lankans scientific & artist collectives involved in writing, printing in the 60s. and publications, Sumi Perera has often generated work with groups and individuals sharing skills and resources. She makes the prototype of each prospective collaborative work herself, researching, experimenting and developing, until the work acquires a distinct voice. She then reverses the editorial control, by inviting others to take over the final artistic license to intervene and alter it by re-sequencing, adding, subtracting, inscribing, erasing etc. She does not set a brief or deadline to participants, but merely asks that they respond to the assembled work in any manner they wish to.
    [Show full text]
  • EAI at the NY ART BOOK FAIR November 4 - 7
    EAI AT THE NY ART BOOK FAIR November 4 - 7 EAI is pleased to participate in The NY Art Book Fair at MoMA PS1, organized by Printed Matter. Visit EAI's booth on the first floor and then descend the stairs to watch a curated screening program of videos from the EAI collection in MoMA PS1's basement vault. At the fair, EAI will also launch a special series of home-use DVDs. Dan Graham's Minor Threat (1983, 38:18 min) and Shana Moulton's Whispering Pines Vol. 1 (2002-2004, 21:37 min), the first in the series, will be available for purchase at EAI's booth at the book fair. Opening Reception: Thursday, Nov. 4, 6-9 pm Hours: Friday, Nov. 5, 11 am - 7 pm Saturday, Nov. 6, 11 am - 7 pm Sunday, Nov. 7, 11 am - 5 pm The NY Art Book Fair 2010 MoMA PS1 22-25 Jackson Ave at the intersection of 46th Ave Long Island City, NY 11101 www.nyartbookfair.com EAI VIDEO PROJECT SPACE: STAGED DIRECTIONS EAI's project space, installed in MoMA PS1's basement vault, will feature STAGED DIRECTIONS, a special ongoing program of early and recent videos by artists, including rarely seen works drawn from EAI's extensive archive. STAGED DIRECTIONS features conceptual videos that involve rules, instructions, or tasks, incorporating the script or the instruction manual into the action and placing the artist's directions on stage and in front of the camera. The screening program includes works by Vito Acconci, Cory Arcangel, John Baldessari, Lynda Benglis, Dara Birnbaum, VALIE EXPORT, Nancy Holt and Robert Smithson, Joan Jonas, Mike Kelley, Kristin Lucas, Kalup Linzy, Shana Moulton, Bruce Nauman, Dennis Oppenheim, Seth Price, Anthony Ramos, Martha Rosler, Carolee Schneemann, Stuart Sherman and Lawrence Weiner, among others.
    [Show full text]
  • Book Arts Directory 2010
    Book Arts Directory 2010 1 Book Arts Directory Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm Impact Press Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0)117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] Centre for Fine Print Research 2 How to use this directory This directory has been compiled as part of the Centre for Fine Print Research’s project: In an arena that now includes both digital and traditionally produced artists’ books, what will constitute the concepts of artists’ publishing in the future? This project was funded by the Arts and Humanities Research Council. The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk The directory comprises entries received during the project. Entries have been compiled as: Artist’s Book Galleries & Centres 4 Public and Private Collections & Collectors 7 Publishers & Presses 15 Bookshops and Dealers 19 Educational & Professional Organisations 23 Artists 30 Artist’s Book Fair Organisers 37 Each section’s listings are alphabetical, and can be browsed by name in that order.
    [Show full text]
  • New & out of Print Publications Available for Purchase Free
    231 11th Avenue New York, NY 10001 printedmatter.org New & Out of print Publications Available For Purchase The following catalog highlights a broad selection of artists’ books presented at Printed Matter’s fourteenth annual NY Art Book Fair at MoMA PS1. As the leading international gathering for the distribution of artists’ books and related art programs, the event celebrates the full breadth of the art publishing community. Printed Matter had the opportunity to visit the 369 exhibitors from around the world throughout the fair and order titles featuring a wide variety of works from a diverse group of artists and publishers to join our ever-expanding catalog. Free Library Collection Development Consulting Services & Standing Orders Printed Matter is a tremendous resource for librarians interested in developing their artists’ book collections. Through our long-standing open submission policy we have unique access to a broad array of contemporary artists publishing. We currently work one-on-one with several libraries to make collections based on varying criteria. We can also create standing orders that can be collaboratively crafted for your institution, where we pull books aside for your future review. This is a terrific way to keep abreast of the diverse artists’ publishing projects that stream into Printed Matter on a daily basis. If you would like to arrange for a consultation or discuss placing a standing order, please send an email to Anna at [email protected]. If you would like to place an order, we will create a special Library Account allowing you to bypass the prepayment requirement and instead invoice on a net 30 day basis.
    [Show full text]
  • Artists' Books
    Artists’ Books Creative Production and Marketing 3rd Edition, Sarah Bodman Impact Press, May 2010 1 Artists’ Books: Creative Production and Marketing 3rd Edition, Sarah Bodman Impact Press, May 2010 Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol, UK ISBN 978-1-906501-05-1 © 2010 main texts, Sarah Bodman Impact Press, UWE Bristol © 2010 images, individual artists © 2010 quotes and case studies, individual respondents The views expressed or quoted by the responding artists, curators and collectors in this publication are not necessarily those of the editor or the publisher. This publication can be downloaded as a free PDF document from: www.bookarts.uwe.ac.uk/bookpub.htm Data originally supplied by individual respondents, with additional surveys, interviews and case studies at artist’s book fairs and related events by Sarah Bodman and Tom Sowden, 2004-2010. The first issue of this publication in 2005, was based on a research project: A critical survey of creative production in relation to the market potential of artists’ books, for the Centre For Fine Print Research. The research project 2004 - 2005, was supported by a Small Grant in the Creative and Performing Arts, from the Arts and Humanities Research Council. www.ahrc.ac.uk Impact Press at the Centre for Fine Print Research UWE Bristol, School of Creative Arts Kennel Lodge Road, Bristol, BS3 2JT, UK Tel: +44 (0)117 32 84915 Fax: +44 (0)117 32 85865 www.bookarts.uwe.ac.uk [email protected] Permission to photocopy texts for personal use, one- off educational use in study packs, or for individual academic study is granted.
    [Show full text]