Artists’ Books

Creative Production
and Marketing
Sarah Bodman
Impact Press 2007
Published by Impact Press at
The Centre for Fine Print Research
University of the West of England, Bristol
August 2007

(ISBN 10) 0-9547025-7-3

(ISBN 13) 978-0-9547025-7-1

© 2007 main texts, Sarah Bodman

Impact Press, UWE Bristol

© 2007 images, individual artists

© 2007 quotes and case study responses,

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 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, 2004-2007.

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 (AHRC).

CENTRE FOR FINE PRINT RESEARCH

Impact Press
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]
Contents Places to buy and sell artists’ books
around the world 34

Introduction 5 Some Institutional and Private Collections 35

Establishing a relationship between the Further Reading 35

maker and purchaser of artists’ books 7
Artist’s Book Journals 37
Examples of acquisition policies in the UK 7
Book Artist Case Studies introduction 38
Case Study I: Maria White, Chief Cataloguer
Tate Library, Tate Britain, UK 7 Case Study I: artistsbooksonline, UK 39

Examples of acquisition policies in the USA 8 Case Study II: Andi McGarry, Ireland 39

Case Study II: Deirdre Lawrence, Principal Case Study III: Becky Adams, UK 41
Librarian/Coordinator of Research Services
Brooklyn Museum, USA 8 Case Study IV: John Bently, UK 41

Approaching Collectors 9 Case Study V: Emily Larned, USA 43

Case Study III: Neil Crawford Case Study VI: Francis Van Maele, Ireland 44
Private Collector, UK 10
Case Study VII:Gray Fraser, Canada 44
Supplying information to purchasers 10
Case Study VIII: Karen Hanmer, USA 46
Sample information sheet 11
Case Study IX: Heather Hunter, UK 48
Interview with Insitutional Collectors: Cathy
Chambers and Heather Cleary, Otis College, Case Study X: Helen Douglas, UK 49
Los Angeles, USA 12
Case Study XI: Magnus Irvin, UK 50
When is an artist’s book not an artist’s book?
Gray Fraser’s experience with the LAC 15 Case Study XII: Susan Johanknecht, UK 50

Approaching bookshops and dealers 17 Case Study XIII: Kyoko Tachibana, Japan 51

Case Study IV: Nancy Campbell, Dealer Case Study XIV: Lorelei Kampe, Australia 52
Bertram Rota Ltd, London 17
Case Study XV: Laura Russell, USA 54
Case Study V: Tanya Peixoto, bookartbookshop
specialist artists’ books store 18 Case Study XVI: Wendy Lockwood, UK 55

Interview with Max Schumann Case Study XVII: Lucy May Schofield, UK 56
Associate Director of Printed Matter
artists’ bookstore, New York 19 Case Study XVIII: Marshall Weber, USA 57

Case Study VI: Preacher’s Biscuit Books Case Study XIX: Imi Maufe, Norway/UK 58
Artist Publishers, Rochester, New York 21
Case Study XX: Mette Ambeck, Denmark 59
Is it useful to give your artist’s book an ISBN?
andwhat happens with Legal Deposit Claims? 23 Case Study XXI: Andrew Morrison, UK 60

Pricing your work 24 Case Study XXII: Mike Nicholson, UK 61

The role of the artist’s book fair 27 Case Study XXIII: Ral Veroni, Argentina 62

Artist’s Book Fairs list 29 Case Study XXIV: Deb Rindl, UK 63

Utilising the Internet 30 Case Study XXV: Miriam Schaer, USA 64

Website use of images of artists’ books / Case Study XXVI:Chris Taylor, UK 65

digitising library collections 31
Case Study XXVII: Ian Tyson, France 66
Some useful websites 31
Case Study XXVIII: ‹usus› Uta Schneider
Places to buy and sell artists’ books in the UK 33 and Ulrike Stoltz, Germany 67
BABE : Bristol Artist’s Book Event at Arnolfini, Bristol, Saturday 21st April and Sunday 22nd April 2007

Nadine Faye James, typewriter portrait artist at work

BABE : Bristol Artist’s Book Event at Arnolfini, Bristol
www.nadinefayejames.co.uk

4
Artists’ Books For the first issue, we interviewed book artists
Creative Production and Marketing to present a series of 25 case studies of their
experiences in the UK, France, Germany, EIRE,
Spain, Denmark and the USA, to be used as
The first edition of this guide in 2005, was the reference for newer artists and students wanting
result of our AHRC supported project which to find out more about producing and marketing
investigated production and marketing issues for their artists’ books. We selected a range of artists
book artists. Since 2005, we have had responses with 2 - 30+ years experience of making and
and information from artists and purchasers, and marketing artists’ books, zines, editions and
developments have taken place within the field unique books and asked them to share their
of artists’ books. This second edition has been working practices and experiences of book fairs,
rewritten to include new information since 2005. interaction with collections and purchasers, and
any problems and advice.
For both editions we asked established and
new artists to tell us about any issues concerning Since then, they have kindly taken the time to
producing and marketing their artists’ books. update their contributions for this second issue,
This helped to establish a picture of the current and we also have added some new artists’ case
situation so we could try to address some of the studies from Canada, Japan, Australia and Europe.
problems experienced by book artists.
In 2004-5, we asked private and institutional
As there are now many artists making books, the collectors to tell us about the ways in which they
subject has grown in related disciplines in the would prefer to interact with artists selling their
fine, applied and graphic arts fields. Stefan books and any issues arising from collecting
Szczelkun’s UK Artists Books: Marketing and artists’ books. Whilst travelling, we have since
Promotion (Estamp, London, 1993) and Simon interviewed Max Schumann of Printed Matter,
Ford’s Artists’ Books in UK and Eire Libraries New York and Cathy Chambers and Heather
(Estamp, London, 1992) were two useful studies Cleary, at Otis College of Art & Design Library in
published on marketing and promotion of artists’ Los Angeles; for some in depth accounts of selling,
books in the UK and Ireland. With the increased purchasing and collecting artists’ books. Maria
amount of study, interest and production of White (Tate Britain) Nancy Campbell (Bertram
artists’ books over recent years, we hope this Rota), Kristen Merola and Tate Shaw (Preacher’s
new publication will help to identify more Biscuit Books) have also kindly participated in
opportunities and strategies for book artists to new case studies for collectors, dealers and
market their work and establish connections publishers to add to this new edition.
with both private collectors and purchasers for
institutions. In 2006, the publication of Artists’ For the first edition we attended five artist’s book
Books: A Cataloguers’ Manual (compiled by Maria fairs in Europe, the USA and South Korea. At the
White, Patrick Perratt and Liz Lawes for the fairs we talked to artists and purchasers from the
ARLIS/UK & Ireland Cataloguing and Classification following countries: UK, Ireland, France, Korea,
Committee, 2006, ISBN 0-9552445-0-1) indicated Russia, Canada, Germany, Denmark, Norway,
that the field of artists’ books and their place in New Zealand, The Netherlands, South Africa, Italy,
institutional collections has grown substantially. Japan and the USA. The differences in artists’
experiences from these countries provided an
This new guide has been compiled for the book extra dimension to the survey, which we hope,
artist - in their role of producer, publisher and makes this publication of interest to a wide field.
distributor of their own artwork; to discuss some
of the practical issues arising from this. There is The updated lists of collections, book fairs, places
a more direct link between the artist and the to see, buy and sell artists’ books, reference
buyer in the field of artists’ books than any other reading and websites, should help artists to find
art discipline. Many book artists are unsure of out about available opportunities, marketing ideas
the market potential of their work and this is and supporting networks. Editorial comments/
particularly difficult in their situation as they are additions to texts are in [square brackets].
usually directly responsible for interacting with
the purchaser. Many thanks to all the artists, collectors,
publishers and contributors who responded to
We have interviewed artists about producing our requests for information for both editions,
and distributing their work, and the importance particularly those who have contacted us in
of artist’s book fairs and events for building response to the first edition, and those who have
relationships with purchasers and other artists. contributed extensively with their experiences
Our range of sources included our original survey through the case studies and interviews. We hope
forms - distributed at book fairs, through our you will find this guide helpful in promoting your
mailing list and via a downloadable link on our own artists’ books.
website. Respondents and interviewees ranged
from established to fledgling artists, curators,
collectors (both institutional and private) Sarah Bodman
bookshop and gallery owners, dealers, lecturers Centre for Fine Print Research
and instructors. UWE Bristol School of Art, Media and Design

5
Four generations and Mac the dog enjoy perusing artists’ books. Photo: Tom Sowden

A cyclist immersed in an artist’s book, Enschede, The Netherlands (with thanks to our model Carly Kok)

6
Establishing a relationship between the maker (not unsolicited). Most of them are happy to buy
and purchaser of artists’ books through dealers or bookshops, which they find
efficient when they know about the works they
are selling.
Purchasers of artists’ books
If you don’t market your work through artist’s book
As part of the initial survey, we asked collectors fairs, dealers or outlets, which are often where
to tell us: collectors will make a substantial amount of their
purchases, then approaching a collection yourself
6. Who (or where) is your main source for is the other option. If you don’t want to approach
purchasing artists’ books for your collection? a collection on your own, then see if other artists
who make similar work, will join together as a
Both institutional and private collectors make a small group.You can then make marketing
substantial amount of purchasing through artist’s arrangements between you and appoint
book fairs, dealers, collectives and specialist representatives for the whole group.
bookshops. They also deal with artists directly if a
proper appointment to visit has been arranged.
Examples of acquisition policies in the UK:
Here are some of the responses from some of the
collectors to question 6: Collections often have a set acquisitions policy
but these are not always readily available. Even
“Specific bookstores and private artist’s book with a set policy, many collections are open to
dealers, independent artist's book publishers, artworks which do not fit into their given criteria.
artists coming through or mailing in their work The majority of curators and librarians surveyed,
[after initial contact was made] or if I have seen stated that they would consider viewing most
the work reviewed (Art on Paper, Art Monthly, types of artists’ books. Many educational library
Umbrella, etc.), fairs.” Anne Dorothee Boehme, collections will concentrate on purchasing artists’
curator, Joan Flasch Artist's Book Collection, books which relate to their teaching curriculum.
School of the Art Institute, Chicago
Tate Library and Archive has an online record of
“Artist’s book fairs, bookartbookshop and Eagle books in the collection, so you can browse and
Gallery.” Neil Crawford, private collector, UK see the type of things they collect, mostly larger
editions and more inexpensive books. Tate has a
“London Artist’s Book Fair, from WSA staff and written acquisitions policy and price limits (see:
students, and specialist bookshops.” Catherine www.tate.org.uk/research/researchservices/resea
Polley, curator, Winchester School of Art Library rchcentre/default.htm).

“From art fairs, private studios and galleries.” Meg Duff responded to the question of how artists
Doug Beube, private collector, USA can find out about the acquisitions policy:
“I usually tell them in an initial phone
“From the Internet, Pyramid Atlantic book fair in conversation, and, in response to emails I usually
Washington, D.C., Printed Matter and Center for attach a copy as a one-page Word document,
Book Arts (both in New York City), Oak Knoll book whether this is requested or not.”
fair (private press).”
Michael Brooks, private collector, USA An example of some of the exclusions from Tate’s
policy include: “One of a kind, or very limited
edition books; Illustrated books/livres d’artiste;
Collections and Collectors Books containing original prints, particularly if the
prints are also available unbound; Objects, which
“The biggest problem for book artists selling their cannot strictly be considered as ‘books’ - though
work is how do you know who will buy it? I sell this is not always a straightforward matter; Books
almost all of my work to USA university libraries. over £120 except in special circumstances and
I approach named special collection librarians usually only following curatorial consultation.” It is
when I am teaching there and arrange an always worth finding out about policies before
appointment to show them my work. I have never submitting works which may not be suitable.
left a university without selling my work in this
way. In the States, the book arts are considerably
more popular and better organised than in the UK. -----------------------------------------------------------------
There must be thousands of public and private Case Study I: Maria White, Chief Cataloguer at
collectors there - I am building a list of who they Tate Library, kindly agreed to answer these
are.” Paul Johnson, The Book Art Project, UK/USA questions in May 2007:

Artists are sometimes unsure of how to approach a 1. How would you prefer to be approached by an
collection or potential collector.You don’t have to artist wishing to sell their work to you?
meet collectors in person; many curators are
happy to discuss the books by email and then By email or telephone, allowing enough time to
either view them personally, or sent on approval arrange a visit.

7
2. In your opinion, what would be the worst way of often ask them to write a short text describing the
approaching you? book, its ideas and its techniques and materials.
I also search the web or the artist’s website for
By just turning up or sending unsolicited work. statements. If the artist had a prepared information
sheet, that would be good. Information in
3. Does your collection have any particular theme electronic form is particularly useful as this can
or specialist aspect? be cut and pasted straight into a catalogue record.

Tate Library has a collection over 4,300 artists’ If I could also mention a recent ARLIS/UK and
books dating from the 1960s onwards. We collect Ireland publication that explores issues of
within the following definition: “a book (i.e. cataloguing: Artists’ books: a cataloguers’ manual
normally a number of pages attached to each by Maria White, Patrick Perratt and Liz Lawes.
other in some way) wholly, or primarily conceived Available from: [email protected]
by (though not necessarily actually made/printed
by) an artist, and usually produced in a cheap, Maria White, Chief Cataloguer
multiple edition for wide dissemination.” Tate Library, Tate Britain
We do not collect livres d’artiste, illustrated Millbank, London SW1P 4RG, UK
books or unique books. email: [email protected]
www.tate.org.uk
3a. How can artists find out about your preferences?

Artists can search the collection through the

Library's catalogue on the Tate website. Examples of acquisition policies In the USA:
Information about the Hyman Kreitman Research
Centre and access to the catalogue can be found Joan Flasch Artist’s Book Collection, School of
at: http://www.tate.org.uk/research/researchser- The Art Institute, Chicago. “We collect books and
vices/researchcentre/ multiples mostly in the $10 - to $200 - range; rarely
do we buy an item that is more expensive than
Otherwise I can email artists a copy of our that. Any printing technique, any format, any topic,
acquisitions policy. any edition size (although one-of-a-kind items
usually don’t fall into this price category). My
4. Do you feel it is necessary to meet the artist main guidance is found in our curricular activities
where possible? If yes, why? and potential user interests. Both change over
time. We do not usually buy broadsides or posters,
I would prefer to meet the artist to talk about the artists’ audio or video works unless they are
work. I very rarely buy without seeing the work. accompanied by a book work, artists' stamps
and other ephemera, nor do we buy examples of
5. Do you purchase from artists at specialist artist's bookbinding, papermaking, etc.” Anne Dorothee
book fairs? and if so, which fairs have you visited in Boehme, curator, Joan Flasch Artist's Book
the last year? Collection, School of the Art Institute, Chicago

Contemporary International Book Fair (Leeds) Constance Woo, of Long Island University Library,
Bristol Artists' Book Event adds that purchases for their collection “Must be
Small Publishers Fair (London) curriculum-related; well-made; interesting as art
London Artists' Book Fair and book art.”

6.Where (or who) is your main source for

purchasing artists' books for your collection? Case Study II: Deirdre Lawrence
Artists’ Books at Brooklyn Museum
The artists themselves. I currently mainly buy at The Brooklyn Museum Libraries and Archives,
the Fairs but I also see artists and booksellers who with over 300,000 volumes and 1,600 linear feet
visit the Library. of archival collections, have been developed as
a primary resource to provide resources for the
7. Do you have any issues arising from cataloguing cataloguing, interpretation and exhibition of the
or archiving artists’ books you have purchased? If Museum’s objects as well as its history.
so, is there any information from the artist that
would make your job easier? (for example, if the The research collection also offers information on
artist provided an information sheet for you). the broader areas of art and cultural history in
general from antiquity to contemporary times.
Cataloguing artists’ books can be a challenge. Special collections include approximately 2,000
Librarians require title and statement of artists' books and documentation concerning
responsibility (i.e. the artist’s name), name of exhibitions of artists' books around the world.
publisher, date and place of publication. If this
information is not on the book then it would be The artist’s book collection at the Brooklyn
very useful to be supplied separately. I am also Museum contains mostly multiples with examples
always grateful for further information provided of limited editions and unique books. The focus
by the artist. When purchasing from the artist I for Brooklyn’s collection is books by artists either:

8
- working or living in Brooklyn can send to artists before they submit any work for
- exhibited by the Museum or in the permanent consideration.
collection
- considered to be the masters of the book form Some of the responses from institutional
- producing books that relate to the Museum collectors, on how they prefer to be approached
objects collections (1) and how not to approach them (2):

In 2000, a selection of artists’ books was exhibited (1) “By phone call, email or letter. If the
at the Museum and a catalogue was produced artist intends to bring the work in personally,
entitled Artists’ Books [which is available from the there needs to be enough time to set up an
Museum Library for $25]. Artists’ books are appointment.” (2) “By turning up, unannounced,
frequently on view in the Museum Library with the work. By sending unsolicited work on
display cases. approval, especially in the case of an artist
unknown to me.” Meg Duff, curator, Tate Britain
To submit materials to the Library for possible Library, UK
inclusion in the artist’s book collection, please
send a résumé/CV and exhibition history, digital (1) “By email or telephone. We can arrange visits
images or prints of text and images to: or, then meet at an artist’s book fair”
Brooklyn Museum Library (2) “Unsolicited personal appearance at work,
Attn: Artist’s Book Collection our diaries are too full!” Linda Newington, curator,
200 Eastern Parkway Winchester School of Art Library, UK
Brooklyn, NY 11238-6052, USA
What artists marketing their work need to
The Brooklyn Museum Libraries and Archives appreciate is that many curators and institutional
offer non-circulating resources that serve the collectors have plenty of work to do, and cannot
needs of students, scholars, artists and others. be expected to respond to artists immediately, or
Visitors who wish to use the Libraries and to drop everything because we want to sell them
Archives are asked to consult the online our books! There are a lot more artists than there
catalogue at http://library.brooklynmuseum.org are curators.
and to email [email protected]
citations for material needed for research. It is also worthwhile remembering that institutions
To inquire about visiting please e-mail have a budgetary year the same as any business
[email protected]. does, so they may not be able to buy your work
because they have already allocated the financial
year’s budget. This can vary from April - April
Approaching Collectors for State collections and Autumn - June for
educational collections. So don’t be disappointed
As part of the initial survey, we asked both if they don’t have the money to purchase, even if
institutional and private collectors: they like your work. Ask when would be a good
time to approach them again, or see if they would
1. How would you prefer to be approached by like you to set a copy aside and get back to them
an artist wishing to sell their work to you? when their next spending budget is available.

2. In your opinion, what would be the worst way “There are times during the year where I simply
of approaching you? have spent my budget and can’t buy anything.
Or where I am so busy with other projects that I
have to put acquisitions on hold for a while.
Institutional Collections Generally the best time for me is late summer/
early fall, since our fiscal year starts in July.”
There were varying responses to this question; Anne Dorothee Boehme, Joan Flasch Artist’s Book
which ranged enough in opinion to say that Collection, School of The Art Institute, Chicago
there is no definitive set of rules for approaching
insitutional collectors. The main differences are in Overall, it seems that the most polite method of
the preferred means of approach, some curators contact would be an initial letter, or email which
favour an initial phone call request to set up a are both less obtrusive, followed by a call if there
meeting (as they know that letters and brochures has been no response after a few weeks. The
can get buried under paperwork) but some have more you can find out about a collection before
said that constant phone interruptions are the last you contact them the better. Make sure that
thing they want when they are trying to work. approaches are to the right collection, department
All the curators who responded said that a and person before you begin; otherwise it is a
personal appearance without an appointment is waste of both your and their time and resources.
not the way to approach any collection. Many collections have a good Internet presence,
with information on their specialisms and contact
If you are not sure about a collection’s acquisition addresses. It pays to do the background research
policies or interests, look them up on the Internet, before you approach an institutional collector;
then write or email for information on their they will be more interested if you know how your
policies. Many collections have a sheet which they books fit into the type of work they collect.

9
Some reasons for not purchasing, which we artist after one has purchased their work, e.g.
publish here with anonymity: exhibition catalogues of shows they have
participated in.”
“Unique works that are very expensive,
especially when made with materials with
obvious preservation concerns.” Case Study III, Private Collector (UK):
Neil Crawford is a private collector of artists’
“Shoddy construction and materials that books, whose main sources of purchasing are
will obviously cause problems.” artist’s book fairs, bookartbookshop, London and
Eagle Gallery, London. He regularly attends artist’s
“Items that need specific housing conditions book fairs and exhibitions to purchase work for
that are too fragile for our open access policies.” his collection, which includes: “minimalism,
typography, land/environment response and
“Items that make use of toxic materials, that wit/knowing humour.” [See Crawford’s essay on
are in the process of decaying, or are extremely collecting in the 7th Halifax Contemporary Artist’s
oversized might not be considered either.” Book Fair catalogue]. He enjoys meeting the artist
wherever possible, and is happy for artists to
“If we already have a sufficient number of items approach him and talk to him about their work at
of the same (or similar) concept or technique book fairs and events when he is free. “I buy
I might not buy the work, even if in itself it is a largely on aesthetic/gut reaction. Therefore, I am
very successful example of book art.” delighted to learn anything more about the work
itself and of the artist's aims/intentions. Given that
“Our annual budget has been allocated to its I haunt degree shows and bookart fairs, I’d really
limit for the year.” appreciate that my interest in a particular artist’s
bookwork generated a positive response from the
artist when the shows are over. In the past, contact
has been made and interest has been expressed
Private Collectors only to peter out on the artist’s part after a few
emails.”
Approaching a private collector is obviously a
more sensitive issue than approaching a collecting
institution. All of the private collector respondents Supplying information to collectors and
said that the last thing they would want is someone purchasers
turning up unannounced on their doorstep.
Private collectors however, are often very happy As part of the initial survey, we asked both private
to meet the artists at book fairs and events and institutional collectors:
because they like to know about the work and the
maker. One thing that private collectors also seem (Question 7) Do you have any issues arising from
to want, is documentation of the books and further cataloguing or archiving artists’ books you have
contact with the artist so they can see any career purchased? If so, is there any information from
developments. Some examples: the artist that would make your job easier? - for
example, if the artist provided an information
Wilf Welburn, a private collector in Australia has sheet for you.
no specific theme to his collection, he enjoys
artists’ books and will buy them because he likes The majority of buyers, both institutional and
them. He appreciates information on the books private, would like to receive documentation on
and the artists by “any way that is not intrusive - the artist’s book they purchase; preferably an
mail or email. I would like to be kept informed of information sheet with details of the book’s edition
new or future work that is being produced without and the artist’s contact details. This is useful for
feeling I’m being pressured to buy. The fact is, that collections to keep a record of the artist as well
living where I do, I’m not likely to be approached as helping them archive the work. Making an
in any other way. I find the Artist’s Book Yearbook information sheet also means that curators have
a useful resource. Apart from that I find out your details on file, which can be an opportunity
about books from other books, from catalogues, for you; if they plan future exhibitions of work
magazines and the Internet. Ideally I would like to from their collections, they can contact you
browse through artists’ books in the same way that with the venue, dates, catalogue etc. Ian Tyson
I can browse through mass-produced books in a made a useful application form for the British
bookshop.” Artists’ Books 1983-1993 exhibition, which was
reproduced in Stefan Szczelkun’s UK Artists’ Books
Marketing and Promotion (1993, p22, appx VIII).
Jack M. Ginsberg, is a private collector in South
Africa. His collection was exhibited at the See Figure 1, for a copy of the guide form I use
Johannesburg Art Gallery from August to October, for my own artists’ books information, and that
1996: Artists’ Books in the Ginsberg Collection, with we also ask artists to use when they submit
some South African Books from Other Collections, information for our publications. This can be
co-curated by Ginsberg and David M. Paton. used or adapted as a template for information on
He adds: “It is nice to get documentation from an editions, to be supplied with a book on purchase.

