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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. For any other use, please contact Sarah Bodman. 2 Contents Some useful websites 36 Introduction 5 Some places to buy and sell artists’ books in the UK & EIRE 39 Establishing a relationship between the maker and purchaser of artists’ books 7 Some places to buy and sell artists’ books around the world 40 Examples of acquisition policies in the UK 7 Some Institutional and Private Collections 41 Case Study: Maria White, Chief Cataloguer Tate Britain, UK 8 Further Reading 42 Examples of acquisition policies in the USA 8 Artist’s Book Journals 44 Case Study: Deirdre Lawrence, Principal Librarian Coordinator of Research Services, Book Artist Case Studies introduction 45 Brooklyn Museum, USA 9 Case Study I: Noëlle Griffiths, UK 46 Approaching Collectors 9 Case Study II: Andi McGarry, Ireland 47 Case Study III: Becky Adams, UK 48 Case Study: Neil Crawford Private Collector, UK 10 Case Study IV: John Bently, UK 49 Supplying information to purchasers 11 Case Study V: Emily Larned, USA 51 Sample information sheet 12 Case Study VI: Francis Van Maele, Redfoxpress Ireland 53 Interview with Institutional Collectors: Cathy Chambers Case Study VII: Gray Fraser, Canada 54 and Heather Cleary, Otis College, Los Angeles 13 Case Study VIII: Karen Hanmer, USA 56 Approaching bookshops and dealers 17 Case Study IX: Heather Hunter, UK 58 Case Study: Tanya Peixoto, bookartbookshop Case Study X: Helen Douglas, UK 59 specialist artists’ books store 17 Case Study XI: Magnus Irvin, UK 61 Interview with Max Schumann, Printed Matter Case Study XII: Susan Johanknecht, UK 61 artists’ bookstore, New York 17 Case Study XIII: Kyoko Tachibana, Japan 62 Case Study XIV: Lorelei Clark, Australia 63 Case Study: Preacher’s Biscuit Books, Artist Publishers Rochester, New York 20 Case Study XV: Laura Russell, USA 67 Case Study XVI: The Caseroom Press, UK 68 Case Study: Online Bookshop/Dealer, La Rara, Bibliofilia, Contemporánea, Barcelona 21 Case Study XVII: Lucy May Schofield, UK 69 Case Study XVIII: Marshall Weber, USA 71 Is it useful to give your artist’s book an ISBN? 23 Case Study XIX: Imi Maufe, Norway 73 What are Legal Deposit Claims? 23 Case Study XX: Mette-Sofie D. Ambeck, Denmark 74 Case Study XXI: Andrew Morrison, UK 76 Using Publish on Demand (P-O-D) services to produce and market your artists’ books 25 Case Study XXII: Mike Nicholson, UK 77 Case Study XXIII: Ral Veroni, Argentina 78 Pricing your work 26 Case Study XXIV: Deb Rindl, UK 80 The role of the artist’s book fair 29 Case Study XXV: Miriam Schaer, USA 81 Case Study XXVI: Chris Taylor, UK 83 Artist’s Book Fairs list 33 Case Study XXVII: Ian Tyson, France 83 Utilising the Internet 35 Case Study XXVIII: ‹usus› Uta Schneider Wikipedia 35 and Ulrike Stoltz, Germany 84 Case Study XXIV: Nancy Campbell, UK 85 Digitising artists’ books for library collections 36 3 BABE : Bristol Artist’s Book Event at Arnolfini, Bristol, Saturday 4th April and Sunday 5th April 2009 Photo: Tom Sowden BABE : Bristol Artist’s Book Event at Arnolfini, Bristol, Saturday 4th April and Sunday 5th April 2009 Photo: Tom Sowden 4 Artists’ Books Creative Production and Marketing France, Germany, EIRE, Spain, Denmark and the USA, to be used as reference for newer artists and students The first edition of this guide (published 2005) was the wanting to find out more about producing and marketing result of an AHRC supported project which investigated their artists’ books. We selected a range of artists with production and marketing issues for book artists. The 2 - 30+ years experience of making and marketing second edition was rewritten to include new information artists’ books, zines, multiples and unique books from 2005 - 2007. This third edition has been updated to and asked them to share their working practice and include information up to 2010. experience of book fairs, interaction with purchasers, discuss any problems and offer advice. Since then, they Initially we asked established and new artists to tell us have kindly updated their case studies for this third issue, about any issues concerning the production, pricing and alongside some new artists’ case studies from Canada, marketing