10
 Figure 1

INFORMATION SHEET

TITLE OF BOOK

ARTIST

AUTHOR (if applicable)

ISBN (if applicable)

PUBLISHER OR IMPRINT NAME

SHORT DESCRIPTION OF THE BOOK:

DATE AND PLACE OF PUBLICATION

SIZE OF BOOK

NO. OF PAGES

EDITION SIZE

PRODUCTION MEDIA

RETAIL PRICE

YOUR CONTACT NAME AND ADDRESS

TEL

FAX

WEBSITE

EMAIL

11
Many of the collectors we surveyed, commented “I also like to know about the methods of
on the importance of information sheets; some production used. Of course you can see most of
institutions supply their own forms for artists to it just by looking at the book. But any additional
fill in when selling work to them, e.g. Joan Flasch description about the processes used would be
Collection, School of the Art Institute, Chicago and welcome.” Wilf Welburn, private collector,
Long Island University collections, USA. Since the Australia
first edition of this guide in 2005, The ARLIS/UK &
Ireland Cataloguing and Classification Committee, “I like to have as much detail on the artist and the
has published Artists’ books: A Cataloguers’ Manual work as possible. I find difficultly with untitled
(compiled by Maria White, Patrick Perratt and Liz works (but this happens only seldom). I like to
Lawes, 2006, ISBN 0-9552445-0-1) which has been have confirmation of the graphic medium used as
very useful for library cataloguers working with this is sometimes difficult to determine. I hate it
artists’ books. To help cataloguers, artists should when an artist does not sign their work!”
supply information on their books when they are Jack M. Ginsberg, private collector, South Africa
purchased.

Here are some of the responses to the issues of

cataloguing and archiving (Question 7): Interview with Insitutional Collectors - Cathy
Chambers and Heather Cleary, Otis College:
“As the books go into a library collection, the
following information is considered essential for On the way to the CODEX Foundation Symposium
our records (in order of importance): name of in Berkeley, USA; Tom Sowden and Sarah Bodman
artist; title of book; date of publication; place of visited The Millard Sheets Library at Otis College
publication; publisher. If these details don't of Art and Design in Los Angeles, to interview
appear on the book itself it would be very useful Cathy Chambers, (Catalogue Librarian) and
to have them on a separate sheet. Information Heather Cleary (Visual Resources Librarian) for
sheets are generally very desirable; it is good to this updated edition of Creative Production and
know about the artist's intentions, the processes Marketing.
and techniques used, and anything else which
may illuminate the work.” Meg Duff, curator, The Millard Sheets Library has a collection of
Library and Archive, Tate Britain, London, UK 40,000 books, which focus on the areas of art and
design, with an emphasis on a diversity of cultural
“Information sheets are always useful.” practices, art history, contemporary art and artists.
Catherine Polley, curator, Winchester School
of Art Library, UK Among the holdings is a special collection of
approximately 3,000 artists’ books, which includes
“Ideally I’d like an artist’s statement covering each works by artists such as Ed Ruscha, Joseph Beuys,
purchase I make. When buying directly from the and Vito Acconci.
artist, this can sometimes be made. When buying
from dealers/galleries this is not always so easy.” With assistance from the Getty Electronic
Neil Crawford, private collector, UK. Cataloging Initiative and the Getty Grant Program,
the Otis Library has catalogued and photographed
“An information sheet would be so helpful. some representative portions of works in its
Preferably one that hits all the major components collection for a visual database of artists’ books.
of a bibliographic record: author(s)/artist(s);
official title; place of publication; publisher; date http://content.otis.edu/collections/artistsbooks.htm
of publication; materials; subject. This would also
be very helpful in that it can take a long time for Interview - Thursday 8th February 2007.
the materials to be catalogued as they often
require original cataloguing. In the meantime, they SB: These are the same questions that we put up
are represented in the library's online catalog with on the website for a year for people to respond to,
a “preliminary record” which our support staff and the questions and problems that they had are
puts together from what they can glean from the the ones that we tried to answer in the book, and
book. An information sheet would allow us to pass the information on…
create an improved preliminary record and thus
improve access to the materials while they are We tried to gauge how many people had replied
waiting for full cataloging.” Jae Jennifer Rossman, in a similar way, to see if we could say - that’s a
Special Collections Librarian & Curator, Arts of the right or wrong way - this is what artists should or
Book Collection, Arts Library,Yale University, USA shouldn’t be doing to get the best results. So, shall
we begin with Question 1: How would you prefer
“I would be interested in an information sheet to be approached by an artist wanting to sell their
if one were available.” Michael Brooks, private work to you?
collector, USA
CC - I think it's easiest to have appointments
“Slides and a brief description of the work is made, because I am also the cataloguer here, so
necessary.” Doug Beube, private collector and only a small amount of my time can be spent
artist, USA meeting with artists. Email is great.

12
SB - We thought we might be able to establish HC - As part of our grant for digitising artists’
some rules about approaching people; one rule books; we originally envisioned that we would do
we have found is that nobody should ever turn up research biographies for each of the artists, and
without an appointment… put those online. But we ran out of time.

TS - What about someone from abroad, or CC - We were pretty ambitious with what we
who lives miles away, who couldn’t make an planned to do.
appointment to come and see you, could they
contact you and then arrange to send materials SB - Do you visit book fairs with the intention of
to you? purchasing from specialist artists?

CC - What people seem to be doing now is CC - I haven’t so far, but I’ve only been buying
creating websites, and directing me to look books for a year.
at material on the website. I would rather that
than being sent things that I then have the SB - Would you do that if you had the opportunity?
responsibility to send back.
CC- Right now I’m still in the process of trying to
SB - In your opinion, what would be the worst way set purchasing policies with our business office,
for an artist to approach you? because it’s very hard in an institution to deal with
individual artists or sellers, and at the end of last
CC- Sometimes being hounded by phone is really year we ran into some real roadblocks.
annoying, and I don’t have a great deal of time so
am annoyed the most by people who constantly HC - They also discourage us from buying and
call and chase things up. then asking for money.

SB - Roughly how many people would you say CC - So I’m trying to smooth the process between
approach you in a month? our purchasing department, us and the business
department. In the future I would like to visit book
CC - In a month, very informally, via email, about fairs, but I want to make sure everything is in
a dozen or so. place, finance wise, before I do.

SB - Collection policies - do you have a particular SB - We asked the question about the book fairs,
collection policy, for example large editions only, because part of the survey is to find out what book
or books that cost under a certain amount? fairs actually do. We all love going to them
because we have a great time meeting people
CC - Our general rule of thumb is pieces that are who are doing the same thing, catching up and
under 300 USD. But we would look at things that swapping things. We know about most of the
were over if they really fit. I informally try to focus buyers in the UK, but weren’t sure if it works the
on Californian artists, because that's where our same way here - if people do turn up at book fairs
roots have been. But then we also collect alphabet from institutions to buy things. There seem to be
books, because we thought it would be fun, so I a lot more opportunities over here through
look for those. And I really like sculptural things professional dealers who will do that job, whereas
too, which seems to be what our students are we don’t really have that so much in Europe, I can
interested in looking at. We’ve just started getting only think of Johan Deumens who operates on the
more classes up here to look at the books. There same level as the USA dealers.
is a real interest in typography, as well as binding
and sculpture. I think that the things that are really CC - Particularly for fairs that are local and not
imaginative and innovative appeal to the students, difficult to get to, the advantage for me would be
many of whom don’t have a very in-depth that I am able to see the material. Vamp and
understanding of artists’ books. Tramp is good, but the more I see something,
the more likely I am to buy it.
SB - The collection is a teaching collection, and
has to respond to the classes that are going on? SB- It’s good to see things before you commit to
buying. Some people wait for years to buy a
CC - Yes. book they have been holding out for. In the UK,
the most anyone has to travel is a couple of
SB - Do you feel it’s necessary to meet the artist hundred miles, I guess it is a bit further here!
where possible? And if yes, why?
TS - Some fairs you can sell well at, and others you
CC - I haven’t given it much thought. Many of our don’t. But you go for the atmosphere, and meeting
purchases are through vendors. Vamp and everyone again.
Tramp, or Printed Matter for example, so we get
information about the artist through the vendors, SB - OK, next question, who or where is the main
and that is useful, but meeting them is not source of purchasing artists’ books for your
necessary - although it is fun. collection? You mentioned Vamp and Tramp, are
there others?

13
CC - I look at catalogues online. Most of the books Brettville as part of the Communication Arts
have been seen online. Department, has a rich history of small edition
book publishing and continues to introduce
SB - Do you have any issues with cataloguing or generations of Otis students to the origins of
archiving artists’ books you have purchased? typography and the notion of the book as a
If so, is there information you could receive from visual communication medium].
the artist that would make things easier? For
example if they provided an information sheet for SB - We made a sample sheet for artists in the first
you? These are the things that artists don’t always issue of the marketing guide, to give them an idea
consider. How it was made, who bound it, how of the information required for cataloguing.
many there are in existence, have they signed it… You could email it to the artist to fill out and send
back to you with the book. Then you could also
CC - Yes, the more information about the book the add permission for digitising images…
better: type, information, paper, any details. The
library community/databases are about making HC - Our database falls under fair use.
more information available.
SB - You could include that as a bonus “your
HC - We put up images, parts of the catalogue images will be digitised for educational
record, and assign terms for bindings and genres, purposes.”
so information from the artist is really useful.
HC -We have had people give us books so that
CC - One of the reasons we wanted to create they can be included in the database.
the digital database is so that the bookmaking
community can access this information and these CC - Artists could use the database to help sell
images, so artists are not necessarily working on their work.
their own, but in an easily accessible community
of bookmakers. For example people who want to HC - We state we will take down images if anyone
see books that are printed in Helvetica. requests. It is a purely educational teaching
resource -
SB - It sounds a great resource for the artist and
the educator. TS - It is a great resource to browse through.
I could read the list online - and if I wanted to see
HC - We actually share our database with a few an image of the book, I could, it's a visual medium.
other institutions in the USA, 3 or 5, through the There are some good Internet resources in the UK,
database software we use - MDID - Madison Tate and the British Library, which utilises
Digital Imaging Database; it has the ability to page-turning technology.
use remote collections, other people can dial in
and use the images for teaching and educational HC - We might actually do flash objects or movies.
purposes only, not for publication. Archiving - That’s another ambitious thing we are thinking
digital images because our stacks are closed, for the future, especially for flipbooks, or we
people can’t browse, so if people can look online might have a video of someone opening the
and see if the image is what they want, it saves on more intricate books.
wear and tear.
End of interview.
SB - Is there any aspect of your interaction with
artists proposing to sell their work to you that Many thanks to Cathy Chambers and Heather
you feel could be improved upon for your or Cleary for meeting with us and to Linda Dare of
their benefit? Laboratory Press for showing us the studios and
some examples of student works made at Otis.
CC - I haven’t had much personal interaction
with artists yet, so most individual purchases
have been done over the Internet. So can’t really
comment. When is an artist’s book not an artist’s book?

SB - Are there any other issues regarding artists or Since 2005, we have received emails and letters
collectors that you would like us to address? from artists and librarians describing some of
their experiences, which we have added to this
CC - I don’t think so. new issue. One issue however has proved to be a
bit of a conundrum; the book artist Gray Fraser,
HC- An information sheet. has run into problems with the LAC’s new
categorisation of his artists’ books. We felt that this
SB - Do you have an information sheet in place, was something that needed discussion, as it could
one that you make artists fill out when they supply cause potential problems for book artists. Fraser
books to you? has written up his experiences for us and for
Judith Hoffberg's Umbrella Online, to publicise this
HC - No, we don’t for the LAB press either [Otis issue, here is his account of what happened when
Laboratory Press, established in 1984 by Sheila de he tried to sell some of his books to the LAC:

14
The National Library and Archives of Canada’s means they are not original prints. In process
exclusionary policies in regards to their printing, the printing plate is not made by hand but
definition of artists’ books mechanically (by process). Nearly all process prints
you will come across involve the use of
Gray Fraser, Productiongray editions, Canada photography. These are called photomechanical
prints. Photomechanical printing, which comes in a
The Library and Archives Canada is using an wide variety of forms, was designed for commercial
outdated and restrictive definition of an artist’s mass production. The photomechanical processes
book to justify its policy of accepting non- reproduce images, for example, reproducing a
traditional bookworks into its collection without painting for an art book, a photograph for a
providing payment to the artist. magazine or a cartoon for a newspaper.

I have been producing artists’ books since 1989 This definition is very similar to that of off-set
under the name Productiongray editions. My work printing. However, “My Car Doesn't Need a Gas
is represented in international collections in Tank” and “The Mission” are not reproduced via
Canada, the United States, Asia and Europe. off-set printing (they are laser printed). Therefore
I just submitted 12 artists’ books to the Library I think the issue being raised under the guise of
and Archives Canada (LAC) to be considered for printing technique is not that of reproduction
acquisition. Included in this submission was a method, but rather the binding of these two
trilogy that questions the foreign polices of the bookworks since all the other artists’ books I
Bush administration (“My Car Doesn't Need A submitted were bought and considered artists’
Gas Tank”, 2006; “The Anthrax Kit by Haliburton”, books for the collection and they were printed
2006; and “The Mission”, 2001). Each was using the same laser printer. These two books
produced in a limited edition of 101 signed are both saddle stitched (stapled) on one end,
and numbered copies. and then covered with a plastic binder that was
purchased at an office supply store. Does one
“The Mission” and/or “My Car Doesn’t Need a have to learn traditional printing and binding
Gas Tank” have been acquired as artists’ books techniques and incorporate that craft into the
by: The National Gallery of Canada, The National work of art to make an artist’s book?
Library of Quebec, Otis College of Art and Design
(Los Angeles), Tate Britain (London, UK),
University of the West of England (Bristol, UK),
Artexte (Montreal), to name a few. They are
defined as artists’ books according to the criteria
exercised by the acquisitions departments of
these collections. Both of these titles are also for
sale at the following artists’ books stores, Printed
Matter (New York City), Bookartbookshop My Car Doesn’t Need a Gas Tank, Gray Fraser, 2006
(London) and Boekie Woekie (Amsterdam).

Legally, all books published in Canada must

be deposited into Legal Deposit and the LAC
collection, but special editions and artists’ books
are presented to a selection committee to be
acquired. If the LAC jury does not consider a The Mission, Gray Fraser, 2001
submitted work to meet its traditional definition
of an artist's book, the Library will not acquire the
work for the collection and will legally take the LAC also informed me that their acquisitions
two submitted copies - one for Legal Deposit and policy restricts full payment to editions of 100
one for its collection - without any payment to the copies or more; for larger editions, they pay half
artist. the price for the legal deposit copy, and only half
the price for the copy retained for the collection
Unfortunately, the selection committee of Library (if the edition is fewer than 100 copies they pay
and Archives Canada does not consider two of the half price for the legal deposit copy and full price
books in this trilogy, “My Car Doesn't Need A Gas for the copy in the collection). This effectively
Tank” and “The Mission”, to be artists’ books. places a lower value on any art works that do not
As a result, they refused to pay any artist’s fee fit into the craft definition of livres d’artiste, which
for the publications. are traditionally produced in small editions of less
than 25 copies. I could accept LAC’s policy if
I requested the adjudication notes from the the editions in question were not signed and
committee and the only response I received was numbered; however, they are signed and
that the two publications in question utilise la numbered, and I do not believe art works should
reproduction photo-mécanique, and therefore are be devalued simply because more than 100
not classified as artists’ books so LAC will not artists’ books were produced in the limited
pay for them. The definition provided by LAC of edition. Indeed, my perspective on this subject is
photo-mécanique is as follows; Process prints are supported by Printed Matter in New York City,
the opposite of manual prints. By definition this which distributes my artists’ books.

15
Printed Matter is a well-established artists’ books were not simply catalogues of pre-existing
bookstore that has been in existence since the artworks, but rather works in their own right,
mid-1970s, and their policy concerning artists’ “narratives” intended to be seen in a printed,
books is that they will not take any editions of bound, and widely disseminated format.
under 100 copies for distribution. Printed Matter, New York City

I know that the definition of an artist’s book is a The Library defines an artist’s book as a mass-
very political and much-debated subject amongst produced book of which the artist has assumed the
bibliophiles and members of the contemporary role of author to document or realize ideas as art.
art community. The majority of international The National Gallery of Canada, Ottawa
institutions that collect artists’ books have
expanded their classification of an artist’s book The Artists’ Books collection contains books
to include artists’ zines and small press. These (normally defined as a number of pages attached
“alternative” publications are produced by artists, to each other in some way) that are wholly or
sometimes even in signed and numbered editions, primarily conceived by (though not necessarily
and are artists’ books; however, this evolving actually produced by) an artist and that are made
definition is not within the scope of the artist’s in multiple editions. Tate Britain, London
book as described on the LAC website:
Artists’ books are exceptionally varied and creative
Artist’s book: A book which itself becomes an by their very nature. The complex medium employs
object of art. Content, image, and form are the book, in any of its various guises (scroll, codex,
considered essential to the object, but text and fold-out or single sheet boxed, to name but a few
traditional book structure might not be used. forms of books) as an original work of art. They
An edition of one is common. usually integrate the formal means of conception
and production with aesthetic or thematic aspects.
Livre d’artiste: Traditionally, a book illustrated with Artists’ books are considered unique works of art in
original prints, printed by hand in a small edition on one-of-a-kind or small edition multiples. Some now
fine paper. In livres d'artiste, the emphasis is placed are mass produced. The variety of its form makes
on the illustration whereas in private press books the artist’s book difficult to define. The twentieth
the quality of the printing is more important than, century witnessed particularly varied and creative
or as important as, the illustration. experimentation with artists’ books culminating
with an expansion of the medium in the 60 and 70s.
California became a center of production.
I would argue that a more contemporary and Otis College of Art and Design, Los Angeles
relevant definition of the artist’s book is found
on the website for Printed Matter and other The growing multi-disciplinarity of artists over the
international collections and libraries, as follows: last three decades has led to the development of
new approaches. Thus, artists’ books contribute to
The topic of artists’ books and artists’ publications the decompartmentalization of the various forms of
can be a controversial one. If one were to ask a artistic expression and borrow from new visual arts
room filled with artists, collectors, scholars, critics, practices such as art videos, computer art, mail art
and members of the public to define the term and copygraphy, as well as from many individual or
“artist’s book” the conversation would quickly turn “underground” practices. National Library of
into a debate. Many think of artists’ publications in Quebec.
the context of early 20th century European “livres
de luxe” - those finely produced, limited edition, LAC’s policies make me wonder how many other
precious volumes of Picasso, Matisse, and other Canadian artists’ bookworks the Library and
decidedly European modern masters. Others might Archives Canada has either rejected, or accepted
describe artists’ books as unique or limited edition without payment to the artist because they did
craft-objects that formally resemble books, but that not fit into the “traditional” definition of a livre
are actually closer to sculpture. Still others would d’artiste. The Library is a national institution that
place artists’ books at the intersection of fine arts must redefine its policy if it is to reflect a balanced
and literature - in either limited or short-run representation of Canadian artists’ publications in
editions - and would cite the collaborations its collection.
between Max Ernst and Paul Eluard as exemplary.
Finally, some might consider monographs or I have resubmitted the two books in question to
exhibition catalogues as artists’ books or artists’ the selection committee, with the request that the
publications. jury provide a detailed explanation of why my
works are not artists’ books or instead to expand
Printed Matter’s founders subscribed to the idea of their exclusionary definition of an artist’s book to
the artist’s book as “artwork for the page,” focusing an open inclusive policy that can incorporate
particularly on those publications produced in non-traditional artists’ publications as artists’
editions of one hundred or more. They envisioned books in the collection.
these publications as democratizing artworks -
inexpensive artworks - that could be consumed The meeting is this September. If you have any
alongside the more traditional output of paintings, comments concerning LAC’s acquisitions policy
drawings, sculptures or photography. These they can be addressed to:

16
[email protected] not always be beneficial if you also want to market
Director Acquisitions, Library and Archives the work yourself. Most artist’s book dealers are in
Canada. To see the works in question, please business because they love the books they are
visit my website at www.productiongray.com selling and have built up good relationships with
artists and collectors over a period of time, but ask
Gray Fraser, Productiongray editions other artists for any recommendations and don’t
[email protected] leave your books with someone if you are not sure
how they operate and how to reach them for any
[We will be publishing a follow up report from returns or payment.
Gray Fraser, after the September meeting in
the Book Arts Newsletter.] See the list of places to see, buy and sell artists’
books on Page 33 for some contacts.

Approaching bookshops and dealers

Case Study IV Dealer: Nancy Campbell
The strategies for this are similar to those for Bertram Rota Ltd, London
approaching collections. Do your homework first
to see if your work will be within their range of 1. How would you prefer to be approached by an
subject matter and price range. Many dealers artist wishing to sell their work through you?
have websites with images and information of the
type of works they deal with (see the websites Telephone, email or mail as an initial step are all
list). Contact them and make an appointment to welcome, though these are usually a precursor to
visit or submit work, don’t just turn up and expect a meeting and face-to-face discussion giving the
them to have time to look at your work and don’t artist to talk about their work and objectives.
send items in the post unless they have agreed to
this; unsolicited books will probably not find 2. In your opinion, what would be the worst way of
their way back to you. Be professional; have approaching you?
information, contact details, display copies and
price lists to hand, and make sure you know the I would always encourage people to visit but as
amount of books you have available for stock if an initial approach it is not a good idea to turn up
they want them. without an advance appointment as occasionally
I am seeing clients or away on business.
An approach as part of a group through a
nominated salesperson or two can be 3. Do you have any particular policies or
advantageous; between you, you can offer a specialities? i.e. larger editions only, books which
wider range of works for the bookshop or dealer cost under a certain amount etc.
to select from. Larger bookstores will usually
order from large and established book suppliers We deal most successfully in editioned work,
who will expect a substantial discount on the multiples between 2 and 100, although we also
retail price. They may also only deal with books hold larger and unlimited editions and unique
that have an ISBN (see the section on applying an works. At present we have books in stock valued
ISBN to your book for more information on this). at between £5 and £5,000. The company has
strong links with the world of Fine Press book
Concentrating on small, specialist suppliers collectors and fans of concrete poetry, so text-
and dealers can be much more rewarding, you related works are particularly welcome. However
will usually only be dealing with one person we aim to have a representative selection of work
rather than a large organisation, and small and being currently produced.
independent bookshops and dealers have a
greater personal interest in the types of books 3a. How can artists find out about your policies?
they sell. Always bear in mind that bookshops
(like any other business) will expect to be I always welcome phone calls from artists asking
supplied on a set period, sale-or-return basis for information or an informal discussion of our
only, will take around 30-50% of the retail price, policies. Descriptions of the books we have in
can sometimes take months to pay for sales, and stock can also be viewed on our website, along
will expect a display copy for handling. This is not with a description of Bertram Rota Ltd’s
going to be viable if you only have a small edition background.
of books for sale.
4. Do you feel it is necessary for purchasers to meet
Dealers also usually require some images and the artist where possible? If yes, why?
information before they consider viewing the
work, and may have preferences for more I know several individual collectors who gain
expensive works (if they have to make their living great satisfaction from interacting with an artist
selling artists’ books, they will need to sell works directly, and often this is one of the impulses
that bring a decent profit). They may also have behind their enjoyment of the product.
clauses where they ask you not to sell through Institutional libraries are very often interested
other dealers, or not to approach the collections but may not have the time to process numerous
they deal with, so tying yourself to one dealer may applications, and therefore become interested in

17
meeting the artist in an official capacity when a helpful. As we do a lot of international trade not
certain level of notoriety has been achieved. many customers handle our books, so the copies
left in our shop remain in new condition. However
Dealers can be a good advocate for the artist’s some artists have offered display copies of fragile
intentions in such a situation, especially through or other works which has been useful. It’s not an
catalogues or visiting an institution they know well issue I have a fixed opinion on, but it is a question
with several tailor-made recommendations. worth considering if offering books to a dealer.
Because the book arts field is still a relatively
small community, I think there is a lot of helpful Nancy Campbell
interaction between artists, collectors, dealers, Bertram Rota Ltd, Covent Garden, London
critics, etc., and I hope this will continue, rather www.bertramrota.co.uk
than selling becoming the preserve of the dealer [email protected]
only, or even creativity the exclusive domain of the
artist!

Case Study V: Tanya Peixoto, bookartbookshop

specialist artists’ books store

Tanya Peixoto (former publishing editor of the

Artist’s Book Yearbook and Magpie Press)
established bookartbookshop in 2001. It carries
a comprehensive range of artists’ publications
and has regular exhibitions, launches and events
promoting artists’ books.

bookartbookshop has a policy of stocking artists’

publications from editions of 100+, exceptions
are made to offer a good cross-section of current
production in the field.

5.Where(or who) is your main source of stock for Approaching bookartbookshop: artists and
artists’ books for your outlet? publishers are provided with a printed sheet
detailing policies, on request, and can contact
People come to us from various sources, including bookartbookshop to make an appointment to
recommendations through international contacts visit the bookshop with their work.
(including the Center for Book Arts New York with
which we have a strong relationship). Many artists Artists and publishers are advised not to send
approach us having been told about us by friends. unsolicited books to the store as “the post is
Recently two brilliant North American book unreliable and books go in a pile waiting to be
artists, Roni Gross and Lynne Avadenka, have looked at and/or sent back which is expensive.”
contacted us in this way. I also actively source
books directly from the artist, and for this I find Tanya Peixoto prefers to meet the artist as it helps
the internet and the announcements in the when selling their books to customers. Some
UWE Book Arts Newsletter very useful. I enjoy examples of sources for stock are: Atlas Press,
book fairs, although I find this is more often an Andrew Lanyon, Les Coleman, Weproductions,
opportunity to see artists whose work I am already Morning Star, Mermaid Turbulence and Nazraeli
familiar with, rather than a source of new stock. Press.

6. Do you have any issues arising from stocking or “I want publishers who have a body of work and
cataloguing artists’ books you sell? If so, is there titles to sell, I don’t want to take an individual title
any information from the artist that would make from an artist who only makes one book - as it is
your job easier? (for example, if the artist provided too much administration work for one book.
an information sheet for you). I would like new and up-to-the-minute books
brought to bookartbookshop; exciting new work
It is helpful to know paper names, which are often by artists who are committed to producing many
omitted from descriptions, and archival qualities books.”
of paper and ink. The former is not essential,
though useful for cataloguing, but the latter is very
important, especially for institutional collectors. Tanya Peixoto
Unless a colophon is provided within the book bookartbookshop, Pitfield Street, London
listing construction details, an information sheet is www.bookartbookshop.com

18
Interview: Max Schumann, Associate Director only. The other sorts of publications that only
Printed Matter, New York make up a small part of our inventory are usually
brought in on a selective basis, and usually in
On the way to the CODEX Foundation Symposium conjunction either with book projects we are
in Berkeley, USA; Tom Sowden and Sarah Bodman carrying, or other parts of our programming -
visited Printed Matter, New York, to interview Max for example, exhibitions or other artists’ projects.
Schumann, Associate Director, for this updated
edition of Creative Production and Marketing. Common types of submissions which are
disqualified are monographs, literature and
poetry, commercial art magazines, literary
journals, traditional exhibition catalogues…
we do try to be flexible with our idea of what
constitutes an artist’s book is, i.e. we might
consider some exhibition catalogues that are
project oriented, where the catalogue could really
be considered to comprise, or be an element, or
an extension of the artist’s work. Normally we
wouldn’t consider critical anthologies, but if the
writings are by artists - those publications could
be considered as artists’ books.

SB - That is a huge amount of submissions you get,

you have to have your submissions policy in place
like this, or you would never get anything else
Printed Matter, Inc. is the world’s largest non- done.
profit organisation dedicated to the promotion
of publications made by artists. Founded as a MS -Yes, and we ask that artists just submit the
for-profit alternative arts space in 1976 by artists books - we do not require support materials, like
and artworkers, Printed Matter reincorporated résumés or explanations, but people are welcome
in 1978 to become an independent non-profit to include them if they want to, for example for
organisation. Recognised for years as an essential books in a foreign language, or work that is based
voice in the increasingly diversified art world on a project or a process that is really integral to
conversations and debates, Printed Matter is the idea or concept of the book.
dedicated to the examination and interrogation of
the changing role of artists’ publications in the TS - do you get people to fill out a submission
landscape of contemporary art. form?

MS - We have a submission form online [see:

Interview: Weds 7th February 2007. http://printedmatter.org/about/submissions.cfm]
and here at the store, but it’s the information that’s
SB - for bookshops, the first, basic question we needed - not the form. Basically we need contact
would ask is; if an artist wanted to sell their books information, the edition size and the suggested
through Printed Matter, how would you want to be retail price.
approached by them?
SB - It’s editions over 100 isn’t it?
MS - Really simple - the way we like artists to
approach us is by reading the submission MS - Yes, the requirement of editions done in
guidelines carefully, and following the instructions 100 is because our focus is on publications done
before approaching us, because unfortunately, in larger editions. There obviously are a lot of
though it would be great to meet with artists exemplary artists’ publications that are done in
one-on-one, we do not have the time (with 100 very limited editions, but those really fall outside
submissions a month, and a review panel of 4 of Printed Matter's mission. Though we do carry a
people). That's why we have the submissions range of things going up to thousands of dollars in
structure in place. Our focus is on artists’ books price - the bulk of our inventory is inexpensively
and related experimental publications by artists priced, and meant to be broadly distributed.
that are done in larger editions, as opposed to However, for artists who are self-publishing,
one-of-a-kind, or very limited edition artists’ doing everything out of their own pocket,
books. A fair number of submissions disqualify the option of producing 100 books can be
themselves by not being artists’ books or related economically prohibitive. So we also will consider
publications by artists. Probably 80% of our publications that are done in open editions, where
submissions are books, the rest are a combination if you can’t afford to make the full 100 all at once,
of audio, video, computer publications, as well as don’t let that stop you from submitting your work
some multiples, prints and posters (which actually for consideration - just designate open edition and
are not part of our general submission policy). be ready to keep producing more.
Our open submission policy, through which
anyone is able to submit material, is really for the SB - What would be the absolutely worst way to
books, audio, video and computer publications approach you?

19
MS - Coming in to the store and demanding to
see the manager with a box full of your books. MS - About 65% from the USA, 35% from outside.
We have a review panel of four people, because It seems like there are more artist’s book
we want to bring different sensibilities to our publishing outfits in Europe than in the US.
selection process. We want to be inclusive and
represent as broad a range of publications as TS - You had your first Printed Matter fair last year,
possible, but we simply can’t take everything. and invited some UK publishers to participate;
So the different perspectives that the panel Mark Pawson, Weproductions, they really enjoyed
brings is a valuable component of keeping it, how did it all go?
our inventory diverse.
MS - Yes, the first annual New York Art Book Fair,
Also, if works are submitted they have to come and we were really happy with how it turned out.
with the return postage ready, unaccepted books There is an amazing diversity and range of types
that come without this, and they do, are donated to of publications, from independent small presses
a local educational institution (School of Visual and super DIY, cut & staple photocopy, to major
Arts Library). commercial publishers and distributors, as well
as a range of antiquarian dealers who carried
SB - That’s a very nice idea. That’s the same amazing out of print and rare artists publications.
answer we've been getting from everyone -
not to just turn up. Do you have a price limit on SB - Are you going to continue with this every
the books you stock? year?

MS - The pricing of things does affect our decision MS - This was the first year; and we have just
making, for example if something is a really good scheduled the second New York Art Book Fair,
project, but is the same in terms of format and which will be held September 28th - 30th, 2007,
materials and labour as another book that is at the same space (548 West 22nd Street), two
equally good but five times cheaper, it’s hard to floors and over 20,000 square feet of artists’
justify taking that in. But if it’s much better, or publications. The opening night preview
strikes us more, we might take a limited quantity. (Thursday September 27) will also be a benefit
As we are a non-profit organisation, we base our for Printed Matter. The fair proper is free and
decisions not on projections of whether something open to the public.
will sell, but on whether it’s well executed and
interesting and experimental and adds something SB - We have our first in April, and if it goes well, I
to the inventory. think it will be every two years, there are so many
now we cannot keep up with them all!
SB - Also, you don’t want something in that will
disrupt the natural order of prices of other things? MS - It is hard economically for small independent
organisations to have one every year…
MS - Yes, but there also is a fair amount of
variation. Still we try to have good and consistent SB - Five years ago it was only the London Artist’s
business practices.You have to remember that we Book Fair at the ICA, now there is the one Tom
are much more than a book store: we have a full organises at Manchester, Leeds, Small Publishers
range of programmes, exhibitions, launches, Fair in London, and now Bristol all have artist’s
events, etc. (and we’ve restarted a publishing book fairs.
programme). The running and maintenance of
the store, the mail order business, the stock (over MS - Wow, so many!
10,000 titles from over 5000 suppliers - many who
are individual artists) and these additional takes a SB - In the rest of Europe too, there are quite a few
lot of resources. There are books in our store that in France and Germany, and the new event in,
sell only once every year or every two years, but Barcelona. It's amazing that there are so many.
we feel they are really interesting books. We carry
books from freebies, or that cost 50 cents, up to TS - Yours is by invitation?
out of print editions for thousands of dollars, but
the majority of our stock is within a $15 - $65 MS - Yes, we are open to be solicited to be invited,
range. but it is invitation only.

SB - Do you feel it’s necessary to meet the artist SB - What we did for this guide, as well as advising
or not, when dealing with their books? people where to sell books, we looked at how to
develop relationships with the people who buy
MS- We don’t have the time to do studio visits. books. We have interviewed lots of people who
We end up having relationships with artists who collect books institutionally and privately, to find
are suppliers, long-term. They emerge after out what really are the best ways for artists to go
working with people for a while. about selling their books. We have had some
really nice messages from librarians saying
SB - You have books from Europe and Japan etc. they’re going to advise artists to read the guide.
What percentage of your stock would you say was How do you work with collectors, do you have a
from outside of the USA? good relationship with buyers?

20
MS - we work closely with many libraries, and carried, with additional bibliographic information.
offer a free consulting service in helping them We also will be commissioning essays about
begin or develop their collections. For example different aspects of artists’ books and online,
the New York Public Library and the MOMA curated exhibitions. Forthcoming we will have
library review most of the new books that we artists’ books from Latin America and Central and
receive, to consider for their massive collections. Eastern Europe. The research room will also have
But we also work with a range of other institutions curated lists, interviews and search themes for
and collections, making recommendations based books, such as mapping and topography, art and
on their existing collections, interests, budgets, social justice, conceptual comics. This will be
etc. launched by June 2007*.

SB -That’s an amazing resource for MOMA to have End of Interview.

at their disposal. Are there any issues you have for
stocking and categorising artists’ books? Many thanks to Max Schumann for spending time
with us for this interview.
MS - Our system has developed over thirty years,
so it runs well. Our new cataloguing system is 7 *The Printed Matter Research Room is now online.
years old, we send out bibliographic forms to Follow the links from the homepage at:
artists, they are welcome to submit written http://printedmatter.org for access to Printed
descriptions of their books, or we can write them Matter’s vast database of artists’ publications.
ourselves. Stocking, storing and displaying is The Research Room also features critical essays
always an issue. So super delicate or over-sized on the history of artists’ books, as well as curated
projects may not be able to be displayed. lists of books built around themes, both accessible
by links on the page
TS - Is there any aspect of your interaction with
artists selling their work through you that you feel Printed Matter Inc.
could work better for you - anything they could do 195 10th Avenue
to make your life easier? New York, NY 10011, USA
http://printedmatter.org
MS - Printed Matter is back to being artist run,
so we have no professional/career administrators.
With people new to artists’ books, sometimes
there is an expectation that they’re going to make
money at it (which can happen, and its great when
it does); but most of the time when they factor in
all their time and materials and mark it up for Case Study VI Artist Publisher:
profit, the book ends up being so expensive that Preacher’s Biscuit Books, Rochester NY, USA
it simply won’t sell no matter how nice/interesting www.preachersbiscuitbooks.com
the project is - then they get discouraged and
give it up. I truly sympathise with the problem of
how an artist is able to financially realise a book
project. However, Printed Matter’s mission and
function is to service the books that have already
been published, so we are not a good resource
for guiding or informing people on how to go
about publishing them.

The Bid Feeder by Abigail Hendrickson

SB - If you - as an artist - are really passionate
Published by Preacher's Biscuit Books, 2006
about getting it done, you will be the one who
gets your book published.
Preacher’s Biscuit Books was formed in Rochester,
TS - This is what we hope we’re doing with the New York, USA, in 2004 by Kris Merola and Tate
guide, helping people who have not produced Shaw. The publishers collaborate with visual,
books, or have made it and just don't know what to sound, and language artists to make publications
do with it next, to lead them in the right direction. reliant on the material book as a metaphor to
create meaning in their work.
MS - We should put this on our general sheet - it’s
useful information for artist’s book producers. A “preacher’s biscuit” is a lumpy, irregular shaped
biscuit made by collecting together the dough
TS - Thank you Max for your time, can we end the leftover from cutting out typical, round-shaped
interview with any news or advice, for artists? biscuits. Merola and Shaw see the artists’ books
they publish in very much same way-as made up
MS - We are developing a new and exciting aspect of the pieces from many other kinds of books and
of our website - creating a research room, side by sequential forms, such as literary memoir, short
side with the sales site, sales will be limited to fiction, music, and film. Preacher’s Biscuit Books
things that are in stock and available, whereas the choose, by and large, to publish those who have
‘research room’ will list everything we have ever not previously made artists’ books in the hope that

21
the expansive book medium will persist in the
work of these and future conceptual artists.

Q: How would you prefer to be approached by an

artist wishing to publish their work?

Preacher’s Biscuit Books is a publisher of

conceptual artists’ works. We at PBB like to
understand artists’ ideas facilitating an
appropriate book form, and allowing for a more
collaborative process. The submissions page on
our website states: any method you use to inform
us of your ideas is fine, be it a manuscript or SprawlCode: descriptions by Chris Burnett
photograph, audio recording, video,etc Published by Preacher’s Biscuit Books, 2006

(www.preachersbiscuitbooks.com/Submit.html).

Q: In your opinion, what would be the worst way of and depend on our interpersonal relationships
approaching you? with each artist. It is ultimately our goal to
support people that excite us.
Each book we publish (between 3 and 4 per year)
begins as a conversation between artist and 6. Do you visit artists at specialist artist’s book fairs?
publisher. A completed book dummy that is to
be simply reproduced would be the worst way to PBB does not look for our publications to come
approach us. out of specialist gatherings. Instead, we endeavor
to publish those who have not previously made
artists’ books. We do this in the hope that
interdisciplinary artists will bring non-book
ideas to the medium. It is also our goal that artists
we publish learn how books may be employed for
their future projects.

Q: Is there any aspect of your interaction with

artists publishing their work that you would like to
improve upon?

Our publications happen one at a time, offering us

the opportunity to tailor our interactions to artists’
individual needs. Each project creates its own
unique learning process.
Inmates + Kittens by Marni Shindelman, illustrated by Chris
Pearce. Published by Preacher’s Biscuit Books, 2006 8. Do you sell the books you publish yourself
through website/mail order, from your premises, or
though a dealer, bookshops etc.? Do you find this a
Q: Do you publish books on any particular theme rewarding experience?
or specialist aspect?
Each of our titles is launched with a reading event
We at PBB are interdisciplinary artists and thinkers and party, not unlike a gallery reception. We sell
and do not seek out works of one particular our books at reading events, through our website,
theme. But the ideas that interest us come from by mail order, as well as at artist’s book fairs and
contemporary mass media culture. For instance, conferences. While sales allow us to make more
our titles have included works that comment books (which is obviously of value to us) it is
upon the internet environment, the translation of more rewarding when we receive comments from
sound into pictures, found imagery and work from those who have read our publications. This often
information archives. happens at a point in time that is far removed
from the point of sale.
Q: How can artists find out about your preferences?

On the PBB website there is a page of links Preacher’s Biscuit Books

related to each individual project. The links show PO BOX 10564
the complexity of thought connected to each book Rochester, New York 14610, USA
as well as present our cosmos of interests.
www.preachersbiscuitbooks.com
5. Do you feel it is necessary to meet the artist
where possible? If yes, why? [email protected]

Publications by Preacher’s Biscuit Books are the [email protected]

outgrowth of ongoing conversations about ideas

22
Is it useful to give your artist’s book an ISBN? legal deposit copy, followed by a further 5 copies
and what happens with Legal Deposit Claims? requested for Oxford, Cambridge, Scotland,
Dublin and Wales (in accordance with the
Applications for an ISBN (International Standard provision of section 15 of the copyright act 1911).
Book Number) for any English language book, This is a legal requirement if you are making your
including an editioned artist’s book are via the book available for sale in this country.
ISBN Agencies, in Europe, Asia, USA, Australia and
New Zealand (www.nbdrs.com/isbn_agency.htm). I understand a lot of artists don’t want to give away
six copies of their publications and therefore lose
ISBN’s are useful only for commercial artist’s book out on listings etc, as a result.
sales of larger editions. They enable you to be
identified as the publisher and distributor for Neilsen BookData (part of the ISBN Agency group)
potential orders. supply Waterstone’s with book lists and you have
to be on this list to supply Waterstone’s. I have
Applying an ISBN to your artist’s book is only always updated my details with them. As a result
worth it if you intend to distribute it through I’ve continued to sell one particular booklet via
commercial bookshops and galleries, and we mail order from various bookshops directly.
would advise that it would be in an edition of a
minimum of 50 (100+ is more appropriate). I also send samples of each of my artists’ books to
Artbibliographies Modern to list and review. I don’t
You can purchase ISBNs as a publisher (you will know if that has sold any though.”
need to give yourself an imprint name) in blocks
of 10 or more. Each ISBN is a 13-digit code, which
identifies: the publisher, type of book, title and Many artists, especially students, have fallen into
check digit. the trap of allocating an ISBN to a small edition
and losing copies by legal deposit this way. An
In January 2007, the ISBN changed from a 10 to ISBN is really only useful for large editions which
13-digit formula. If you have old ISBNs you have you do not want to sell from your own place or
previously purchased as 10 digits, which you have website.
not yet used, you can convert them free of charge
to 13 digits at the following website address: With the Internet access available now, and the
address: www.isbn-international.org/converter fact that librarians and collectors use it to buy
artists’ books, you would be better off investing
Larger bookstores, insitutions, libraries using money in your own mail order website facility
agency suppliers and retail outlets can order your than ISBNs.
books via distributors who contact you with the
order.
For further reading and information on ISBNs
Bear in mind though when selling your work and legal deposit requirements see:
through large distributors; they always ask for
hefty discounts, and can often take up to 8 weeks The UK and Ireland ISBN Agency
to pay your invoices. It may not be worth the www.nbdrs.com/isbn_agency.htm
return you get for your books, sometimes it is
simpler to distribute yourself without an ISBN. The International ISBN Agency
www.isbn-international.org/index.html

A few reasons why ISBNs are not suitable for USA ISBN Agency
smaller editions: www.isbn.org/standards/home/index.asp

The costs - The UK publisher's registration fee ISBN Agency Australia

plus a block of 10 ISBN's is currently £98.70 (July www.thorpe.com.au/isbn/
2007)
ISBN User’s Manual, free download
Legal deposit claims - (British Library etc.) you www.isbn-international.org/en/manual.html
will have to supply on demand, 6 copies of your
edition - unpaid to legal deposit libraries in the ISBN frequently asked questions for new
UK and Ireland. publishers
www.nbdrs.com/isbn_faqnew.htm
If you are distributing a small edition yourself or
selling mainly at book fairs, you don't need to be Legal Deposit information and guidelines at the
identified by a large distribution company. British Library
www.bl.uk/about/policies/legaldeposit.html
Some advice from Danny Flynn, (Research
Associate, Middlesex University, UK) who uses Legal Deposit Libraries Act 2003
an ISBN for any of his editions of 100+: “Filling in www.opsi.gov.uk/acts/acts2003/30028--a.htm
the required information form to assign an ISBN
triggers a request from The British Library for a

23
Pricing your work Use the Internet to help work it out; many artists
have their own websites to sell their books, with
This is the inevitable ‘how long is a piece of prices for ordering by mail. Visit some to compare
string?’ question. There are so many variable work, materials and pricing. Visit book fairs and
factors involved in working out a price for artists’ see other artists’ work and prices.
books. The main cost difference is between those
who factor their time into the total cost and those 99% of us pay for the costs of producing our own
who don’t. Many artists feel that including the cost artists’ books, as publishing grants are few and far
of preparation time would price the work out of all between. Book Works, the largest publisher of
proportion. Is it more important to make a decent artists’ books in the UK, has a whole Fact-sheets
profit or get your work out? Setting your price will section on its website, with lots of really useful
depend upon how you feel about this. information at www.bookworks.org.uk.
Follow the links from Resources to Fact-sheets
Some of the artists we surveyed and interviewed for downloadable advice on publishing, funding,
make unique books, and the prices of these marketing and distributing your books. Some
obviously differ from larger editions. These are organisations run residencies or publication
produced as stand-alone pieces, or as part of a programmes where you can apply to go and make
larger installation. Pricing of unique books has not your book in situ, and some arts councils do have
arisen as an issue, artists are confident in pricing small publishing grants, but competition for these
items they consider as one-offs and therefore is high.
comparable to the price of a painting or sculpture.
However, this isn’t really the point, it is your
With distribution of ideas in mind, many artists are artwork; if you want to make it - you will have to
keen to keep their editioned book prices around find a way to do it! If you can’t afford a large offset
the same as ‘standard’ book prices. For example edition, make a small, digital print, photocopy or
Weproductions and John Bently. John McDowall Internet download print to order. The technologies
(Bradford, UK) adds: “even though the books are available for home computing/print and online
handprinted and bound in small numbers, I publishing, can make it easy for artists to print
maintain 'book' prices between - £15 to £60 and their own books. Some Internet sites such as Lulu
do not change the price once it is set.” (www.lulu.com), allow you to upload and publish
your work, which can then be ordered through the
John Dilnot (Brighton, UK) has been making Internet, there are no upfront costs, they take their
editions of artists’ books and prints for over 20 commission from your online sales.
years, which are his main source of income. His
editions are usually around 500, and he sells them To help with the costs of publishing larger editions
as cheaply as possible as he wants the public to of work, some artists offer a pre-publication
buy them, as well as collectors. Danny Flynn’s price, which means cash up front to put towards
books are made in editions of 100+(with unique editioning. “I have a pre-publication subscription
works made usually as non-selling pieces to scheme, where I offer subscribers about 50%
accompany a performance or event). “As I sell discount on the eventual (shop) selling price.
the books quite cheaply, they do deplete in stock Depending on the type of book and its size, this
quickly and I think that the work wouldn’t enjoy so differs from edition to edition.” (John Bently, artist,
much exposure if I sold an edition of say, only ten UK).
or twenty copies. I like the idea of people buying
the books for themselves because that’s exactly We also do a pre-publication, payment price
what I do. I buy books. Of course if the work is offer, for orders of our own publications when we
bought by a collection giving it the opportunity publish new issues of the Artist’s Book Yearbook
to be viewed by the public this is very good.” and The Blue Notebook, to help us pay for the
printing costs.