of their artists’ books. This helped to establish Japan, Australia and Europe. a picture of the situation so we could try to address some of their problems. We also asked private and institutional collectors to tell us about the ways in which they would prefer to Previous reference books to help artists have included: interact with artists selling their books and any issues Stefan Szczelkun’s UK Artists Books: Marketing and Promotion arising from their own collecting. Whilst travelling, we Estamp, London, 1993) and Simon Ford’s Artists’ interviewed Max Schumann (Printed Matter), Cathy Books in UK and Eire Libraries (Estamp, London, 1992), Chambers and Heather Cleary (Otis College of Art & these were useful studies published on marketing and Design Library) for some in depth accounts of selling, promotion of artists’ books in the UK and Ireland. With purchasing and collecting artists’ books. Maria White the increased amount of study, interest and production (Tate Britain), Kristen Merola and Tate Shaw (Preacher’s of artists’ books over recent years, this new publication Biscuit Books), Mar Batalla (La Rara), Barrie Tullett will hopefully help to identify more opportunities and and Philippa Wood (The Caseroom Press) also kindly strategies for book artists to market their work and participated for case studies of collectors, dealers and establish connections with both private collectors and publishers. purchasers for institutions, nationally and internationally. In 2006, the publication of Artists’ Books: A Cataloguers’ For the first edition we attended five artist’s book fairs Manual (compiled by Maria White, Patrick Perratt and in Europe, the USA and South Korea. At the fairs we Liz Lawes for the ARLIS/UK & Ireland Cataloguing talked to artists and purchasers from the UK, Ireland, and Classification Committee, 2006) also indicated that France, Korea, Russia, Canada, Germany, Denmark, the field of artists’ books and their place in institutional Norway, New Zealand, The Netherlands, South Africa, collections has grown substantially. Italy, Japan and the USA. The differences in artists’ experiences from these countries provided an extra This new guide has been compiled for the book artist - dimension to the survey. Since then we have participated in their role of producer, publisher and distributor of in more events and fairs, and have included their their own artwork, to discuss some of the practical issues details in the suggested places to market artists’ books. arising from this. There is a more direct link between the An updated section of collections, book fairs, places artist and the buyer in the field of artists’ books than any to see, buy and sell artists’ books, reference reading, other art discipline. Many book artists are unsure of the organisations and websites, should help artists to find market potential of their work and this is particularly out about available opportunities, marketing ideas and difficult when they are directly responsible for sales. supporting networks. We have interviewed artists about producing and Many thanks to all the artists, collectors, publishers and distributing their work, and the importance of artist’s contributors who have contributed information for all book fairs and events for building relationships with the editions of this reference guide so far, particularly purchasers and other artists. Our range of sources those who have contacted us in response to the first two included a set of survey forms - distributed at book fairs, editions, and those who have contributed extensively with through mailing lists and via a downloadable link on their experiences through the case studies and interviews. our website. Respondents and interviewees ranged from Particular thanks are due to Tom Sowden for all his work established to fledgling artists, curators, collectors (both on the first issue, and at subsequent fairs and events, and institutional and private) bookshop and gallery owners, to Paul Laidler for photography and assistance at Leeds dealers, lecturers and instructors. and London fairs in 2009-2010. We hope you will find this guide helpful in promoting your own artists’ books.
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