Many recent graduates and new book artists Helga Kos, an artist in The Netherlands made a
are unsure of strategies for pricing their work, large, hand printed edition (288) of her book
so here are a few basic things to consider when Ode to the Colossal Sun. “I worked out a final price
trying to work out a price: for my book in close consultation with my gallery
and an artist's book dealer. We formulated a
Overall, the factors to cost in the equation are: subscription price in the very beginning of the
Materials + cost of time spent physically making of the book. Subscribers would get a
producing the edition per hour (divided by no. of hefty discount on the price if they were willing to
books in the edition) plus a retail mark up. If you complete payment beforehand. The discount
sell through bookshops, dealers and galleries, became smaller over time, as the book neared
they will take up to c.40-50% of the retail price. completion. (The making of the book took 5 years,
so the discount was 50% at first, the second year
Try to set a price that stays the same wherever 40% then 30% and so on). The price of the book is
the book is. Many collectors express frustration rather high: 1500 Euros, but the material costs and
at the varying prices of the same artist’s book in the costs for the CD, the box and the binding was
different places or outlets, particularly in different extremely high as well. So the final price was set
countries. at a certain reasonable amount. Although some

24
people still find it a large amount usually, they If I sold them as single prints I would earn a lot
agree that the price is reasonable. And still it will more from them, but I am committed to the artist's
not be enough to pay for all the hours I put into book as a form and will continue to pursue this
the project. But that is not the most important area while subsidising it through the sale of single
thing.” images through other channels.”
Jane Hyslop, UK

To help with some examples of pricing, we “I price my books by looking at the web sites of
asked artists the following question: Have you other book artists who are at similar career stages
formulated your own pricing structure for your as myself to see what they charge for similar
editions? Would you be willing to write down books. Then I compare that price to other books
how you work out your selling price? that I’ve made to see if that price is in line with the
complexity and style of work.” Laura Russell, USA
Some artists were willing to share the methods
they use for calculating the price of their work; “My price is worked out by six main factors, and
I will start with my own. I cost at: cost of materials, used for all my work, unique or small editions.
plus actual making time (costing total time would (1) Cost of materials (2) labour (including
be unrealistic) then, enough to cover a couple conceptual/design/intellectual/research time
getting lost or ruined (in an edition of 20, say you spent, and cost breakdown of collaborators or
will lose 2 or 3 from display, accidents in public contractors) (3) Value of intellectual or aesthetic
places etc.) that gives me a basic price. I then property (i.e. a new innovative form or idea is
add 40% to cover commission from any sales. worth money) (4) Relationship of the work to your
As commission varies - galleries take up to 60%, former works (is this a breakout piece, the start or
bookshops 40% but a direct order to me from a end of a body of work, an aberration?)
collector is no commission, I keep things simple (5) Comparison to the current market price and
by setting a single price wherever the book is, as future price trajectory of similar works by (and
I don’t want someone to buy it and then see it this is important) artists with similar career
cheaper somewhere else. standing. This sort-of takes into account how
much you think someone will actually pay for
Here are some of the artists’ responses to pricing the work and the minimum you want to sell it at.
their own work: (6) Personal curatorial decisions regarding how
fabulous you think the work is professionally or
“Most of my (unique) books are priced under culturally, how attached to it you are personally,
$100 as that is what most people will spend for a and pure intuition.” Marshall Weber, USA
small unique book. I have come to this realisation
after many years of book fairs - when I reduce the “When I first started making I was selling my
prices the books sell fast!” Elena Mary Siff,USA books very, very cheaply. I was even asked by
one press why I didn’t put up my prices, but I was
“When I have finished an edition, I think about just starting out, and I wanted to sell. I asked what
what it would realistically sell for. When I am I thought the market would give me in terms of
being very efficient, I also keep a log of the price. As I went on, and made more books, went
number of hours I have spent on the creation of to a few fairs and saw every one else’s work and
the edition, and the cost of the materials. prices, combined with a reduced amount of
Inevitably, the price I think it would realistically available time to make and do, my prices
sell for means I would be paying myself about £2 gradually increased. My prices reflect quite
an hour! I also have to allow that one or two of the simply:
edition will have to be used as display copies and
I won't be able to sell them, so that also knocks off A. How long or hard the book would be to
what I can make from a whole edition. Ideally the reproduce
formula would be: My hours @ say, £10 per hour B. How happy I am with the book
+ Cost of materials + A bit for running expenses, C. How popular the book turns out to be
add these together, then divide by: The number D. Any developmental potential along the way
of units in the edition. That gives me the price per E. How soon I get sick of reproducing the book
unit but as mentioned above, if you have made 20
you should probably only divide by 17 because The best way to price a tricky bit of work is to ask
you will have some wastage. But I think it’s very yourself:’How much am I prepared to let this go
rare when I can really charge the cost of labour for?’ Call that your bottom-line, go no lower than
and materials.” Deb Rindl, UK that for a tricky price. For easy obvious pricing it’s
heading into the less than £30 marker, depending
“Because the editions I make are small and on who’s doing the selling what the commission is
contain original prints in the main, I tend to have etc. Try and keep it around that, after about £30
to set my prices at the higher end of the market. people tend to think a bit before a purchase.”
It is always a balancing act for me to try to cover Andi McGarry, Ireland
costs and earn enough for the artistic content but
still remain at a competitive price. My artists’ “I have found there are several price points in the
books do not earn as much as they should if one book arts market and this works for individuals as
takes into account the number of images included. well as institutions (all my prices are in USD)

25
The First Biennial CODEX Book Fair and Symposium: The Fate of the Art, The Hand Printed Book in the 21st Century, at the University of
California, Berkeley and UC Berkeley Art Museum, USA,12th -15th February, 2007. Photo: Tom Sowden
www.codexfoundation.org

The Mainzer Minipressen Messe (Small Press Fair) is a specialist small press and artist’s book fair, originally set up as an alternative to
the Frankfurt Book Fair. It takes place bi-annually and is organised and hosted by the Gutenberg Museum.
For information and timetables, see www.minipresse.de

26
$100 and under: there is a group of people that So, how do you find other artists to make a
will buy in this price range and I think $40 is a group?
great price point if you can make something that
can sell for this. Visit book fairs and talk to other artists whose
work you are interested in.
$300 and under: Individuals and institutions will
buy in this range, but not so quickly.

$1000+: anything over this price, many institutions

will have to present to a committee. Many can Visit Zybooks online: Zybooks artists’ books
purchase items for collections under this amount online is a London-based website showcasing
without requiring special permission.” artists’ books from around the world. They also
Miriam Schaer, USA include mail art projects, events and publications.
Book artists are invited to submit up to 3 book
works for inclusion in the online artists’ books
gallery, for free, for a period of one year.
The Role of the Artist’s Book Fair Website: www.zyarts.com/zybooks Contact:
Gandha Key [email protected]

We asked book artists about their experiences Read listings in journals and newsletters.
of specialist fairs; not only as a means of selling
their work, but as a valuable opportunity to meet Join a discussion list (see philobiblon.com for the
other artists to exchange ideas and information. Book Arts-L list) and ask others to contact you to
Artist's book fairs constitute the main source, or form a group.
a significant percentage of income for most of the
book artists we surveyed. They also act as a means Place a listing in one of the journals, or our
of focus in preparing works for a deadline. Book Arts Newsletter (we run a free “lonely book
See the list of Artist’s Book Fairs on page 29. hearts” section for artists to find others working
in their area, just email us and add a listing:
Artists’ main problems with attending book fairs [email protected]).
as individuals are overwhelmingly: the expense,
and the lack of time to view work and meet artists
on other stands. The cost of a stand at a book fair
can range from £50-500+ for a one - four day
event, and this outlay, compounded with travel
and accommodation costs can make it unviable Join a group such as www.artistsbooksonline.com
for an individual artist. If you are there alone, it is to share book fairs and exhibiting costs.
difficult to meet others whilst looking after your
stand. These issues can be overcome if artists join
up and work together, for example the UK-based Basic preparation for an artist’s book fair:
book artists group www.artistsbooksonline.com Once you have booked your stand and have made
founded by artist Noëlle Griffiths. your books, there are some things to prepare:

Quite a few artists have grouped together with Publicity material, price lists/order forms with
others (in 2s or larger groups) who make similar contact details. These are invaluable for people to
work, so you could try to find other like-minded take away, particularly for those collectors who
artists and mobilise yourselves into a collective gather price lists to make orders after they have
or group. The benefits are the obvious support of viewed books on show at the fairs.
working in numbers and sharing the costs of
exhibiting at book fairs. If you can group together Business cards or postcards with contact details,
and give yourselves a press, collective or imprint to hand out to visitors. This is important, as follow-
name, you can then work as a recognised group to up contacts can be rewarding: “an agency saw
approach galleries or collections and exhibit my work at a fair, took my card and emailed
under one name at a book fair with a nominated me saying they wanted to sell my work for me.”
contact name and address for any catalogues/ Hannah Lobley, artist, UK.
publicity. Running a stand at a book fair as part of
a group will give you a chance to look around at Table covers - these are not always provided, and
other exhibitors’ stands and talk to other artists. if it is more than one day, you need something to
cover the books on the table overnight.
“Marketing is important but having attended
several book fairs I think that there are differences Invoice book, sales book, visitors book to build up
between books which sell well, those that excite a mailing list, information sheets etc.
some interest but don’t sell, and those that people
neither pick up nor purchase. Quality has A shelving or small display system to make full
something to do with it but the more one attends use of a table, or small book stands.
events and discusses these matters the more
experience one gains.” Rosie Gilligan, artist, UK A sign with your name or press name.

27
The importance of artist’s book fairs for on creative output. The chance to meet other
marketing and networking practitioners, particularly students, and to see
the range of work on display is very stimulating
Below are some of the replies to the question we for them.” Jane Hyslop, artist and lecturer at
asked: How important do you think the role Edinburgh College of Art, UK
of the artist’s book fair or specialist event is, and
do these events impact on your creative output? “I have done three artist’s book fairs and one show
in a bookstore this year as a test to see how these
“Very important as a wider ‘reading’ public fairs did. I sold a few books, never quite enough to
becomes aware of artists' books through these cover the hotel, travel and event costs. So, they
fairs, thus creating a larger community talking definitely are not money makers for me.
about artists’ books in relation to other modes of However, I think they have played an important
creative production in a physical space where role in getting my work and myself out there and
many different types of books (and people!) can building up my reputation as a book artist. It’s the
be seen.” Paul Bettinson, artist and founder of the exposure that has really been the best benefit of
Nordic Centre for Artists’ Books, Norway the events so far. However as far as the effect on
my creative output goes, it has not been good.
“You always get good ideas by seeing the work of I find myself making cheaper and simpler books
others.You get a sort of dynamism and energy that to make money instead of making the books that
builds on itself. That's what was good in D.C. my heart desires. I'm struggling a bit with fulfilling
[Pyramid Atlantic artist’s book fair]- to meet so my vision or meeting the customer’s demands.”
many book artists and learn about their work.” Laura Russell, artist, USA
Rick Black, artist, USA

“It is our most positive form of promotion.”

Imi Maufe, artist, Norway/UK

“It is very important to meet artists and exchange

information.” Greta Matteucci, artist, Italy

The First Manchester Artist’s Book Fair, Holden Gallery,

Manchester Metropolitan University, September 2006

“I think they are very important not only for the

interaction with customers but also the interaction
between artists - unfortunately the time for artists
to get to know each other is generally very
limited.” Sue Scott, artist, USA
4th International Artist’s Book Fair, COEX Hall, Seoul
Republic of Korea, June 2007. Photo: Gray Fraser “Extremely important given there are very few
opportunities to show your work, especially to a
“It is important because I can share my ideas, receptive audience. I have participated in my
see and listen to how people feel about my work.” first artist's book fair recently and the experience
Young-Ju Choi, artist, Republic of Korea was excellent. Prior to that I was showing my work
at design fairs - I also make handmade photo
“The artist’s book fair is a unique event where albums and the visitors to these fairs didn’t quite
people especially come to see artists’ books, an understand the artists’ books.”
item that hardly fits into any other category. Paula Steere, artist, UK
At art fairs or regular book fairs people don’t take
the time to investigate any artists’ books. Artists’
books require energy from the viewer. Artists’ In addition, here are some comments from the
books need a special way and a special place events’ organisers themselves, we asked:
of presentation. Artists’ books fairs and events can
stimulate one's creative output because one sees (1) What is the most positive aspect of
a lot of other books and printing or binding organising an artist's book fair?
possibilities that can be inspirational for new (2) And the least positive aspect?
projects.” Helga Kos, artist, The Netherlands
Some of the responses we received:
“Artist’s book fairs are of great value to the (1)”Our fair has been running for 10 years now,
student experience and they do have an impact we have no specific criteria that needs to be met

28
for showing work; we've never needed to exclude Artist’s Book Fairs List
work, participants know what the event represents.
It is important that makers meet each other and The following artist’s book fairs are the main
their audience and that the work is introduced to a events that book artists attend, as they are the
new public. Also it is very important for students most relevant, and work out to be the least
for support and encouragement both from the expensive for a stand/table. Artist’s book fairs
audience and other makers. John McDowall, usually include a talk or events programme, and
Contemporary International Artist’s Book Fair, are a great way of meeting other artists as well as
Leeds, UK selling your books. There are many other book
fairs around the world, for a list of worldwide
(1) “Networking among Canadian artists; artists book fairs (including the Frankfurt Book Fair
meeting the public/customers; the audience is which includes a Book Arts section), see
always amazed at the quality and diversity of the Clemens-Tobias Lange’s informative calendar at:
work; artists do sell though definitely the low price www.kuenstlerbuecher.de/messen.php
end sells better that the top. The CBBAG Book Arts
Fair is very enthusiastically received and that's Leeds Contemporary International Artist’s Book Fair
really enjoyable.” Shelagh Smith, Canadian Annual artist's book fair at Leeds University
Bookbinders and Book Artists Guild (CBBAG Book (usually early March) organised by John McDowall
Arts Fair) and Chris Taylor. For info email:
[email protected]
(2) “CBBAG has a real problem with covering
the costs. We don’t advertise nearly enough (it is BABE: Bristol Artist’s Book Event
essential to advertise both with display ads and Bi-annual book fair and exhibition at Arnolfini,
posters in order to get an audience). We try to Bristol. Organised by Arnolfini and the Centre
keep the table fee very low so that it isn’t for Fine Print Research at UWE, Bristol.
prohibitive for book artists, with the result that For details email [email protected] or
we only cover the room rental and refreshments [email protected]
for participants. We have to get other support in
order to cover publicity and that is very difficult.” London Artist’s Book Fair (LAB) at the Institute for
Shelagh Smith, Canadian Bookbinders and Book Contemporary Art (ICA) London.
Artists Guild (CBBAG Book Arts Fair) Annual, well-established artist’s book fair (Nov)
organised by Marcus Campbell Art Books.
www.marcuscampbell.co.uk
[email protected]

Manchester Artist’s Book Fair

Organised by the Righton Press at
Manchester Metropolitan University
www.artdes.mmu.ac.uk/rightonpress/
Contact Tom Sowden: [email protected]

The Small Publishers’ Fair organised by Martin

Rogers, takes place at the Conway Hall in London,
LAB London Artist’s Book Fair
each October. See www.rgap.co.uk for details
ICA Galleries, London, November 2006. Photo: Paul Laidler

Fine Press Book Association fairs. FPBA organise

book fairs around the UK, with stands available
(1) “Browsing, buying and reading books are in for members. Join via the website: www.fpba.com
the main solitary activities, so to bring together
communities of book artists and makers together Londonprintstudio is organising a one-day artist’s
with readers and collectors is very exciting. BABE book fair in central London, Spring 2008.
opened up social spaces for audiences and artists, Contact: The Co-ordinator, Artist's Book Fair
bringing them face to face for conversation, www.londonprintstudio.org.uk
criticism, comparison and comradeship.”
Grahame Galleries organises the Artists’ Books
(2) “Not being able to please everyone - even and Multiples Fair in Australia, of which 4 have
though we try very hard!” Julian Warren and Peter been staged since 1994. Overseas participants
Begen, co-organisers of BABE, Bristol Artist’s Book can submit works without attending.
Event at Arnolfini. www.grahamegalleries.com
Contact the organiser Noreen Grahame.
Email: [email protected]

Seoul International Artist’s Book Fair

COEX Hall, Seoul, Republic of Korea Annual
artist’s book fair (early June) organised by
Bookpress, Korean Bookarts Association. Contact
them via the website: www.kba21.com

29
Contemporary Creative Books Utilising the Internet
International book fair organised annually (Oct)
by Atelier Vis-a-Vis in Marseille, France. Many curators and collectors use the Internet
www.atelier-vis-a-vis.org for viewing and purchasing books by artists.
Email: [email protected] Having your work in a viewable space is useful
for marketing. Many publishers, individuals and
Centre des Livres d’Artistes, Saint-Yrieix-la-Perche, groups of artists have their own websites, with
France. www.centredeslivresdartistes.info/ contact details, images of books and mail order
Artist’s Book centre, which also organises an purchase.
artist's book fair, contact Didier Mathieu for
further details. Email: [email protected] Stefan Szczelkun (www.stefan-szczelkun.org.uk)
pointed out for the last issue, that artist’s book
Artist’s Book Festival, Barcelona, Spain, usually makers would be interested in how easy/cheap it
each May. Organised by Rafael Castaner and is to integrate Paypal® into an ordinary website.
Julia Pelletier. Email: [email protected] This has caught on, with many artists using Paypal®
for website sales. There are also publishing sites
Tirage Limité - Association pour les Recontres such as lulu.com, which can produce and sell your
Romandes du Livre d’Artiste, Switzerland books for you.
Annual artist’s book fair (September) for details
contact the organiser: Silvio Corsini Booklyn (www.booklyn.org) Evil Twin Publications
email: [email protected] (www.eviltwinpublications.com)and Café Royal
http://tirage-limite.hautetfort.com/ (www.caferoyal.org) are good examples of artists’
websites selling books. Jackie Batey of Damp
Mainzer Minipressen Messe (Small Press Fair) is Flat Books has built a brilliant website full of
a specialist small press and artist’s book fair, information on her books and how they are made
originally set up as an alternative to the Frankfurt (www.dampflat.com).
Book Fair and now renown in its own right. It takes
place bi-annually and is organised and hosted by “One issue which I think is important, is to be
the Gutenberg Museum. For information and part of a network, possibly on the Internet, of
timetables see: www.minipresse.de people who can share ideas about what sells and
what doesn’t.” Rosie Gilligan, artist, UK
New York Art Book Fair
Printed Matter’s artist’s book fair in NYC. Via the Internet you can access information on
www.nyartbookfair.com collections, join discussion lists and see the work
of other artists.You can also read essays and
Pyramid Atlantic excerpts by writers such as Judith Hoffberg at
organise a bi-annual artist’s book fair, next one is colophon.com, access event calendars, online
November 2008. www.bookartsfair.org journals and newsletters (see the useful websites
list on page 31 for some addresses). These also
Editions and Artists’ Books Fair, New York provide useful information on opportunities for
Annual event, see: www.eabfair.com exhibiting work.

The Sydney Art on Paper Fair (SAPF). Showing your work online not only gives you a
SAPF celebrated its 10th anniversary in 2005. presence, it allows people from all over the world
It showcases photography, limited edition prints, to view it without your having to pay the postage
drawing, painting, sculpture, limited edition art costs to send images on CD or slides.
posters, digitally created art, artists’ books -
all conceivable art forms using paper. “At Emory, we don’t have any special funds for
www.sydneyartonpaperfair.com.au artists' books, though we do collect them when we
Email: [email protected] can. It’s often a collaborative effort. If a book artist
contacts either Kim Collins or myself, we try to
meet with them together and usually include the
Conferences and events around book arts Head of Special Collections. Catalogues and
take place regularly in Europe, USA and Australia. brochures are extremely important because they
ARLIS - the Art Librarians’ Society, has member can be a constant reminder on my desk. I also
groups around the world which hold conferences think artists’ websites are invaluable because they
and fairs, see www.arlis.org.uk for Britain and can give a sense of color and structure that you
Ireland, www.arlisna.org for North America, can’t get from a catalogue.” Sandra Still, curator,
www.arlis.org.au for Australia and New Zealand. Emory University Library, Georgia, USA
Germany has the The Association of Art and
Museum Libraries (www.akmb.de). If you don’t have the means to set up your own
website, join one that does it for you. Zybooks
For details of more artists’ books conferences artists books online is a London-based website
and events, see www.philobiblon.com which has showcasing artists’ books from around the world.
lots of information, and the Book_Arts L discussion It also includes mail art projects, events and
list, which people often announce events on, and publications. Book artists can submit up to three
is free to join. book works for inclusion in the online artists’

30
books gallery free of charge, for a period of one Quite a few librarians have said that they would
year (www.zyarts.com/zybooks contact like to make visual databases of books in their
Gandha Key: [email protected]) collections. Some will be asking artists to sign a
copyright release form in the future, some already
Philobiblon website hosts the Book_Arts L do, for example, The Joan Flasch Artist’s Book
discussion list ( www.philobiblon.com) a free Collection, John M. Flaxman Library (at The School
service where members can post information of the Art Institute of Chicago) asks artists to fill in
and questions or discuss aspects of book arts a reproduction release form for non-commercial
with others online. The site - maintained by Peter educational use with each purchase, which works
D. Verheyen - also has information and links to well.
numerous book arts websites.
This could be something which library staff can
Set up or join a group of artists such as collaborate on and share their ideas or practice,
www.artistsbooksonline.com established by if you have any ideas on this, perhaps you could
Noëlle Griffiths for book artists to exhibit work let us know so we can put some information
and share the costs of artist’s book events. See together for library staff who need to ask artists
Book Artist Case Study I on page 39. for permission to use images.

Dealers, publishers and bookshops also If more artists agree to this, it will help to promote
have informative websites: Granary Books, artists’ books within education and allow more
bookartbookshop, Coracle, Book Works, Johan people to see the range of works being produced
Deumens, Printed Matter and Walther König. and collected by institutions.
Many artists who also publish reference material
on making artists’ books have helpful websites,
such as Keith Smith, Carol Barton and Angela
Lorenz. Some useful websites

An Internet tip from Kelly Wellman(bookartbook- These websites are listed for information sections
shop) who has found that Worldcat is a great way and useful information for book artists, from fairs
of tracking down which collections her artists’ and events to workshops, exhibition opportunities,
books are in. Her books are often sold through societies to join, and places to see, sell, buy and
shops or dealers who do not always keep her up study artists’ books., this is by no means a
to date with information on where her books end complete list, just some ideas of places to start.
up. Using Worldcat, you can track down books in Many established book artists also have their
libraries by person, title or subject. Try it yourself own websites which are not listed here due to
at: www.worldcat.org space restrictions. To find more information on
an individual artist, type their name into a search
engine (e.g. google) to find relevant sites. Artists’
Website use of images of artists’ books / sites are also useful for price comparisons as
digitising library collections many of them have works for sale online.

Another topic that arose during the initial survey www.alteredbookartists.com the International
is that many institutional collections would like Society of Altered Book Artists.
to be able to photograph artists’ books in their
collection to: www.artistsbooks.com Johan Deumens’ site
for sales of artists' books with useful links and
Make searchable library databases reference books.

Use for teaching aids and presentations www.artistsbooksonline.com collaborative

artists’ group.
Use for promotional material when exhibiting the
works from their collections www.artmetropole.com artist’s book & media
centre in Toronto, books for sale and links.
“We would like to be able to get the artists to
incorporate some sort of statement when selling to www.barbarawien.de Berlin based book arts
libraries, that the work can be photographed to bookshop and gallery.
put on the collection website, and promotional
material etc.” Catherine Polley, curator, www.bl.uk/collections/britirish/modbrifin.html
Winchester School of Art, Library, UK The British Library fine presses, artists’ books, and
related information.
Otis has a great visual database at: http://con-
tent.otis.edu/collections/artistsbooks.htm www.boekiewoekie.com online catalogue of
artists’ books from the artist run gallery and
and the V&A has a selection of online images and bookstore Boekie Woekie, Amsterdam.
information at: www.vam.ac.uk/collections/
prints_books/artists_books/index.html www.bookart.co.uk Paul Johnson’s Book Art
Project promoting book arts in education.

31
www.bookartbookshop.com the London based www.colophon.com Fine Press books, plus links
bookartbookshop for artists’ books. to a number of related websites.

www.coracle.ie artists' books by Simon Cutts,

Erica van Horn and other artists/writers.

www.firecatcherbooks.co.uk a company created

to promote Book Arts in the UK.

www.florenceloewy.com artists’ books archive

and bookstore.

www.bookarts.uwe.ac.uk our own website with

links, information, publications, exhibitions,
projects and downloadable Book Arts Newsletter.

www.bookhad.ac.uk search engine for book arts

study and research in selected institutions and
collections in the UK, with useful links.

www.booklyn.org Booklyn Artists Alliance,

features their published artists’ books, courses
and workshop programmes.
www.forumbookart.com Heinz Stefan
www.bookstorming.com Paris based artists’ Bartkowiak’s Forum Book Art, now solely Internet
books for sale by many international artists. based, with an online database for artists’ books.

www.bookworks.org.uk Book Works website, www.fpba.com Fine Press Book Association

lots of useful information on current and past membership, information, plus some useful links.
artists’ publications, forthcoming projects and
mail order. Great section of links and www.flying-pig.co.uk paper animation kit
downloadable guides for artists. website. See the menu links for free download
designs, or go to
www.buchkunst.info Reinhard Gruener’s www.flying-pig.co.uk/pages/freedownloads.html
excellent artist’s book collection website.
www.granarybooks.com/catalog.html
www.buechermarkt.net Walther König book full catalogue of their artists' publications.
dealer and artist’s book publisher.
http://jab-online.net Online site for the Journal of
www.caferoyal.org artists’ zines, books, works, Artists’ Books, established by Brad Freeman.
illustrations and more.
www.keithsmithbooks.com Keith Smith’s Books,
www.cbbag.ca Canadian Bookbinders and Book all artist’s book and reference titles, information
Artists Guild. and mail order.

www.cca-kitakyushu.org Japanese international www.kuenstlerbuecher.com information about

gallery and artist’s book publisher. artists’ books fairs, editions and dealers.

www.centerforbookarts.org New York Center for www.library.yale.edu Yale University library’s

Book Arts, exhibitions, archives and courses. collection of artists’ books.

www.circlepress.com formed in 1967, since that www.lili.org/icb Idaho Center for the Book,
time, Circle Press has produced artists’ editions of plus related publications.
both classic and contemporary texts, posters and
books. www.mermaidturbulence.com Founded in 1993
to publish contemporary works by artists and
www.codexfoundation.org The Codex writers.
Foundation, organisers of the biennial CODEX
Symposium & Book Fairs, California, USA. www.mnbookarts.org Minnesota Center for
the Book aims to advance the book as a vital
www.colinsackett.co.uk Colin Sackett’s website contemporary art form, preserving the traditional
with bibliography, writings and readings including crafts of bookmaking and engaging people in
rereader. learning and production.

32
www.ncfab.org established in 2005, the Nordic www.vam.ac.uk/collections/prints_books/arti
Centre For Artists’ Books (NCFAB) facilitates sts_books/index.html The National Art Library at
production, commissioning and exhibitions of the V&A Museum’s online facility for artists’ books,
artists’ books within Nordic countries. with information on the collection, a visual
database and interviews with book artists.
http://nomediakings.org/category/doityourself/
This site has many tips on DIY publishing and www.vsw.org details of Visual Studies Workshop,
distribution from Jim Munroe. Follow the links for USA programmes, residencies and artists’ books.
articles on publishing, distribution and promotion.
www.weproductions.com Weproductions’
www.noosaregionalgallery.org/books.html website with artists’ books and useful links.
Australian centre with an annual artist’s book
programme of events and exhibitions. www.wsworkshop.org Womens’ Studio Workshop
information and online artists’ books archive.
www.onestarpress.com Paris based website of
artists’ books and artists’ multiples. www.zyarts.com/zybooks UK based exhibition
and information website, featuring artist’s book
www.permanentbookshop.com Gallery and gallery, news, events and links.
bookshop in Brighton, for artist-made books,
zines, art periodicals, events etc.

www.philobiblon.com site for artists’ books

information, plus links to numerous book arts
websites. Places to buy and sell artists’ books in the UK

www.popularkinetics.com Carol Barton’s kinetic This is a list of the main UK venues and outlets,
book works and pop-ups with useful information, see the website list for other contacts.
links and mail order.
Arnolfini Bookshop
www.preachersbiscuitbooks.com artists’ 16 Narrow Quay, Bristol BS1 4QA
publications from an independent publisher. www.arnolfini.org.uk/about/bookshop.php

www.printedmatter.org the major artists’ Artwords Bookshop

bookstore in New York has an online selection of 65a Rivington Street, London EC2A 3QQ
artists’ books, multiples and reference books. Tel: 020 7729 2000
www.artwords.co.uk
www.publishandbedamned.org Publish and
Be Damned demonstrates individual approaches Bertram Rota Ltd
to making & distributing artists, writers and 31 Long Acre (First Floor)
musicians through magazine fairs, a touring Covent Garden, London WC2E 9LT
archive & special events. Tel: 0207 836 0723
www.bertramrota.co.uk
www.sfcb.org the San Francisco Center for the
Book, book arts information and exhibitions. Bookartbookshop
17 Pitfield Street, Hoxton, London, N1 6HB
www.silverwattlepress.com Silverwattle Press - Tel: 020 7608 1333
papermaking, printmaking and artists’ books by www.bookartbookshop.com
Tim Mosely and associated Codex Events.
EMH Arts / Eagle Gallery
www.societyofbookbinders.com for society 159 Farringdon Road, London EC1R 3AL
information, events, membership and links. Tel: 020 7833 2674
www.emmahilleagle.com
www.specialcollections.mmu.ac.uk for the link
to the artist’s book collection at MMU. Firecatcher Books
The Last Drop Village
www.tate.org.uk/research/researchservices/rese Bromley Cross, Bolton, BL7 9PZ
archcentre/default.htm Tate Britain’s online Tel. 01204 597 511
catalogue of artists’ books www.firecatcherbooks.co.uk

www.theartistsbook.org A fantastic website by Here Shop & Gallery

David Paton in Johannesburg; to gather research 108 Stokes Croft, Bristol
done on South African Artists’ Books. http://sparror.cubecinema.com/here/mainmenu.html

www.traceisnotaplace.com an artist-led, not-for- Marcus Campbell Art Books

profit initiative based in Weymouth, UK, to promote 43 Holland Street, London SE1 9JR
projects and events that combine new visual work, Tel 020 7261 0111
writing and sound. www.marcuscampbell.co.uk

33
Off-Centre Gallery Centre des Livres d’Artistes
13 Cotswold Road, Bristol BS3 4NX 17 Rue Jules Ferry
Tel: 0117 987 2647 87500 Saint-Yrieix-la-Perche, France
www.peterford.org.uk www.centredeslivresdartistes.info

Permanent Bookshop and Permanent Gallery DIA Center for the Arts
20 Bedford Place, Brighton BN1 2PT New York, USA
Tel: 01273 710771 www.diabooks.org
www.permanentgallery.com
Florence Loewy - Books by Artists
Tate Modern Bookshop 9/11 rue de Thorigny, Paris 75003, France
Bankside, London SE1 9TG www.florenceloewy.com
www.tate.org.uk/shop/books.htm
Grahame Galleries + Editions
Walther Koenig Books Centre for the Artist’s Book, 1 Fernberg Road,
Serpentine Gallery, London W2 3XA Milton 4064, Brisbane, Australia
(and at 80 Charing Cross Road) www.grahamegalleries.com
Tel: 020 7706 4907
www.koenigbooks.co.uk/ Johan Deumens
Dr N. G. Piersonstraat 1
NL 2104 VG, Heemstede, The Netherlands
www.artistsbooks.com
Some places to buy and sell artists’ books
around the world Joshua Heller Rare Books Inc.
PO Box 39114, Washington DC 20016-9114, USA
www.joshuahellerrarebooks.com
Another Room Book Arts Bookstore
Rhythmix Cultural Works, 2513 Blanding Avenue, La Libreria
Alameda, CA 94501 64A Queen Street Bugis Village,188543, Singapore
www.rhythmix.org/anotherroom.html www.lalibreria.com.sg

Art Metropole THE SHOP @ Minnesota Centre for Book Arts, USA
788 King Street West, Toronto M5V 1N6, Canada www.mnbookarts.org/theshop/theshop.html
www.artmetropole.com
Moufflon Bookshop
Barbara Wien Galerie und Buchhandlung für P.O. Box 22375, Nicosia 1521, Cyprus
Kunstbücher www.moufflon.com.cy/
Linienstrasse 158 im Hof, D10115, Berlin, Germany
www.barbarawein.de Oak Knoll Books / Oak Knoll Press
310 Delaware Street, New Castle, DE 19720, USA
Barratt Galleries www.oakknoll.com
5 Bugden Avenue, Alstonville 2477, Australia
www.barrattgalleries.com.au Printed Matter Inc
195 10th Avenue, New York, NY 10011, USA
Bookstorming www.printedmatter.org
Paris based books and artists’ books at more
than one outlet, see:www.bookstorming.com Pyramid Atlantic
8230 Georgia Avenue, Silver Spring
Boekie Woekie Maryland, 20910, USA
Berenstraat 16, 1016 GH Amsterdam www.pyramidatlantic.org
The Netherlands
www.boekiewoekie.com San Francisco Center for the Book
300 De Haro Street, San Francisco 94103, USA
Booklyn www.sfcb.org
37 Greenpoint Avenue, 4th Floor
Brooklyn, NY 11222, New York, USA Vamp & Tramp
www.booklyn.org www.vampandtramp.com

Brighton Press and the Art Around Books Gallery Walther König Buchandlung
San Diego, USA. Ehrenstrasse 4, D 50672, Köln, Germany
www.ebrightonarts.com www.buechermarkt.net

Center for Book Arts, 28 West 27th Street, Visual Studies Workshop, Bookshop
NY 10001, New York, USA 31 Prince Street, Rochester, NY 14607, USA
www.centerforbookarts.org www.vsw.org/press/index.html

34
Some Institutional and Private Collections Middlesex University, Art & Design Learning
Resources
Before contacting collections, please read Montana State University Library, USA
the notes on approaching them, not all of the Museum of Modern Art, New York, USA
collections listed here buy artists’ books from any Museum van het boek, The Hague, The
artist; some hold collections of staff and student Netherlands
work, specific artists or visiting artists only, or National University of Australia
only buy a particular type of book, many also NCAD Library, Dublin, Ireland
have limited budgets, so investigate first! Norwich School of Art and Design Library
Neil Crawford Artist's Book Collection
As space here is limited, please use the Internet Newark Public Library, New Jersey, USA
to find postal addresses. Many collections and New York Public Library, USA
contacts are also published in the Artist’s Book Otis College of Art and Design, Los Angeles,
Yearbook. USA
Reed College Library, Oregon, USA
Many art colleges also have small artist’s book Reinhard Gruener: Artist’s Book Collection,
collections in their libraries. Thanks to Gray Germany
Fraser in Montreal for the new Canadian library Rhode Island School of Art and Design, USA
collection additions. Rikhardinkatu Library, Helsinki, Finland
Royal College of Art Library, Artists' Book
Collection
AKI (ArtEz) Library, Enschede, The Netherlands Ruth and Marvin Sackner Archive of Visual and
Artspace Mackay, Queensland, Australia Concrete Poetry, Miami, USA
BALTIC Library and Archive, Gateshead Scottish National Gallery of Modern Art,
Bibliograph, Montreal, Canada Edinburgh
Sterling and Francine Clark Art Institute Scuola Internazionale di Grafica, Venice
Biblioteca Casanatense, Italy Smithsonian Institution, Washington, USA
Bibliothèque nationale, Paris Southern Cross University, Lismore, NSW,
Bibliothèque nationale du Quebec, Canada Australia
Bienes Centre for the Literary Arts, Fort State Library of Queensland, Brisbane, Australia
Lauderdale, USA Stedelijk Museum, Amsterdam
University of Brighton, Artists' Books Collection Syracuse University Library, Syracuse, USA
British Library, Modern British Collection Tate Britain, London
Brooklyn Museum of Art, New York, USA University of the Arts, Philadelphia, USA
Camberwell College of Arts, London University of Westminster, Harrow Learning
Research Centre for Artists' Publications Resources Centre
(ASPC) Bremen UWE Bristol, Bower Ashton Library, Faculty of
Carnegie Mellon University Hunt Library, Creative Arts
Pittsburgh, USA Book Art Collection, James Branch Cabell
Centre des Livres D'Artistes, Saint-Yrieix-La- Library, Virginia Commonwealth University, USA
Perche, France Visual Studies Workshop, Rochester, New York,
CAB Visual Research Centre, Dundee USA
Chelsea College of Art and Design, London Wellesley College Library, Wellesley, USA
University of Delaware, USA Winchester School of Art Library, University of
F.W. Olin Library, Mills College, Oakland, USA Southampton
Glasgow School of Art Library Womens Studio Workshop, Rosendale, USA
Gund Library, Cleveland Institute of Art, USA Word and Image Dept (NAL) V&A Museum,
The Banff Centre, Alberta, Canada London
National Library of Canada Yale Center for British Art, USA
University of Gloucestershire
Heinz Stefan Bartkowiak’s, Forum Book Art,
Germany
Idaho Center for the Book, Boise, Idaho, USA
University of Iowa Libraries, Special Collections
Dept, USA Further Reading
Institute of the Arts, Canberra, Australia
Jaffe Collection, Florida Atlantic University This list is by no means comprehensive; the
Joan Flasch Artists' Book Collection, The School publications here offer information on making,
of the Art Institute of Chicago, USA exhibiting, listing, marketing and researching
King Saint Stephen Museum, Hungary artists’ books.
The Brotherton Library Special Collections,
Leeds University Look out for catalogues from artist’s book fairs
Library of Congress, Washington, USA such as Leeds and Manchester, and for publishers
London College of Communication catalogues such as Book Works (London) Vamp
Sir Kenneth Green Library, Manchester and Tramp (USA) and Printed Matter (New York).
Metropolitan University
Artist’s Book Yearbook, bi-annual publication:

35
Artist’s Book Yearbook 1994-5, ISBN 0 9523880 0 6 Bright, Betty No Longer Innocent: Book Art in
America 1960-1980, Granary Books, New York,
Artist’s Book Yearbook 1996-7, ISBN 0 9523880 6 5 Sept 2005, ISBN 1 887123 71 7

Artist's Book Yearbook 1998-99, ISBN 0 9523880 3 0 Bury, Dr Stephen Artists’ Books: The Book as a Work
of Art 1963-1995 Scolar Press, London, 1996 (and
(editor Tanya Peixoto) Magpie Press, Middlesex. 1998) ISBN 185928 163X
Available from www.bookartbookshop.com
Castleman, Riva A Century of Artists’ Books
Artist’s Book Yearbook 2001-2, ISBN 0 9536076 7 4 MOMA, New York, 1994, ISBN 0878781517

Artist’s Book Yearbook 2003-2005, ISBN 095360769 0 Clay, Steven (editor) When will the book be done?
(out of print, you can download a free PDF copy at: Granary’s Book publishing from 1980s onwards,
www.bookarts.uwe.ac.uk/bookpub.htm) Granary Books, New York, 2001, ISBN 188712343
Courtney, Cathy Private Views and Other
Artist’s Book Yearbook 2006-2007, ISBN 095438109 2 Containers Estamp, London, 1992
ISBN 1 871831 09 1
Artist’s Book Yearbook 2008-2009
(ISBN10)0-9547025-6-5 (ISBN13)978-0-9547025-6-4 Courtney, Cathy Speaking of Book Art: Interviews
with British and American Book Artists
(editor Sarah Bodman) Impact Press, Bristol. The Red Gull Press, 1999, ISBN 0962637254
From: www.bookarts.uwe.ac.uk/bookpub.htm
Cutts, Simon and Sackett, Colin
Artists’ books: A Cataloguers’ Manual, compiled by Repetivity: A Platform for Publishing
Maria White, Patrick Perratt and Liz Lawes for the RGAP, Derby, 2000, ISBN 0 901437 50 6
ARLIS/UK & Ireland Cataloguing and Classification
Committee, 2006, (ISBN10: 0-9552445-0-1, Doggett, Sue Handmade Books
ISBN 13: 978-0-9552445-0-6). A manual designed A&C Black, 2003 ISBN 0713667699
for anyone involved in the cataloguing of artists’-
books. As many cataloguers may not be very Drucker, Johanna The Century Of Artists’ Books
familiar with the genre, the manual is preceded 2nd edition paperback, Granary Books, 2004
by an introductory section giving a brief history ISBN 1 887123 02 04
of artists’ books, a discussion of the problems
associated with defining the term itself and an Ford, Simon Artists’ Books in UK and Eire Libraries
outline of specific problems the cataloguer may Estamp, London, 1992
face. The manual itself takes the cataloguer
through each applicable rule from AACR2, Fusco, Maria and Hunt, Ian (editors) Put About:
offering guidance on interpretation and, where A Critical Anthology on Independent Publishing
necessary, expanding on the rules. Appendices Book Works, London, 2004, ISBN 1 870699 70 X
include full examples in MARC21, some with
photographs, a bibliography and a list of websites General Printing, An illustrated guide to letter-
that the cataloguer may find useful. The manual is press printing, with hundreds of step-by-step
in an easy to use spiral bound A5 format. Price: photos. By Glen U. Cleeton & Charles W. Pitkin
£35 for ARLIS/UK & Ireland members; £45 for non- ISBN: 0-9785881-4-2
members. To order email: [email protected] www.liberapertus.com/generalprinting

Artists’ Books Revisited, Art Metropole, Toronto, Hellion, Martha (editor) Libros de Artista/Artists’
Canada and Secession, Vienna, Austria, 2005 Books,Vol I, Turner, Mexico, 2003
ISBN 0 920956 76 9 ISBN 84 7506 580 5

Bartkowiak, Heinz Stefan Bartkowiaks Forum Book Hellion, Martha (editor) Libros de Artista/Artists’
Art, Germany (annual publication until 2006) now Books Ulises Carrión: Personal Worlds or Cultural
online at www.forumbookart.com with their new Strategies,Vol II Turner, Mexico, 2004
international online database for contemporary ISBN 84 7506 581 3
book art, b-art1.
Hoffberg, Judith A. Umbrella: The Anthology 1978-
Barton, Carol The Pocket Paper Engineer, 2005 1998 Umbrella Editions, Santa Monica, 1999
ISBN 0 9627752 0 7 ISBN 0 9635042 2 3

Bicknell, Les Are There Any Limits To What Can Be Hubert, Renée Riese and Judd D.
Called Book Art? Essex, 1994 The Cutting Edge of Reading: Artists’ Books,
Granary Books, New York, 1999, ISBN 1887123210
Bodman, Sarah Creating Artists’ Books
A & C Black, London, June 2005, ISBN 0 7136 65092 Holleley, Douglas
and Watson-Guptill, New York, September 2005, Digital Book Design and Publishing,
ISBN 0 8230 1012 0 Clarellen, New York, 2001, updated 2003
Aug 2007 2nd edition, ISBN 9-780713-6387521 ISBN 0 9707138 0 0

36
Janssen, John The Space of the Page - Sequence, The Artist Publisher: A Survey
Continuity and Material Henry Moore Institute, Coracle Press, London, 1986
Leeds, 1997 ISBN 1 900081 56 3
The Book as Art: Twenty Years of Artists’ Books
Jones/Turner/Tyson from the National Museum of Women in the Arts
Contemporary Artists’ Books: Parts 1 & 2, published Princeton Architectural Press, 2006
as a supplement in Artists' Newsletter, April 1989 ISBN-10: 1568986092 ISBN-13: 978-1568986098

Lauf, Cornelia and Phillpot, Clive Turner, Sylvie (editor)

Artist/Author: Contemporary Artists’ Books Facing The Page: British Artists’ Books
(DAP) 1998, ISBN 1881616940 Estamp, London, 1993, ISBN 1 871831 11 3

Lyons, Joan (editor) Artists’ Books: A Critical Wye, Deborah and Weitman, Wendy
Anthology and Sourcebook Peregrine Books, Eye on Europe: Prints, Books and Multiples /1960 to
New York, 1985, 1987, updated 1993, Visual Studies now, MOMA, New York, 2006, ISBN 870 703714
Workshop Press, New York ISBN 0879052805

Moeglin-Delcroix, Anne (editor) Looking, Telling, Artist’s Book Journals:

Thinking, Collecting: four directions of the artist’s
book from the sixties to the present Afterimage - media arts and cultural criticism,
Edizioni Corraini, 2004, ISBN-10: 8887942811, with regular artist’s book features.
ISBN-13: 978-8887942811, Texts in English / Italian. www.vsw.org/afterimage

Pass It On: Connecting Contemporary Do-It-Yourself Ampersand, bi-monthly publication from the
Culture by Anne Dorothee Boehme, Lindsay Bosch, Pacific Center for the Book Arts, USA.
and Kevin Henry. Pass It On examined the www.pcba.info/etc.htm
remarkable breadth of DIY in today’s culture
and covers such diverse areas of activity as Artists’ Books Reviews quarterly journal, USA.
self-publishing, hacking, citizen journalism, www.artistsbooksreviews.com
podcasting, activism etc. The catalogue includes
a custom-built holder, ephemera from the show, The Bonefolder peer reviewed e-journal for the
and a 126 megabyte jump drive that contains bookbinder and book artist (FREE). Issues at:
images of the installation, a check list, essays by www.philobiblon.com/bonefolder/
Carolyn Goldstein, Jon Cates/Jake Elliott, Bruce
Tharp, Scott Smith, Lindsay Bosch, Shannon Book Arts Newsletter (BAN) ISSN 1754-9078 Print
Stratton, Kevin Henry, and Terence Hannum. ISSN 1754-9086 Online (FREE) see:
It can be ordered for $25.- (incl. US shipping www.bookarts.uwe.ac.uk/banlists.htm for online
and handling) by emailing Jennifer Murray at colour PDF version. Email your name and address
[email protected] to [email protected] to receive the b&w
photocopy version in the post.
Rolo, Jane and Hunt, Ian (editors)
Book Works: A Partial History and Sourcebook Blue Notebook Journal for Artists’ Books
Book Works, London, 1996, ISBN 1 870699 20 3 contemporary writing on all aspects of artists’
books, contributions welcome.
Keith Smith has been publishing his artists’ books www.bookarts.uwe.ac.uk/bnotebk.htm
and handbooks for book artists since 1967, see
www.keithsmithbooks.com for all his titles: The Happy Hypocrite: Linguistic Hardcore
A new bi-annual forum for critical and creative
Smith, Keith A. and Jordan, Fred A. artists' writings, with a special emphasis on
Book Binding for Book Artists, Keith Smith Books, content that is experimental in nature and form.
New York, 1998 ISBN 0 9637682 5 5 www.bookworks.org.uk

Smith, Keith A. Structure of the Visual Book JAB, Journal of Artists' Books
Keith Smith Books, New York, 2004 (3rd edition) Critical essays and reviews of artists’ books.
ISBN 0974076406 http://jab-online.net/blog/

Smith, Keith A. Text in the Book Format, Umbrella Online editor Judith A. Hoffberg, USA
Visual Studies Workshop Press, New York, 2003, News, essays, reviews and more, subscribe at:
(4th edition) ISBN 0974076414 www.umbrellaeditions.com

Szczelkun, Stefan The First British Artists' Other journals with features or reviews of
Bookmakers Conference, September 1993, artists’ books: Art in America, Art Journal, Art
Copyart, London, 1993 Monthly, Art on Paper, Art Review, Artforum, Artists’
Newsletter, Arts Canada, Crafts, Creative Review,
Szczelkun, Stefan UK Artists Books: Marketing and Printmaking Today, The Art Book Journal,Visible
Promotion Estamp, London, 1993 Language.

37
Book Artist Case Studies What do you feel the most difficult aspect of
marketing your work has been?
These have been included to offer a variety of
perspectives from new to well-established book Which artist’s book fairs have you attended in
artists, including artists who publish their own and the last 12 months?
other artists’ work.
Do you find that book fairs and personal
Each of these case studies gives some interaction with potential purchasers are the
background information on how long the artist best way to sell your work?
has been producing work, the type/s of books
they make, and how they market their work. Do you find this a positive experience or do
you prefer to sell through an intermediary?

Do you feel that meeting the people who purchase

your work influences your creative production in
any way?

Has meeting potential purchasers or collectors

given you any opportunities you may not have
had otherwise, such as exhibitions etc.?

Is there any advice you feel would have really

helped you when you first started out?

How do you find out about ways to market your

The studies range from those who have graduated work?
in the last 4 years, to established artists who have
been making books for over 35 years. Are your books mainly: large editions, small
editions, unique book works?
We asked all of the original case study artists
from the 2005 edition to update their profiles for Have you formulated your own pricing structure
this new edition. for your editions?

We have also added some new case studies: Is it the same for each edition or do you price
Noëlle Griffiths of artistsbooksonline, UK; Gray them differently?
Fraser of Productiongray editions in Canada;
Kyoko Tachibana of Sohon Studio in Japan and Have you directly approached collections to sell
Lorelei Kampe in Australia. your own work by:
Letter?
Comments within the Case Study texts inserted Phone?
inside [ ] are the editor’s comments. Email?
In Person?
Many thanks to all the artists who have taken the
time to complete these case studies; we know how Was your contact successful?
helpful they have been to other artists from the
comments we have received from the first issue. If not, do you know why it was not successful?

Did you know much about the first collection

These are the questions we asked: you sold to before you approached them i.e.
any specialist interests?
How long have you been creating and marketing
your own work? Did you have a contact name?

Approximately how many editions have you Do you keep collectors up to date with
published: information on your new publications?
to date?
In the last 12 months? Are there any other aspects of marketing your own
work that you would like to improve or know more
Do you have your own imprint? about, or are there any opportunities you think
should be more available?
Is this your main source of income?
Are there any other issues that you would like to
Please give a brief description of your artwork to address?
date.

38
Book Artist Case Study I To date at artistsbooksonline.com:

www.artistsbooksonline.com - The site has twenty artists on-line and continues

to grow.

Making books is a wonderfully satisfying and - The artistsbooksonline.com stand has attended
compulsive activity. The idea evolves, it filters six UK artist’s book fairs.
into consciousness and over time it begins to take
shape in the mind. Then comes the lovely moment - We exhibited in Unfolding ~ artists’ books,
of playing with bits of paper to see which format paintings and prints with four book artists from
suits it best visually and emotionally. For me a Italy and India at The Art Shop and Gallery,
book is a distillation of an experience often with Abergavenny in June 2007.
an element of recording something that will never
exist or happen again. I started making one-off - A collaborative book by site artists is planned
books in 1988, and started Hafod Press in 2003 for 2008.
making limited editions of digitally printed books.
- A series of uneditioned prints relating to our
books is planned for LAB'07.

- A touring exhibition”For the Love of Making

Books” curated by Wrexham Arts Centre opens on
1 September 2007 and tours five venues until July
2008.

As the originator of artistsbooksonline.com

I do not have definite ideas about how the site
should develop, I am open to suggestions from
the site artists. It can be anything we wish it to be,
but realistically we are all busy people who make
time to make art.
Finca Nöelle Griffiths, 2006
I have very much enjoyed meeting some of the
artists and look forward to more artists from
Britain and overseas joining the website.

In future we will continue to attend book

fairs and exhibit together as well as initiating
collaborative projects. We also need to make
sure that collectors know about us.

India Books Nöelle Griffiths, 2003

I hope this is just the beginning…
Noëlle Griffiths, Gwynedd, Wales

As an artist involved primarily with painting,

I make maybe one or two books a year. I realised
that strength exists in numbers. I can exhibit
books and paintings together in galleries, but to Book Artist Case Study II
take books to artist’s book fairs, and especially the Andi McGarry,Wexford, Ireland
larger more expensive fairs, it makes sense to www.geocities.com/sunmoonstarspress
share the costs and travelling expenses. To get
artists’ books noticed on the web, a website with a Andi McGarry has been making artists’ books for
number of artists is more likely to get visited than 20 years, and has published approx 170 editions
an individual artist’s site. over this period, with 27 books produced in the
last 12 months. His imprint is Sun Moon and
In 2005 I started artistsbooksonline.com. Stars Press and his works are “unique unlimited
editions” handmade and handpainted within the
I particularly want artists’ books that retain a sense edition. His bookmaking activity balances itself up
of the maker. By inviting artists who make one-off in terms of “paying for itself with a bit left, so it is
or limited editions of books (maximum fifty) the self-sustaining.”
books are less likely to appear mass-produced
and more likely to reflect the care, thought and “True to my original mission brief, my press
love with which the artists created them. And two explores organic ideas. My artwork is labour
years on, with twenty artists online, the project has intensive and mainly handproduced. The books
fulfilled my expectations. The website has a I make combine words and images and have
diverse range of artists making books with a gone through several developmental flowerings
wide range of materials, structures and to reach the current favourite recipe/formula, for
approaches. making and doing.”

39
Production and Marketing

In the last 12 months, McGarry has attended the

following artist’s book fairs:
London Artist's Book Fair (LAB)
BABE, Bristol

The most difficult aspect of marketing his work

(at book fairs): “If you have ever been hitch-
hiking, imagine the same thing only you are
behind a table full of your own books, and all the Paddle Notes Andi McGarry, 2002
punters are driving past. Literally standing behind
your work at a book fair is the most difficult thing Other collectors keep up with your stuff, and this
unless you have a few mates with you.” is always really nice, because they know you and
what you are up to, and they get enthusiastic.
He feels that Artist’s Book fairs are undoubtedly I’m thinking of a particular teacher/collector
good places to make sales, “you also get to meet when I write this who even offered to lend
potential collectors, and you may be offered any rare works back if I ever need to do a
commissions and other equally interesting retrospective or anything.”
propositions. Also, artists’ books organisers will
see your stuff and you might be invited to send Meeting potential purchasers and collectors has
or show etc. given him some opportunities:“Normally now,
when I go to do a fair or some such gig I will be
hopeful that a few such possibilities that might
also turn up. There could be a chance of a show;
such as recently I was offered a show after the
(LAB) London artist’s book fair. It’s the icing on the
cake if you get a few sales too. Also, I am always
looking out for people to network with for various
book projects, like the Wexford Artist’s Book show
[which he co-organised]. So don’t forget, meeting
people is good, very good, especially if you work
in a lonely garret, sure sometimes you need to
get out… see what the rest of the world is up to,
borrow a few ideas!”
Sun Painted hand editioned books by Andi McGarry
“For marketing, being a creative type always
helps, you must be creative in everything
On selling himself, or through an intermediary: including your marketing, look for new outlets
“The Jekyll and Hyde of it all is, you are there with but tap into the ones everyone else is using too!
the first hand know-how if anyone has a question,
but it is a long haul. I find the opportunities in any I am always up for new things, my marketing up
one year you can foreseeably get to handle are until now has been done as organically as my
limited, so you have to plan a campaign really book making. I will try out all the big collections
carefully to have any success.” again soon with my latest new things, especially if
I think they are a particularly good batch. Recently
“If you sell at a fair, you don’t pay the commission, I tried a new bookfair in Korea, and enjoyed
though you do pay table money. If you plan to do a myself hugely, got inspired and broke even.”
fair, my advice is do it with a mate or two, then you
can go have a look around, have a chat, share the “I have approached loads of collections and had
experience, and split the cost of the table money. as much success as failure, so if you can take the
The fair is by-and-large fairly positive and can Thanks but not today’s you can handle the yes
even force you to get into gear if you are awaiting please’s too.”
the muse. Sending books to an intermediary frees
up your valuable time to make and do instead of I used to sell through Nigel Greenwood Bookshop,
trekking round the earth like an encyclopaedia Maggie Smith rang me up one day and told me
salesman.” the Tate had been in and bought my works. I was
gobsmacked (Geordie for delighted). Since then
Meeting the people who purchase his work has I have kept them up to speed and The Tate would
sometimes influenced his creative production have a very good selection of my work now.
“especially, if they commission you to make a
book about a specific thing, for example - “Network whenever possible, and remember
skeletons, which once happened to me, then the Caesar’s advice, “united we stand.” Try and find
answer is yes. Skeletons would not on my general some friendly book reviewers like Stephanie
list of things I would be making; yet I found my Brown who will give you a line or two in their
mouth saying “Yes, sure I can do skeletons! How magazines etc. Keep diaries and sketch books.”
many do you want?”

40
Book Artist Case Study III Lights since 1984, and five editions in the last 12
Becky Adams, Penarth, Wales months. His work includes unique books, zines
and large editions. He was one of the founding
Becky Adams has been making artists’ books for editors - with Stephanie Brown, Tanya Peixoto and
about 10 years, she graduated from the Stefan Szczelkun - in 1994, of the Artist’s Book
Camberwell Book Arts MA in 2001. Yearbook. This arose from their collective passion
to offer book artists an opportunity to read
She is currently working in Wales. Making books critical essays, gain an overview of artist’s book
is not her main source of income, which is through production and most importantly to encourage
other artworks including textiles. She also runs greater discussion and awareness of book arts,
workshops with books. particularly in the UK.

Her work comprises of collected ephemera, Liver & Lights counts for about half of his income
memories, fragments of text and diary extracts. and he has been self-employed since 1990.
Most of her artists’ books are one-offs but she has
also made small editions and plans to make more “I make books. I design them, illustrate them,
editions of work in the future. construct them, perform them, exhibit them,
market them. They are not instant one-idea
novelties, I hope they leak out their true value
over time. Of the 37 volumes of the Liver & Lights
series, each book has been different in size, scale
and shape, from the last, depending on the ideas
inside. I began life as a poet who found himself
at art school, the two media eventually informing
and blending until ‘the book’ became my primary
medium.”

Analecta Becky Adams, 2002

Production and Marketing

“Roughly speaking the price depends on whether

the book is a one-off or edition, whether hand-
finished or a computer print out. My last edition
Analecta had a retail price of £55, as the cost of
material was c. £600 for the edition of 40.
My books are priced differently depending on
materials and edition size. I try to ask a ‘fair price’
by researching other artists’ books on the Internet,
and in relation to my other artwork.”
Liver & Lights No. 9 The Billyman John Bently, 1989

She has contacted one collection by letter, and has

had success after selling to them at her degree
show. Adams has not attended any artists’ books Production and Marketing
fairs in the last year but does exhibit whenever
she can, and regularly participated in the Wexford The most difficult aspect of marketing his work is:
artist’s book exhibition. “Finding enough people who weren’t scared to
spend some time with the work. In many ways,
Locating and targeting an audience are the things modern humans expect instant gratification and
she finds most difficult, but she reads the Book Arts I think I make things with a very high expectation
Newsletter and A-N (Artists’ Newsletter journal) for of serious study. I think patience in building up an
information on book arts opportunities. She has audience has been an important lesson for me.
also contacted bookartbookshop with a view to Every performance or exhibition might bring one
marketing her editioned work in the future. or two people who understand and want to own a
book. So I do lots of these!”

In the last 12 months he has attended two artist’s

book fairs: LAB, London Artist’s Book Fair and
Book Artist Case Study IV BABE, Bristol.
John Bently
Liver & Lights Scriptorium, London Q. Do you find that book fairs and personal
www.liverandlights.co.uk interaction with potential purchasers are the best
way to sell your work?
John Bently has been publishing his work under
the Liver & Lights Scriptorium and Kind Red Spirit “Not the best, it’s just one way of many… I think
imprints since the early 80s. He has published the quick browsing at fairs doesn’t really do me
c.60 editions, including 37 editions of Liver and any favours. I tend to sell to people who come to

41
the work over a longer period. I don’t think I make any others, this tends to alienate people.
work that is easy to ‘get’ in a short look. I think On the other hand, and I don’t think this is a
fairs lead to things in the future and I believe contradiction; I sell the one-offs (which in my case
you've got to do them over many years (to be a tends to be original work from which the multiples
regular presence) to gain benefit. I really enjoy derive) for as much as I can get. I tend to think of
the interaction, though… I love talking about a number and double it. My attitude is…
myself! It worries me that fairs tend to push I made this. I love this. If you want it you’ve got to
people towards deliberately making work that seriously compensate me for its’ loss. Sometimes
will sell at the expense of more challenging stuff. it works. Any haggling over prices and I tell
Actually… I think selling is a bit overrated as a people to fuck off. I am not rich yet.”
drug… I know it’s a buzz to have a pocket full of
cash you've earned through your own labours, but
not as good as knowing when you’ve really made
something special. It’s the actual ‘showing the
world’ bit that’s the important thing.”

On selling his own work, or through an

intermediary: “I like to do both… galleries and
shops and stuff are ok… but I think they push Liver and Lights No. 36, 3 Songs and a Camper Van John Bently
you as an artist to make work that is for a Kathy Round, Afterabbit, Alan Outram and others, 2006
market and for sale, so really I prefer to be totally
independent. I have had both good and bad Bently has approached collections by most means
experiences from intermediaries. The curse of over the years, his contacts were sometimes
sale-or-return being the main one for a publisher. successful “sometimes not. Some years ago I
Some of the biggest, most obvious outlets for book was pissed off by rejection, now I think… more
art can be the worst (they shall remain nameless) fool you… you’ll come back sooner or later and
although I must say the bookartbookshop [Pitfield, the price will be extortionate. The first few public
Street, London] is an exemplary model of good collections approached me, actually. Some very
practice and I wish there were more in the world.” big ones in America rejected my work because
they said it wasn’t ‘Artists’ Books’, so I had to find
On opportunities arising from meeting out what that was for a few years. I still don’t know.
potential purchasers or collectors: “Yes… I worked for an antiquarian bookseller for twelve
many… all the time… one thing leads to the years, and through this I knew the names of most
next… got to be out there and not sit at home of the librarians/curators in the big collections.”
pining about that lucky break you never had…
I’m a believer in you've got to make it happen. He always keeps collectors up to date with
Get out of bed and believe in what you do with information on his new publications and runs
as much passion as you put in to making it. a pre-print subscription for larger editions.
It all comes down to belief in the end.”
Q. Are there any other aspects of marketing your
On Marketing:“Don’t be afraid to try anything. own work that you would like to improve or know
Take methods from unrelated areas… like… how more about, or are there any opportunities you
do small theatre companies market themselves? think should be more available?
how do bands?… how do the big publishers do
it… take from them all and use what works. Don’t “I don’t think this is an easy question. I think my
forget… when I started there was no internet… strategy is very personal to me and I think that’s
nobody owned a computer… so things have what every artist needs to develop… don’t be
changed drastically since then. Try everything, impatient, try things out and don’t be shy. Don’t
steal methods from unrelated areas etc. why not (big mistake) think that only ‘arty’ people will buy
go on a business course? if you really are your books. Books are books. Everybody has
interested, it’s no good turning your nose up books. I think the word ‘artists’, for most ordinary
at commerce… there are lots of possibilities. people, in front of the word ‘book’ is a bit of a
Book House in Wandsworth does good ‘intro to marketing no-no personally. If you don’t believe
publishing’ courses. Middlesex University does a me… try it ( particularly if you approach
degree in publishing…” distributors).”

“I believe passionately that BOOKS ARE BOOKS. “I was involved some years ago with a
Multiples should be affordable. Surely the idea groundbreaking publication called The Small
of a multiple edition is to distribute as widely Press Yearbook, which dealt extensively with all
as possible. I know a lot of artists say I’m under- these issues… if you can find a copy somewhere,
selling myself but the whole process of making it might be very enlightening. It covered
books is for me a way of disseminating ideas over marketing for all small presses, not just artists,
time, therefore I sell them for an average price of but we all learnt from each other. In a way, the
similar books in high street shops, or cheaper. artist’s book fairs and the Artist’s Book Yearbook
Don’t be tempted into thinking that because you grew out of this.”
are an ‘artist’ your books should cost more than

42
Book Artist Case Study V
Emily Larned
Red Charming, Bridgeport CT, USA
www.booklyn.org
[email protected]
www.redcharming.com forthcoming

Emily Larned is currently working toward her MFA

(2008) in Graphic Design at Yale School of Art.
She received a BA in 2000 from Wesleyan
University, with High Honors in Studio Art
(Printmaking & Typography). She has been
making artists’ books as her primary activity since Above left: Search Results Emily Larned, 2006
graduation; but began publishing zines when she Above right: Parfait 1 Emily Larned, 2003. Photo: Derek Dudek.
was 16 in 1993. She has published 30 zines since
then, with six additional artists’ books since 2000 exploration of such a place. Thrift Store partners
under her Red Charming imprint. Her editions are pictures of thrift store objects with an essay about
usually between 25 - 55 copies for letterpress, thrift stores and, as an object, resembles an old
hand-printed artists’ books; 300 copies for zines. photo album one would encounter in a thrift store.
Larned keeps the prices of her zines low as she A keen curiosity, a love affair with ideas, and an
would rather people be able to afford them than emphasis on the union of content, form, and
make a profit. In addition to making her own process underlies all my work.”
work, she also takes on commissioned letterpress
projects “wedding invitations, music packaging, Marketing
and the like”.
“In terms of book fairs this past year, on behalf of
Production Booklyn I attended Pyramid Atlantic in Silver
Spring, MD. Via Booklyn, my work has also been
“Since I was a child, I have been obsessed with represented at the Seoul International Artist’s
books. Always a voracious reader and writer, I Book Fair, Codex in San Francisco, the Chicago
began self-publishing zines when I was sixteen Book Arts Conference, and the Frankfurt Book
years old. What first appealed to me about zines Fair.”
was not only the union of art, design and writing,
but also the democratic nature of the book form. “Sales at fairs depends upon the fair, and varies
The book, unlike other art forms, is instantly widely. However, personal interaction with
accessible to anyone who is literate.” librarians & curators while travelling to different
institutions for Booklyn has proven to be the most
“I pursued bookmaking at Wesleyan and on helpful. Other Booklyn agents are very successful
my own through coursework, a bookbinding at selling my books when I am not present, but I
internship, a letterpress apprenticeship, and do feel librarians have a total picture of my work
historical and theoretical research. The more when I am there.”
time I devoted to books, the more their role in
our society began to interest me in another way.
Books are manufactured objects that have been
the primary receptacles of human knowledge for
the past 2,000 years. The status of the book as both
product of culture and producer of culture makes
it a particularly poignant form in which to explore
the idea that knowledge itself is produced, not an
a priori fact. Excited by this concept, I began to
make artists' books that were inquiries into history
and science: how we know what we know. It was
this interest that propelled projects such as the
Seeing Trilogy, Syntax Machine, and Galois Fields,
and that continues to drive my work today. These
titles are letterpress printed and hand bound; this Thrift Store: the Past + Future Secret Lives of Things
interest in historical processes emphasises my Emily Larned, 2003. Photo: Derek Dudek.
engagement with the history of the book.”
“I would encourage other young artists to band
When my books are not directly epistemological, together into informal artist alliances, along the
they focus on acute observation and assist the lines of the Booklyn model. The best way to sell
reader in seeing an environment in a new way. work is to get it physically in front of curators and
The photographic books Thrift Store and Walking librarians, and it makes the most financial sense to
Middletown achieve this objective by creating share the expenses of doing so (travel costs, etc.)
experiences analogous to their subject matter. with fellow artists who possess the same needs
Walking Middletown organises photographs of an and goals.”
Anytown USA into a structure that parallels the

43
Approaching collections by sending in a
catalogue with letter yielded no sales but
following up with an email did. “This is my
preferred method to contact a person in order
to set up an actual in-person appointment.
I also send out email announcements about
new editions, and normally receive a few orders
by this method.”
Seoul Monoprints a collection of 20, 3-colour monoprints
Larned keeps collections up to date with her made by Francis Van Maele in the streets of Seoul, 2007
work by sending out email announcements with
jpeg images, and maintains her own page on the As an independent artist and publisher he does
Booklyn website (www.booklyn.org) She hopes to much of his marketing at artist’s book fairs, and
have www.redcharming.com up and running by finds them a positive experience and a good
the end of this summer 2007. way of meeting both potential customers and
other artists. Attending these events has given him
plenty of opportunities, for example exhibitions at
museums, through contact with other artists and
curators.
Book Artist Case Study VI
Francis Van Maele, Redfoxpress He also sells directly to collections, having built
Achill Island, County Mayo, Ireland up his contacts over the years. His initial contacts
www.redfoxpress.com have been by letter or email, rarely in person,
and he has always checked on the collections’
Francis van Maele has been publishing both his special interests and had a contact name before
own and collaborative works with other artists approaching them. He always keeps collectors
since 1979; he has published150 editions, 25 in up to date with his new publications.
the last 12 months. He published in Luxemburg
under the Editions Phi imprint and then started the Redfoxpress
Redfoxpress in 2000, based in Ireland. Redfoxpress Dugort, Achill Island, County Mayo, Ireland
is his main source of income. www.redfoxpress.com
[email protected] or [email protected]

Book Artist Case Study VII

Blue Fish drawings and collage by Franticham, 2006 Gray Fraser
Productiongray editions, Montreal, Canada
His practice includes collaborations with poets I have been making artists’ books since 1989.
and artists, to make hand- screenprinted, limited My first book was part of an installation entitled
editions of between 20 and 75 copies each. His “The Last Supper”, a decadent rendition of the
own artists’ books, including unique books, Last Supper of Christ. After that experience I
use a range of techniques including collage, condensed my installation ideas into book works.
laserprint, photographic and found objects. Artists’ books permit me to work with a narrative
He also produces mail art editions. structure in a more intimate space than the
gallery; in a sense the book becomes the gallery.
Production and Marketing At the beginning of my career I was making small
editions of around 10 copies. I made some unique
As someone who has been producing and pieces as well, but in the past 15 years all of my
selling his own work for over 28 years, Van editions are 101 copies or 202 copies. Most artists’
Maele has plenty of experience in marketing his bookshops only accept editions of 100 or more.
publications. His output covers a variety of styles I have published 22 books since then, and another
and collaborations (which he feels can sometimes 4 in the last 12 months.
be difficult as some interest one type of collector,
others interest another, he also publishes in Production: All of my work is created digitally
different languages: French, German and English). and I print in my studio on a colour laser printer. I
He attends many artist’s book and publishers’ fairs have sent a few books to commercial printers but I
around the world, aided by his ability to converse do the folding and assembly in my studio.
in French, German and English. In the last 12
months he has attended: Seoul Artist’s Book Fair, Q: Is this your main source of income?
the Minipressemesse in Mainz, the Small
Publishers Fair and LAB 06 in London, Manchester Unfortunately I can’t live on the income from sales
Artist’s Book Fair, Leeds Artist’s Book fair and of my artists’ books - that would be a dream come
BABE in Bristol. true. I’m a freelance graphic designer. Working

44
freelance gives me the opportunity to build up people who know what artists’ books are. But in
some cash and then take time off to create my general the artist’s book fairs I've been to are
own stuff. too crafty for my work. Many stands have nicely
bound blank books and pretty objects. And
Q: Please give a brief description of your artwork to hearing the majority of artists describing their
date: work, their focus is on the fancy papers and
binding and very rarely about the content of
It’s always difficult for me describe my own work, their books.
but here goes. My books are political. My earlier
works, up until 1999, explore gender politics, and I don’t think it’s necessary to have personal
my most recent books focus on two new (to me) face-to-face interaction with potential purchasers.
themes: one is exploring the role of the artist, and Most of my books are sold out of artists’ book
the other is the destructive foreign polices of the shops, such as Printed Matter in New York City,
Bush administration. or by emailing collections and directing them to
check out my website: www.productiongray.com
these two approaches work well in the USA.

I prefer selling through an intermediary because

I’m not much of a salesman. I find it difficult to sell
anything, especially my own work. I know there
are many demands on artists - to be salesmen,
grant writers and social butterflies (not missing an
opening) - but for me, one of the most gratifying
aspects of making artists’ books is dropping my
work in a mailbox and knowing that the receiver
will discover my work on their own.

Q: Do you feel that meeting the people who

purchase your work influences your creative
production in any way?

When I meet with other artists we encourage

each other to produce, but I don’t get that from the
Above left: The Anthrax kit by Haliburton™ Gray Fraser, 2006 people who purchase my work. I consider sales a
Above right: Seven Deadly Sins Gray Fraser, 2004 secondary element - I see it as a bonus, but I don’t
think about an audience or purchasers when I’m
The binding of my books and the content have making art.
to have some sort of dialogue. The text or images
must be enhanced by the choices of binding, Selling to institutions has given me many
textiles (including paper), found objects and/ opportunities for exhibitions and giving lectures
or containers that hold the books. All these on my artists’ books. I have participated in many
elements combine to make the presentation group shows with the National Library of Quebec
of the completed work. and have been invited to lecture at universities
due to my work being in collections.
Marketing
Q: Is there any advice you feel would have really
There are many difficult aspects to the marketing helped you when you first started out?
of art in general. But specifically with artists’
books, the most difficult task is trying to convince I have never had any negative experiences in
people that artists’ books are art. I’m not sure making art except false expectations with the
about other countries, like the UK for example, finished product. Many great professors advised
but in Montreal when people ask me what I do, me that self-discipline is the key to making art.
I have to explain what an artist’s book is… If you’re not producing, then you’re not an artist.
“No. It’s not a book about an artist!” Even after
I explain to them what an amazingly and Sales, exhibitions and notoriety are bonuses that
dynamically cool art form these books represent, may come or may not. To me, they are secondary
they still don’t seem convinced that they are art. to producing art.

In the last 12 months, I have attended Expozine in Q: How do you find out about ways to market
Montreal, an alternative zine and underground your work?
small press fair and The Seoul 2007 International
Book Art Fair. I participated in one book fair in I was the director of a gallery for 8 years and
Paris called PAGE and two book fairs in Montreal I found talking to other artists was a great
(unfortunately the Montreal artist’s book fair is connection for marketing my own work.
no longer happening). I found these experiences The Internet is my main source of contacts right
interesting, especially being surrounded by now. It's an amazing tool for marketing your work.
people who are making artists’ books and by I met Sarah through the UWE website by googling

45
“artists’ books”, and that’s how I got the put into the Artist’s Book Yearbook. I have never
opportunity to do this case study. come across such an in depth publication on
artists’ books. It’s very informative and has
Q. Have you formulated your own pricing structure encouraged me to get off my butt and send emails
for your editions? to international collections. If you don’t have a
copy of the ABYB you should get one!
I have a rough idea of pricing my work. I take into
account the price for the materials and the time it Q: Are there any other issues that you would like to
takes me to assemble the work. It is important to see addressed?
me to make my books accessible to anyone, rich
or poor. So most of my prices vary between $10 - I would like to see more grants available to artists
$30 US. Fortunately (or unfortunately depending working with books. Most mainstream grants don’t
how you look at it) I’m not living off of sales, so have categories for artists’ books and it’s difficult
that permits me to keep my prices in a very especially for emerging artists to meet the
affordable range. Most bookshops take 50% of criteria of the granting bodies. For example many
sales and the shipping is on me, so the profit granting institutions want a certain number of solo
range is very small. But if my books are over shows and it’s not easy for a person making
priced then the average Joe and other artists artists’ books to have a solo show. Especially if
can’t afford them, and it's important to me that their work is small, it would take a number of
my work be accessible to everyone. I price my years to complete enough books to fill a gallery.
work higher for juried institutions because they
don’t pay for exhibiting the work in galleries or I have just run into a major problem with The
international travelling shows. National Library of Canada. They have redefined
their definition of an artist’s book. I sent two of my
Q: Have you directly approached collections to sell ARTISTS’ BOOKS and the jury did not recognise
your own work? them as ARTISTS’ BOOKS so they added them to
the collection without any payment.
My first sale to a collection was the National
Library of Quebec. I found out about their Small press is in jeopardy! Please see the article
collection through artists who had previously sold in this publication including the juries comments
them work. In the case of my first sale to a juried and my ongoing process with The National Library
collection I didn’t have a contact name, I found out and Archives Canada [See page 15].
the deadline and sent them work, consequently
after selling many books I did become friends Gray Fraser
with people in charge of the collections.
www.productiongray.com
For juried collections, such as national libraries, [email protected]
I find the submission deadlines, download the
forms to fill out and send them the work by mail.
For university collections I go to their websites
and send a general email asking for the name
and email address of the person in charge of
purchasing. I then email that person directly
with a link to my website. Both of these Book Artist Case Study VIII
approaches work equally well. I find that Karen Hanmer, Illinois, USA
contacting purchasers by telephone is very www.karenhanmer.com
unsuccessful, most of the time they are too busy
to speak in depth on the phone, and by mailing, a Karen Hanmer has made four editions in the last
catalogue for example, it costs a lot and most of twelve months, she publishes under her own
the time it’s just disregarded in a pile of mail on name, and making books is not her main source
their desk. I haven’t approached many collections of income.
outside the US, I’m hoping for some helpful hints
from other artists. Production

I keep collectors up to date with information on “I’ve been making artists’ books since 1997,
new books. I send out PDF files by email but my at first my efforts were focused on trying
announcing my new publications to all the to exhibit rather than trying to sell them.
collectors who have purchased me work. Also on trying to get known as an artist where
I live (Chicago), rather than as in the book arts
Q: Are there any other aspects of marketing your community at large. I’ve been much more
own work that you would like to improve or know successful with the latter.
more about, or are there any opportunities you
think should be more available? I have 36 books that are editioned, but since
I print them on the computer in my studio, I print
I know this doesn’t directly address the question more as I need them - I do not do the entire
of improved marketing but have to mention it. edition at once. Most are editions of 20 or 25, and
I am very impressed with the amount of research I’ve only printed a couple of some of the books.

46
Reunion Karen Hanmer, 2006
House of Cards Karen Hanmer, 2007

My artists’ books are mostly in editions of 25, “I’m represented by Vamp and Tramp/Bill Stewart.
inkjet printed with pigment inks, imagery The people he visits will definitely purchase
derived from cultural or personal memory, books (though not necessarily mine). But I will
usually the structure or the content, sometimes not be able to tell them the story behind the work,
both, is playful. Usually but not always, the work and I suspect that that connection to the work will
includes photographs. There’s usually writing facilitate the purchase decision.”
that is a first hand account of some kind -
something I’ve written about a memory, “The encouragement of the meeting people who
interviews, historical texts. purchase my work keeps me going in general,
but I would hate to think it would lead me to make
I also do some installation work, and I try to make more work of a certain theme or using a certain
an artist’s book to go along with the installation structure that no longer interested me because
so there is something existing out in the world people might buy it. Opportunities for exhibitions
with that content, when the installation is not on lectures and to teach workshops have arisen from
display.” meeting people. People have also asked me to
send them slides to use in their lectures.”

Marketing Hanmer finds out ways for marketing her work

through “The book arts list serve, [see:
www.philobiblon.com to join the discussion list]
“The most difficult aspect of marketing work has talking to book artist friends and looking at other
been trying to figure kind of materials to have, book artists’ resumes. I wish I had understood
how to ensure they will reach the correct person, when I was starting out that book art will not sell
and how to follow up. And how to do a really from the same exhibition venues where artists of
effective job at this and still get new art made. other mediums show, and that selling work to
collections requires different promotional
The first artist’s book fair Hanmer exhibited at materials than soliciting exhibition opportunities.”
was Pyramid Atlantic, Nov 2004 in Washington,
followed by Bookfest [www.bookfest.com] in Hanmer prices her work by the cost of materials,
New York in April 2005, Pyramid Atlantic in 2006 making, and adds a little extra for documenting
and ARLIS in 2007.” the work, promoting and exhibiting it. If she
attends more book fairs in the future she will
“I found that a lot of the visitors at Pyramid also try to factor in money towards travel etc.
Atlantic were beginning book artists or their
instructors, who wanted to find out how the I have done only a handful of in person visits.
exhibitors did what they did so they could go These meetings have not always led to sales,
home and replicate it. I have met some book arts but are usually enjoyable, and I always ask the
librarians who have made immediately purchases librarian to see some of their favourites for their
following the fair, or even a few years later. collection. I’ve seen some very beautiful and
Some were already familiar with my work from unusual pieces, especially some early science
exhibitions, an article I wrote, or my annual and travel books.
mailing. I was asked by several people to send
a workshop proposal to their institution.” If the collection is not local, it is very expensive
and time consuming, and I don’t think I’d ever
The ARLIS (Art Librarians) conference was the recoup the costs of a pure sales trip.
most successful. It is exactly the right audience If I’m teaching somewhere out of town, I may
who purchases artists’ books. I did very well both arrange a visit, but if I'm on a family vacation,
at the conference and in the months following it, I’d really rather not bring books along and
and I was able to meet some of the librarians I do business.
have been corresponding with or have purchased
my work from my dealers, in person. “I have sent promotional mailings and have then
had the offer of exhibition opportunities, requests

47
to send workshop proposals, an offer to represent
my work, and a few inquiries about the work, and
in general this has been very helpful in terms of
getting known. The mailing yielded no until I
began following with an email two weeks later.
The follow-up has made a tremendous difference.
But I have not done follow-up phone calls when
I have sent materials cold. I don’t send to many
collections anymore if I do not have a contact
name and email.

A few friends and I have pooled our mailing Progress Heather Hunter, 2004
lists and are doing internet research to fill in the
blanks. Everyone's work is so rich and unique,
we do not need to feel that we are competing with The advice that would have helped when Hunter
each other. I have been sending out a promotional first started out would have been: “To know that
mailing every summer for five years.” I would need all the paperwork prepared,
invoices, information about self and books etc.
ready for that sale. But also to know that I must not
get disappointed if purchasers and collectors do
not buy the first time they see a book, sometimes
it happens that they come back 2-3 years later and
ask for THAT book.”

Book Artist Case Study IX Hunter has found ways to market her work by
Heather Hunter, Buckinghamshire, UK experience: “marketing at craft shows was a
www.artistsbooksonline.com disaster, small cost but not right. I now visit Book
Fairs and galleries first, finding out if they are
Heather Hunter has been making books for 12 the correct venue for my books. Rationalising my
years under the imprint Heather Hunter Books. marketing budget and finding out that over one
This is not her main source of income. year, the one showing at the London Artist’s Book
Fair was better value than small galleries several
Hunter’s books are mostly unique book works times a year. Because my books are one-of-a-kind,
“of unusual structure containing a variety of my output is not vast, so targeting one or two fairs
traditional printing techniques as well as digital. works for me. Having marketed through giving
Text, image are all of my design. Venturing into talks and workshops about artists’ books locally
altered books where there is a conversation with I now have a local clientele so participating in
the original text” Open Studio events where you are on hand to
discuss your work and buyers can handle the
Production and Marketing books in a comfortable environment e.g.
armchairs! is proving fruitful.”
For Hunter, the difficulty of marketing is
“finding the right venue, that is; where books can Her pricing costs are the same for each unique
be handled, because my books have unusual or book and include: costs of materials, design and
hidden aspects that cannot be experience when manufacture time. She will adjust prices to be
viewed behind glass.” reasonable. “By having a range of books, small
simple structures up to intricate experimental
In the last 12 months, she has shown her work at construction, it spreads the price and the profit.”
four artist’s book fairs (BABE Bristol, LAB 06 and
in France:Marseille Contemporary Book Fair and Hunter has not approached any collections
Pages 9, Paris), which she finds are the best herself, but has sold directly to collections
places to sell her work. “It is a positive experience through book fairs and subsequently keeps
to get feedback, and observing people handling them up to date with her new work.
the books can sometimes give me new ideas,
because books must be a tactile experience as “At the end of the day we are trying to sell items
well. It gives me a buzz to see a buyer handle a to the public like any other salesperson. Always
book in a manner appropriate for my artist’s assume that every person who approaches you
book as well as to be absorbed in the content. is a buyer. It is no good having a wonderful
It motivates me to produce more.” marketing strategy worked out if you are
unapproachable and believe that as an artist
Meeting potential purchasers has resulted in you have some special rights.”
“requests for workshops or commissions, less
often exhibitions. If any of these happens they may
buy one of my books on a second meeting, or if
visited in their own environment where they feel
relaxed and comfortable.”

48
Book Artist Case Study X
Helen Douglas, Weproductions, Scotland, UK
www.weproductions.com

Helen Douglas has been making artists’ books

since 1972, publishing with Telfer Stokes under
the Weproductions imprint. She has produced
over 26 editions to date. This is not her main
source of income. Douglas also uses income
Swan Songs with damselflies, Helen Douglas, 2006
generated from sales of her books to pay for
new publications.
Over 2004-2005, Douglas exhibited her books at
“Weproductions publications are characterised by
the following six fairs:
unlimited, paperback format and offset printing.
The publications demonstrate an exploration of
BALTIC, Newcastle
the book form and structure, visual conjunctions,
Dean Clough, Halifax [now Leeds]
sequence and narrative.”
Pays-Paysage, Saint Yrieix la Perche, France
Seoul International Artist’s Book Fair, Republic of
Production
Korea
Small Publishers Fair, London
“Producing work (as Weproductions) we
LAB, ICA, London
have always tried to make books that sell at a
reasonable price. Production costs are a definite
Douglas finds artist’s book fairs a great way to sell
consideration in the making of work, but not to
her work, providing the fairs are well-advertised
stifle an idea. When a book is made and bound,
and in a good venue; well-attended fairs are a
there is in its handling a suggestion of where its
positive experience. “Meeting a purchaser can
price should fall within our price range of £6-25.
give a great sense of affirmation in relation to
our making of books, and has provided many
Weproductions has a number of pricings, 7, 12, 15,
opportunities which may not have arisen
20 and 25 pounds. A book such as Unravelling the
otherwise.”
Ripple (2001) priced by another publisher
threatened to undermine our own price structure,
Douglas is also happy to sell through an
and it did for a while. However, things have
intermediary as long as they are genuinely
calmed down now and the book sits within our
keen on the work. “Over the years it has become
own prices as a subsidised production. With Illiers
evident when there is an enthused bookshop
Combray (2004, with Zoë Irvine) which also
operator or seller, sales go up dramatically.”
received funding for publication, we priced it
according to our own price structure. We believed
“Influences of people on production is only
that priced at £25 this is its true and workable sale
through watching carefully how ‘the viewer’
value. With books that are going out of print, we
handles, reads, looks at our books, which can
raise the price considerably.”
be very instructive. Taking stock of one’s own
brimming confidence or apprehension as a
viewer looks can also alert one to areas of
confidence or uncertainty in one’s work which
need to be addressed. This can be creative.”

Talking to other book artists and joining with

others helps to encourage each other: “two people
on the scene for contacts and outlets is easier than
Illiers Combray Helen Douglas and Zoë Irvine, 2004
one and more of a force.”

Marketing books to collections has been

Marketing
successful, Douglas has always made sure she
has a contact name and knows if they have an
Douglas feels that the most difficult aspect of
interest in artists’ books before approaching them.
marketing her work is that of establishing outlets
She also keeps collectors up to date with new
in museum and gallery bookshops, which she
publications information.
feels could be the perfect venues. She believes
there should be a cultural commitment for gallery
Her advice to those just starting out would be:
and museums bookshops to display and develop
“begin, it is only by beginning in books that you
the market for artists’ books with the public.
begin to understand what the issues are.”
Douglas wonders if there would be a chance for
group action, to convince galleries etc. to do this.

49
Book Artist Case Study XI
Magnus Irvin, The Daily Twit, London, UK
www.dailytwit.com
[email protected]

Magnus Irvin has been publishing editions,

including the Daily Twit newspaper since 1978.
He is also a filmmaker, printmaker, sculptor, writer
and scenic artist; publishing books is not his main
source of income.

sub text Localities Susan Johanknecht, 2007

Johanknecht uses the book format as “a primary

site for poetic and collaborative practice”. In the
1980s and early 1990s, Johanknecht utilised many
direct printmaking techniques to make her work.
In the mid-1990s she used digital techniques and
often incorporated CD ROMs into her book works.
Recent projects focus on the relationship between
writing process and the physical, material book.
Johanknecht often works with other artists
and writers and has been involved in large
collaborative projects (1997-2000, 2003-4 and
2005-7).

Production Production and Marketing

Irvin’s books range from editions of 7 - 106, Johanknecht finds the most difficult aspect of
the Daily Twit is usually published in editions marketing her work is finding the time to follow
of 500 - 600 copies. up contacts made at book fairs and events.
Book fairs are a good way to market work, make
Marketing contacts and be offered opportunities that may
not arise otherwise. Johanknecht feels that having
“The Daily Twit is priced to allow me to give away to explain your work to people at such events is
up to 30% of the papers and still make a small useful and that these events can be especially
profit. My books are priced on a 50% profit basis.” positive experiences if you are selling a wide
range of work, not just your own. Selling through
Irvin has approached collections himself, which an intermediary though is less time-consuming.
has been mostly successful; he keeps collectors
up to date with his publications on “a small basis”
and has attended two book fairs in the last 12
months (LAB 06, London and BABE 07, Bristol).
He often finds out about ways to market his work
by word of mouth, and through meeting people at
book fairs and events. He would like to be
involved in more readings and performances at
book fairs. Irvin feels that the advice that would
have helped him when he started out would be to
take a more professional approach to archiving
Here are my instructions
work. Susan Johanknecht and Redell Olsen, 2004

Over the last year Johanknecht has attended:

Book Artist Case Study XII LAB at the ICA in November, the Small Publishers’
Susan Johanknecht, Gefn Press, London, UK Fair at the Conway Hall, London in October and
BABE, Bristol in April.
Susan Johanknecht has been creating and
marketing her own work since 1977. She has Advice she felt would have helped her when
published over 30 editions, 2 in the last 12 months. starting out, is:
Johanknecht has her own imprint Gefn Press, and
is also Course Leader of the Book Arts MA Degree “Do not be daunted by the prospect of
at Camberwell College of Arts, London. approaching libraries and bookshops directly.”

50
“Consider setting up distribution collaborations
with your peers.”

Her pricing structure is “a balance of making sure

costs are covered and ‘what does this look like it
would sell for?’”

Johanknecht has directly approached collections

and bookshops by letter and email, sometimes
in person. She knew about the specialisms of
the collections and had a contact name before Artist’s book workshops at Sohon Studio
she approached them. Johanknecht also keeps
collectors up to date with information on new
publications. Unsuccessful contacts were with Marketing
some bookshops, which were unwilling to take on
unusual formats or deal with small publishers. I have never marketed my works as such, but
She also finds out about opportunities to market I do talk to people showing my books and other
her work through word of mouth and the ABYB. people’s works. It depends on how many editions
you’re trying to sell, but I think it’s important to
Johanknecht feels that distribution and marketing keep your works accessible and also to convince
are ongoing issues for artists’ books, and people, which is not always easy.
suggests some ideas to overcome the difficulties
of marketing artists’ publications: I think it’s good have a stable ground where
people can get information (i.e. website), show
“An artist’s book equivalent of Cornerhouse your works and talk to people who might be
or SPD would be wonderful - without any interested or might be able to give an advice
restrictions that the artist or author should not (galleries, bookshops, publishers, graphic
be the publisher. An ‘institution’ that could unify designers, institutions, as well as people in
the struggle to get space (and respect) in other fields).
bookshops and also approach a wider range of
libraries. This ‘institution’ could provide expertise Personal interaction is the best way to get your
and professionalism in marketing, that artists for ideas across, but I wouldn’t think it’s necessarily
the most part, are unable to muster as well as the only way. It is definitely a positive experience
produce their work.” especially when you’ve just started making your
own books because you can always see some
form of people’s reaction (or no reaction) to
your works. But I think it’s important to keep
your options open and also have your books
somewhere else because book fairs are usually
Book Artist Case Study XIII held just for a few days.
Kyoko Tachibana, Sapporo, Japan
www.sohonstudio.net Q: Do you feel that meeting the people who
[email protected] purchase your work influences your creative
production in any way?
After completing a degree in Publishing at the
London College of Printing in 2002, I pursued a Yes. Sometimes you get a great response
part-time MA course in Book Arts at Camberwell from someone, and that’s just good enough to
College of Art. That was when I started to make encourage yourself even further. It’s always good
my own work. This is not my main source of to see how people respond to your books or even
income. But it leads to it. I am a part-time if they don't respond at all. If the books were not
lecturer, and I do some translations. perceived as I’d imagined, then I could try in
other ways.
I’ve made 7 editions, and most of them I made
when I was on the Book Arts course. In the last 12 Q: Has meeting potential purchasers or collectors
months I’ve only made one. I’m in the process of given you any opportunities you may not have had
re-editing these books so that I can show them to otherwise, such as exhibitions etc.?
some people.
Yes, I think you start to see familiar faces here
I am interested in the act of making books and there after you’ve gone a couple of times,
itself and how these activities relate to people as and connections build up gradually. This could
makers and viewers. When I make my own work, always lead to potential opportunities at some
a lot of the times it’s about perception, expression, point in the future.
and the process of making books that one might
possibly go through. My priorities are now to Pricing
encourage and engage people to make books.
My partner and I have set up a name for our I always make open editions except the ones I no
activities Sohon Studio. longer want to produce. Usually I make them in

51
an edition of from 20 to 30, and when they run out maker plugging away in my shed at home which
I make extra editions. I’ve never made one-of-a- Sasha Grishin described as being a relic of the
kind works. past.

I always make decisions on the format according I started doing honours part-time in 2006.
to the content. I always try to keep the price as low My project is to create a series of collaborative
as possible. If it’s something that can’t be artists’ books about migration. My supervisor is a
produced often because of technical problems, printmaker and now I seem to inhabit some
I have to put the price up, but not much. I would strange in-between space, I’m no longer affiliated
also compare with the prices of commercial books with the sculpture studio and not a printmaker
as well, but my prices are usually based on the either. When I applied for a place in my under-
cost of materials. grad course I was told that these categories were
just arbitrary and art-making is no longer medium
I am considering approaching public institutions specific. Unfortunately this ideal is at odds with
such as universities in Japan, but I haven’t quite things like administration and occupational health
found out how I could do this as they have and safety so this bright new day has yet to come.
different systems from the ones in the UK. I would
like to see more book distributing internationally. There is some conjecture that centring artists’
books production around universities will affect
what is produced and of course it probably
Book Artist Case Study XIV will, but it remains to be seen whether this is a
Lorelei Kampe negative or positive thing. It is also contested that
Lagoon Grass, NSW, Australia the making of art and arts research in a university
[email protected] context are different. Perhaps this is so, but part of
this is probably related to art courses moving into
I started making books when I was in school but universities sometime in the last three decades
I’d never heard of Artists’ Books (with capital and feeling the need to validate research in the
letters) until an undergraduate in a Bachelor of artistic field against the long history of scientific
Visual Arts at Southern Cross in Lismore, where research especially in the race for funding.
I graduated in 2003. I first started exhibiting my
books in 2002. I was a bit of a dark horse - I made In my opinion the difference between my
books in the sculpture studio. The only stipulation artwork before and after university can mainly be
my lecturer put on me was that he couldn’t mark attributed to being less informed and integrated
reading the book as a performance, only the book in an arts community. Now I can’t really separate
itself as final outcome of the project. This wasn’t a what I do as research versus making and since
problem as when I presented my work at the end reading Csikszentmihalyis’ Research in Education,
of each semester I would make sure all the other I think both experiences are related to his theory
students handled and ‘read’ the books as I was of ‘flow’ and what we are doing in art-based
talking about them. Being in the sculpture studio research is creating entirely new but equally
meant that if I ever have to execute an artist’s book valid research models.
in bronze I have an advantage but I know very
little about aquatints. I also know that there are a lot of vibrant book art
communities out there centred around galleries
In terms of the theoretical underpinnings of my and events like Artspace Mackay’s Artist’s Book
work I did the same theory classes as every one Forum and Noosa Regional Gallery’s Books
else and I found a lot of information in the library Exhibition. These have lots of book-based skills
on databases and in journals about artists’ books. workshops available. Having attended these
I also went to the technical staff in the print studio classes, I can say they are filled with techniques,
a few times about different things and they were enthusiasm, ideas - and great people!
really happy to help. There’s also heaps of stuff on
the Internet which can be really inspiring. Obviously the divide between these classes and
Seeing other peoples work is very important to university teaching is between teaching the ‘how
the learning process and I was fortunate to get and why’ of things transmitted by imitation and
permission to go through the university’s teaching the cultural role of art and critical
collection in the Manning Clark Room which has thinking about what we do in a larger context.
some amazing books. Of course there’s probably I’m sure we don’t need a university degree to
heaps more now with the annual acquisitive book work that out, and perhaps some people who have
prize. This is a great incentive; the students can one may have missed it. That being said, this issue
see books from all over the country, and the world is more about personal goals, motivations and
and enter some of their own. ideals than where or how you learn about making
art. Also a certain amount of self-understanding,
Probably the main problem with not coming someone who understands their own art-making
through the print studio is that (in Australia and process will be better enabled to transmit, inform
America at least) all the artist’s book goings on or in fact learn. As to how to facilitate this self-
are attached to print studios. However indications understanding, well, I think determination and a
are that this is changing. Which is great because at passion for artists’ books is likely to lead us all a
times I can feel a bit like the loner artist’s book long way.

52
I have made 15 editions of artists’ books so far, collections or collectors and approached galleries
but now have 10 on the go, with only two finished! not interested in this sort of work. I did have
I have just been making under my own name success though with the Caloundra Regional
as it’s free to register but when I am more Gallery, I have an exhibition there this October
established I will probably use an imprint. 2007 with a friend from univeristy.
I also work part-time on our farm, we have a
variety of things, stonefruit and citrus orchards, There isn’t the sort of book infrastructure yet in
citrus nursery, about 50 cows, and also we’re Australia that there is in the US and Europe,
putting in pecans. So that is our main source of although getting on the book list-serve was an
income, although I do get a lot of time to work on excellent resource. So I’ve had to develop my own
books because of the seasonal and cyclic nature big picture and using this publication Creative
of farm work as opposed to Mon-Fri, 9-5. Production and Marketing this has developed into
a huge world take-over bid! I have encountered a
Production lot of interest in the work and I have met a lot of
people who say it is perfect for gallery shops.
For the pages of my books I mainly use a I have applied to a lot of gallery shops and similar
bubblejet printer, collage techniques, woodcuts, outlets but I can’t seem to get them to take the
drawings, rubber stamps or some creative work even on trial. In 2004 I put my teabag books
photocopying or combinations of these. I use in the memento competition which is funded by
found printed matter, paper I’ve made or bought Queensland Tourism and they told me they would
or even unusual materials like soap on facecloths. be better off at an artist’s book exhibition. And yet
I’m really interested in the structures of books I have sold many books as souvenirs since. I guess
folding, sewing, layering windows, how 3D they ignorance mainly is the most difficult part, people
can become. are too set in their ways to try something new or
even see things differently, so the first step is to
realise that if you want to try new markets you
have to educate them first!

I’m hoping to attend my first artist’s book fair in

Brisbane this year. I have attended Art on a Sunday
at Bangalow markets since October 2005. I am the
only one there selling artists’ books and most of
the people I meet have never heard of them,
although the proportion of those who have is
getting larger. Most of the market goers are
holiday makers. My tea-bag books are particularly
popular because they are light weight and easily
A Time for Tea and Militancy Lorelei Kampe, 2007 posted or tucked in the suitcase, perfect for gifts
or souvenirs. I have sold teabags for people to
The subjects of my books are diverse but I could send or take all around Australia, Europe and
probably connect them with Marshall Weber’s America.
description of Booklyn’s Found in Translation
exhibition which “examines our struggle to I also sell a few books to high school art teachers
transform human experience, perception, as examples to show students. There are also a few
and thought into acts and materials of art collectors out there who are game enough to
communication”. So in essence my books are invest in something a little different and people
about how we give meaning to our lives, and of looking for unusual gifts to buy their loved ones.
course everybody does this differently and I find as time goes on and I get better at talking
through a great variety of ways. So the potential about the work the number of sales are increasing,
here is limitless, but my works often involve the so yes, personal interaction is very important.
quotidian, domestic, landscape, experience, As is touching, as a general rule people who don’t
mortality and the passage of time. The last of touch won’t buy! And a lot of people won’t touch
which is one of the great advantage of working unless you tell them they can.
in the book form because it so effectively
manipulates time. I find this an extremely positive experience, while
everyone likes to get money from selling things,
the feedback you get from this sort of interaction
Marketing is essential. Both for your own motivation and
interest and also because as an artist I am part
Well, at first the hard way, I did courses and of the community that forms my audience and
read a lot of publications on marketing and also my work should reflect this.
marketing artwork. Unfortunately I found it
difficult to apply all the marketing information to Pricing
my books. Questions like: ‘What was I selling?
Who was my audience?’ Were difficult to answer I do a mixture of unique works and smaller
and people with no experience in the area editions of 4-100. There are a number of things
couldn’t help either. I didn’t know about I take into account when pricing a work:

53
1. cost in time and money - if I intend to produce
a larger edition, this may offset a book that was
expensive or time consuming to put together.

2. how ‘I could go home and do one just like it

myself’ it is.

3. how important it is in my development

That said I'm still not sure if I’m pricing my work

right.
Casa Milà Laura Russell, 2006
Any advice that would have helped
Production
So many things, but perhaps I wasn’t listening or
looking in the right places.You need to constantly “I have explored many forms of book arts since
educate people about the work, if you can get it I started. I’ve done painted books, collage books
down to a one-liner it’s less painful for everyone and even fine bindings. Most prevalent have been
“Artists’ books are just works of art realised in books using my own photography. This has been
book form.” Then show them examples and let especially fun since I’ve been taking photos
them come to their own conclusions. since I was about 13 years old. For the last two
or three years, almost all of my books have been
photographic artists’ books. I take photos of
language in the environment and use them in my
artists’ books - things like graffiti, brick wall ghost
signs, neon signs and any other kind of lettering
in the landscape. I started out making mostly
unique books, but for the last two years or so
almost all of my books have been editions of 5
Book Artist Case Study XV to 200 copies.”
Laura Russell, Simply Books Ltd
Portland, Oregon, USA
Marketing
Laura’s new art gallery, 23Sandy is at
www.23Sandy.com Russell has two main difficulties with marketing:
“first, convincing people that the book arts are
Laura’s artists’ books and events schedule: really ‘art’, and second, explaining what the heck
www.laurarussell.net an artist’s book is. I’ve often tried to sell to more
traditional art venues, such as art galleries, which
Find out about book arts events in the Pacific makes the job of explaining and educating very
Northwest by joining the NWBookArtsList at: important. At least when you sell a painting,
www.groups.yahoo.com/group/NWBookArtsList people know what do with it!”

In 2005 Russell exhibited her work at the following

“I was first exposed to the book arts in 1996 and book fairs:“In 2004, I had tables at Book Fest in
have been hooked ever since. I have published New York, the Seattle Antiquarian and Artist’s Book
14 editions since I started and 16 one-of-a-kind Fair and at Pyramid Atlantic. I also did two small,
artist books, with four new, editioned books in the fair-type events at bookstores this year. I do make
last year. I call myself Simply Books, Ltd. However, sales at these fairs, but it’s usually not enough to
I may need to change that at some point. It seems go home with a tidy profit. But fairs are the best
that there is a new U.S. bookstore chain that has way to get exposure for my work. I’ve made many,
stolen my name! Since I found this out I have many contacts at these events to the point where
been trying to promote my own name instead of I now consider fairs to be not a money-making
the press name. I’m thinking that if I try to create event, but a networking event. At this early stage
a brand of “myself” it might be easier for people of my career the networking and exposure is more
to remember.” important than money.”

“I find selling at book fairs a very positive

Q. Is this your main source of income? experience. If nothing else I love listening to the
“No. Unfortunately I don’t quite make enough viewers’ comments about how much they love my
money to support myself yet. I make just enough work. And I love just standing back and watching
to support my habit! My supplies, travel and their reactions to my work. I view this as validation
business expenses are covered, just not much that my work is good and that is important.
profit. I am lucky to have a husband who is It’s hard to get that validation when you work
supportive both financially and artistically.” alone. I tend to get a little too isolated in my
studio and it is nice to get out and be praised.
That networking and validation would be harder

54
to come by if I sold only through an intermediary. then. Now I always find out what a collection is
I like meeting the customer and chatting about interested in before I approach them at all.”
my work. In addition, I do sell through
intermediaries.” “I send out postcards or prospectuses about new
books and on occasions I send out a “newsletter”
“Meeting the people who purchase my works to tell my collectors what’s new. I would like to
sustains my desire to keep going down the path learn how to connect with more private collectors
I am on. However, I do find myself making simpler, outside of the book fair environment. And, I wish
less expensive books because they sell faster at there were more opportunities to show books in
fairs than the more complex and expensive books. art galleries or other fine art situations. The book
It feels a bit like I am giving in to my customers in arts need more exposure in the traditional art
that way. If I like making complex expensive world. Given that the special collections market is
books, then that’s what I should do. But it’s hard to limited, we've got to expand our base of potential
always do your own thing when you want to make customers by getting out into new and untried
some money!” venues, and reaching new people and turning
them on to book arts.”
“Advice about how to price my work would have
been helpful when I first started out. That is such a [Laura Russell wrote a useful article on Marketing
vital part of successful marketing and an area that 101 for Book Artists in The Crafts Report Journal,
gets very little attention, perhaps because it is so USA September 2005, pp 38-39.
difficult! For marketing advice I mainly asked www.craftsreport.com www.laurarussell.net]
other book artists what they do. When I first
started out, I paid close attention to marketing-
related banter on list serves and I also looked at
other artists’ websites. Their CVs and artist
statements gave me lots of ideas about
marketing.” Book Artist Case Study XVI
Wendy Lockwood, Dewsbury, UK

Wendy Lockwood graduated in 2004, and has

been making artists' books for 5 years. She uses
her own PC, with programmes such as Illustrator™
and Photoshop™ and an ink jet printer to print
out her own publications. Lockwood also makes
sculptural, altered books from paperback novels.

Urban Decay Laura Russell, 2006

On approaching collections
Russell has initiated contacts by letter and phone.
“My in-person contacts have been the most
successful of all. I try to visit collections
whenever I travel and for some reason I get much
better sales when they can see and touch my
work. Letter contacts have been okay, but I find
that I have to follow up each mailing with a phone
Füssli Reassembled Wendy Lockwood, 2007
call. Even if the collection knows me and collects
my work they still need a nudge to make the sale.”
Production and Marketing
“The first collection I ever approached was the
Museum of Modern Art in New York. I was in New Lockwood attended one artist’s book fair in 2005,
York to visit family and made the rounds to several at Dean Clough Galleries, Halifax. She has also
collections during that trip. MOMA was my first sent out promotional material on her books, which
target and my first sale and it was just sheer luck. has resulted in the offer of an exhibition. Her main
I knew nothing about their collection or interests, sources of ideas for marketing her work have
which was very embarrassing. I just kept phoning been through the Artist’s Book Yearbook and the
the special collections department until I got a live BALTIC exhibition catalogue. Lockwood studied
person and not an answering machine. It took me marketing and business modules as part of her
about two weeks of calling almost every day to degree in fine art, but feels that students have to
finally get through. Luckily the person who finally know how to promote themselves. She has tried to
answered was a curator for the collection and I formulate a pricing structure for her books, which
was able to set up an appointment with her right are mostly unique, but having broken down her

55
costs and then added an estimate for personal 100 books in 100 days; 100 unique works made
time at 10.00 an hour, the prices became far too over a 100-day period. My most recent work
high. She has since thought that that this system of has explored themes such as lost love, liberation,
including her time resulted in unrealistic prices. salvaged letters, solitude, proverbs, dementia and
diaries made in editions of up to forty-two and
Lockwood has not approached any collections sold through book fairs, exhibitions as well as
yet but has received some contact as a result of privately. I have sometimes worked to commission
showing her work. She participated in the UWE for clients or stockists to produce bespoke pieces.
Regenerator altered book project this May, 2007
see: www.bookarts.uwe.ac.uk/regen/wlock1.htm
for images of her book. Production and Marketing

The most difficult aspect of marketing work for

me has been publicising new works when they are
ready for launching, and finding the opportunity
to send out the information to the relevant people.
Book Artist Case Study XVII
Lucy May Schofield, Manchester, UK From May 2005 - May 2007 I have attended the
www.lucymayschofield.co.uk following book fairs as part of the Cat’s Me-Ow
Press, or the Righton Press:
Small Publishers Fair, Oct 2005
LAB at the ICA, Nov 2005
Halifax Artist’s Book Fair, March 2006
1st Manchester Artist’s Book Fair, September 2006
LAB, Nov 2006
Leeds Contemporary Artist’s Book Fair, March 07
BABE: Bristol Artist’s Book Event, April 2007

I have also marketed my books at trade fairs and

craft fairs in London, including Pulse at Earls Court
and Origin at Somerset House. These shows have
been used to launch larger editions of books
attracting international retailers and gallery
shops.
Old Times are Sweetest, Old Times are Surest
Lucy May Schofield, 2007 I find that book fairs and personal interaction
and contact with potential purchasers is definitely
the best way to sell my work; no-one can talk
I graduated from the London College of Printing’s about your work and engage with people better
[now the London College of Communication] BA than you. I feel that the experience increases my
Hons Book Arts and Crafts degree course in 2002 confidence and helps me to understand more
and have been making and selling artists’ books about what I’m doing.
since then.
I would rather sell my work myself because I know
I have published over 20 editions since 2000, it’s is a great opportunity to be able to talk about
with four new editions made in the last 12 months the work to collectors and buyers without relying
alongside some one-off pieces. I am part of the on someone else in a shop or gallery, who may not
‘Righton Press’ formed of staff members within do the work justice.
the Faculty of Art and Design at the Manchester
Metropolitan University, where I have been part Meeting the people who buy the work has
of the Arts Council's ‘Setting Up Scheme’ Artist in influenced me in some ways. I take on board
Residence since 2005. We use the press as a comments and observations made about pieces,
means to exhibit and collaborate, discuss and and have gauged an insight into the types of
feedback on the work we are making. work people respond to and the language used.
I find the first hand feedback very valuable and
My larger editions are produced in print runs a constant exchange is provided. People have
of up to 1000, and are stocked nationally and exchanged stories, memories, poems,
internationally in shops and galleries, with my experiences and recipes in the past.
more limited editions shown at artist’s book fairs
and exhibitions. Selling books and running book Meeting potential purchasers and collectors at
making workshops are my main sources of book fairs and events has given me some good
income. opportunities including: exhibitions at the
Bluecoat, Liverpool, RBSA, Birmingham, V&A and
Since 2005, I have produced a second print run the Crafts Council Gallery shop in London. These
of seven editions of 1000 miniature books based were all the result of meeting and talking to the
on the themes of romance and unrequited love. organisers or curators at events and exhibitions
The works stem from my first edition of books; I have taken part in.

56
 handmade, unique or small editioned book forms
with handwriting, painting, collage, photography
or installation and site specific performance work
using literature. Both practices focus on political,
ecological and linguistic subject matter and often
integrate the three.”

Weber is also the directing curator and artists

representative of Booklyn and is one of the
experts in the field of recent contemporary
handmade and printed artists’ books
internationally.

Roadkill Lucy May Schofield, 2006

I am always looking out for ways to market

my work. I have a great network of friends and
colleagues who are other artists and makers.
I get valuable feedback and advice from them
regarding selling work. I always appreciate that
people I meet could be potential buyers, or help
to spread the word about what I do.

My basic pricing structures always take into Bedtime for Bremer Marshall Weber and Fred Rinne, 2006
account the market I am aiming at, and the price
of the editions in relation to the edition size.
Each edition is priced according to the cost of Marketing
the materials, printing method, production time,
and methods used. I also take into account the Weber’s main difficulties with marketing are that
target audience and the outlets where the work “Collections do not collect comprehensively or
will be stocked. consistently; internalised self-censorship can limit
the collecting of radical, political or sexual subject
Initially I contacted as many collections as matter.”
possible to gauge the interest in the type of
work I make. I don’t tend to keep collections He has attended four book fairs/events in the last
up to date about my work through the post 12 months: Frankfurt Bookfair, Pyramid Atlantic,
as I attend many book fairs where I hope the and the Codex Foundation Conference. He does
work will be discovered. I do send private view not make the majority of his sales through book
invitations for my own exhibitions to both private fairs “Sometimes it can be positive but noise,
and institutional collectors and have had sales as the distractions of other vendors and competing
a result of this. events make it a poor situation for serious sales.
The academic standards of the conference circuit
T: +44 (0) 7775 762230 need to seriously be raised, there is an urgent
E: [email protected] need for attention to work of the 21st Century
W: lucymayschofield.co.uk and the inviting of younger artists and writers
into the conference circuit. This is especially
crucial in the USA.”

He feels that meeting the people who purchase

Book Artist Case Study XVIII his work can sometimes influence his production
Marshall Weber, Booklyn, New York, USA as he enjoys discussing the work with potential
www.booklyn.org purchasers. “Yes, I expect engaging intellectual
www.home.earthlink.net/~organicexpressionism and aesthetic dialogue from collectors and
curators, my artmaking is a social thing - astute,
Marshall Weber has been making artists’ books sincere and informed criticism will always be
for 30 years and has published 46 editions, with taken to heart by me, especially from collectors
10 produced in the last 12 months. He publishes and curators I trust. This may not always directly
under his own name and with Organik an artists affect my work but it can influence it, especially
collaborative group formed with Christopher when I agree with the critique or observation.
Wilde and Kurt Allerslev, this is his main source Of course I ignore a lot of inane comments as
of income. well….”

His works are half unique, half small editions His advice on finding ways of marketing is
“Multi - and interdisciplinary, often involving “research, networking and socialising. Internet

57
expertise and subtle interrogation skills are that private collectors supported new work
necessary, always ask for referrals.” [See page by living artists? Take a lesson from the
25 for how Weber works out his price structures] contemporary artworld you hesitant bibliophiles;
get in now or pay dearly later.”
Weber has approached collections by many
means and his contacts are usually successful. “So it’s two years later [since the first issue of this
He always makes sure he knows about the publication] and things have got a tad better,
collection and has a contact name before many libraries are now asking me to present or
approaching them, but has had some unsuccessful consult on how to modernise their Art, Special
experiences when: “they did not personally want Collections and Rare Book collecting policies.
the work, they could not afford the work, the work In general I am seeing a quick move away
was not appropriate for their collection, they had from institutional collecting of traditional and
had a bad day that day, they were pissed at me for conventional fine letter press books and a
dissing them in the past, someone else sold them vigorous focus on collecting handpainted,
the work before I got there, I was too pushy, I was collaged and digitally printed books by younger
not pushy enough, their Saturn was rising in their artist more associated with studio and gallery
retrograde moon house, somebody told them practice than a press name or publishing imprint.”
I was a creep, the work fell apart in their hands,
there was a fire in the library- (this really “It’s as if the fine press Soviet Union of Standing
happened!)”. Order Presspublics has finally fragmented into
new republics of Epsonstan, Hybridstan, Digistan,
Q. Are there any other aspects of marketing your Popstan, Photostan, Collagistan, Multimediastan,
own work that you would like to improve upon or Antiwaristan, Sexanddrugand rockandrollistan
know more about. Are there any opportunities you and many others.”
think should be more available, or any issues you
would like to address as part of this survey?

“Yes. I wish people would tell their collectors and

subscribers that there are about four thousand
new book artists who are doing really interesting Book Artist Case Study XIX
and vital work that has nothing to do with Imi Maufe, Norway/England
reprinting the Bible and dead peoples’ poetry www.axisweb.org/artist/imimaufe
in fine press editions.”
Imi Maufe has been making books since 1998,
“And sorry to be very eighties and all but where she graduated from UWE with an MA in
are all the people of colour and the queers and Printmaking in 2004. Since then she has been
the South Americans and Africans and Middle making editions, both by herself and as part of
Eastern and Asian book artists in the field? funded artists’ residencies in the UK. Books are
Which is not to say there is no diversity in the not her main source of income. She has made12
field there are some completely brilliant editions, with none produced since 2005 as she
examples of diversity but its not enough, the has been teaching and exhibiting.
level of diversity does not reflect the culture and
certainly doesn't reflect the population (at least
in the USA)! I notice that recently this is improving Production
as collections become more attentive to global
cultures and multi-lingual concerns. “I make artists’ books often as a way to convey
my experience of specific journeys or incidents
Why are 90% of the librarians I meet white and to the outside world, most of my artists’ books
why are 75% women until you get to the real high are an exploration into how you can translate
positions when 90% are men? that experience onto paper to the reader.”

Why do 90% of the conferences have the same

speakers - taking about the same tired subjects? Marketing

Why is there no international Artists Book Pricing structures: “my loose structure is to think
Organisation? of an edition of say 30 books at £30 each is a total
of £900 for a body of work. This sounds reasonable
Where are the poets!!??? until you think of a print, at say 30 prints at around
£100 each would be £3000. I think artists’ books
Why are 90% of Artist’s Book exhibits survey are generally undervalued, for the amount of time
shows?” that goes into producing them, compared to a
print.” As her editions start to sell out, she will
“Okay now its time for the private collectors and increase the price of the few remaining copies.
museums to step up and support 21st Century
artists’ books. Now that most Modernist artist Maufe has shown her work at four+ artist’s book
publications have been to the auction block and fairs in the last 12 months as part of a group and
back about a hundred times, isn’t it about time has show them at a design fair in Bergen, Norway.

58
 Book Artist Case Study XX
Mette-Sofie D. Ambeck
Herlev/Hovsor, Denmark
www.ambeck.mdd.dk
[email protected]

Mette Ambeck has been producing her own

editions since 2000, when she graduated from an
MA in Communication Design, with her main body
of work being artists’ books. She has made eight
editions since then, two being in the past year.
She has also produced two book-installations and
several unique books since. She publishes under
her own name and since 2006 also Robo-Girl
Production. This is not her main source of income.
Greetings from Norway Imi Maufe, 2004

Her books are mainly small editions and unique

The majority of her sales are through these fairs, book works. “I experiment with formats, from
which she feels are a very positive experience traditional binding to more sculptural approaches,
“often you don’t get to see artists face-to-face, using hand-cut illustrations and typography.”
or peoples’ responses to your work” which book
fairs provide an opportunity for.

Book arts is something she fell into by chance,

and she sees it as another medium to work with.
She benefited from “a fantastic 3 month elective
in Book Arts at Louisiana State University, USA,
run by Lesley Koptcho” which inspired her to
make work in the book format.

Maufe prefers to sell her own work at book fairs

rather than through a dealer as she enjoys buying
from other artists at these events as it feels more
personal, and would like to think that works both
ways. She feels strongly that artist’s book fairs are
the most positive from of promotion for the book
arts, that they provide a good means of telling the
public about the world of book art.

“My book works are often exhibited in group

exhibitions specifically for Book arts, such as
Inkubator, Edinburgh Printmakers Gallery, Money one of 11 unique cogs from the book-installation:
curated by David Faithfull 2007; Sitting Room, Cogs - a book in the Machine Mette-Sofie D. Ambeck, 2006

Manchester Crafts Centre curated by Tom

Sowden and Lucy May Schofield and 50
Concertinas, at Winchester School of Art Library. Production and Marketing
These exhibitions provide a really good way Ambeck would like to know more about the “how,
of getting your work seen by a greater who and where” of marketing her books. In the
ordinance without having to be constantly last 12 months she has shown her work at the
making big bodies of work. This lets me have following five book fairs:
work in exhibitions whilst continuing with
other art projects that allow me to live as an BABE: Bristol Artists Book Event, Arnolfini, 2007
artist such as residencies and commissions. 10th International Contemporary Artist's Book Fair,
Leeds
I also take part in projects that have book themes London Artist’s Book Fair (LAB 06), ICA, London
such as UWE’s Regenerator altered books project Small Publishers Fair 2006, Conway Hall, London
[www.bookarts.uwe.ac.uk/regen/maufe1.htm] 1st Manchester Artist’s Book Fair, Holden Gallery,
and often incorporate book art and book skills Manchester
into projects and residencies that involve schools
and other members of the public.” Ambeck has also partaken in six different group
exhibitions in Finland, Australia and the UK.
Maufe now has her book works represented
by Bertram Rota, Covent Garden, London. Ambeck finds book fairs and personal interaction
with potential purchasers enjoyable, although she
is not sure if it is the best way to sell her work:
“but it is a nice way, and I also think it is important

59
for some people to see and speak to the artist. Book Artist Case Study XXI
I do find the personal interaction a positive Andrew Morrison, Gloucester, UK
experience and valuable too, though at times it [email protected]
can be exhausting” [when you are exhibiting
alone on your own stand].
“I have been creating/marketing work since
Q. Do you feel that meeting the people who 1981 but for many years bookarts were only a
purchase your work influences your creative small part of my output. I have published 30
production in any way? editions in total, under my own imprint Two
Wood Press, with 3 made in the last12 months.”
“Yes and no. By facing people and observing them
and what they buy, my work does get directed Q: Is this your main source of income?
towards what sells, but I also keep making pieces
I just feel I have to make. Also if people give me No but it is integral to what I do - All my work is
valid criticism, I do take it into consideration.” Art and Design related: I wouldn’t be asked to
print for others, design, lecture, exhibit, run
Helpful advice when she first started out would workshops etc. if it wasn’t for the books/prints.
have been “knowing more about how and who to
market the work to, and that you have to make Q: Please give a brief description of your artwork
contact with the collections yourself.” to date: Mostly, but not exclusively letterpress and
She has since found out more ways to market relief printed small editions. I try to make work
her work through networking and experience. with strong narrative content. I like evidence of
hand making.
Her pricing structure is mainly based on the cost
of materials (her work is very intricately made) Marketing
and she feels it would be unrealistic to cost the
whole time spent making each piece. “I estimate Q:What do you feel the most difficult aspect of
what I think people may be willing to pay for marketing your work has been?
them, based on what I have seen others price
their books at, and what I think is a reasonable Finding an audience for work that is neither
price. I then take it to a book fair and test it. If it is fine printing nor zine; there seems to be an
sells really well, I put the price up next time, until established market for both but the ground
I don’t feel comfortable putting it any higher.” in between is less well defined and peoples’
expectation of the cost of work varies enormously.
“To be honest I find it very difficult and at times
frustrating. Because it is a book and not a painting, I find out about ways to market my work mainly
it is hard to set a price that even roughly equates through other printmakers, bookartists and
to the amount of work that goes into it. Books over printers. “I have found a genuine generosity
£100, I find, take forever to sell. I make a cheaper amongst others working in the field, where
range of books too, ranging at about £20 - 40, just people are willing to share contacts and
to be sure to sell something - even though I know potential markets.” Morrison has attended the
it is generally too cheap; it is just no fun to be at following artist’s book fairs in the last 12 months:
fair and not sell anything.” LAB, ICA, Manchester, Leeds University, (also
some printers’ fairs such as the Woodstock
Ambeck has sold her work to collections through Wayzgoose).
contacts passed on to her. “Having found out that
I need to make contact with collections and Q: Do you find that book fairs and personal
collectors, I intend to do that more in the future interaction with potential purchasers are the
and generally try and be more active about best way to sell your work?
marketing myself.”
Personal interaction definitely - people are more
Since the first survey in 2005 her work has likely to buy if they know something of the book’s
gone into at least 10 more public collections history and making process. Book fairs are good
both internationally (USA, Australia and Norway) for selling relatively inexpensive books. Generally
and in the UK. people are curious, sometimes persuadable.

Ambeck has also had her work featured in books, Q: Do you feel that meeting the people who
magazines and online. In September 2006 there purchase your work influences your creative
was a longer interview with Mette Ambeck in production in any way?
the American based Umbrella Online magazine
and she wrote the article; Paper Vikings,Virtually - Not in terms of ideas but perhaps, sometimes,
Scandinavian Artists’ Books for the Artist’s Book in terms of size of edition, size of work and
Yearbook 2006-2007. production methods- I make smaller works
than I otherwise would because I like to have
‘affordable’ books on stands/exhibitions
alongside the ‘collectors’ books.

60
 Book Artist Case Study XXII
Mike Nicholson, Ensixteen editions
London, UK

Mr. Nicholson is a London-based, Westmorland-

born artist and writer.

After his 1985 graduation from St. Martin’s School

of Art, as an illustrator, he has enjoyed a varied
creative career including film and television work
as a storyboard artist and a parallel profile as a
visiting tutor at a variety of FE and HE courses
Edge Andrew Morrison, 2007
around the UK. He has been a Senior Lecturer with
the Graphics BA (Hons) course at the University
College for the Creative Arts, Epsom, since 2004.
Q: Has meeting potential purchasers or collectors
Meanwhile, his one-man imprint Ensixteen
given you any opportunities you may not have had
Editions has released image and text editions
otherwise, such as exhibitions etc.?
that use ‘comic strip’ narrative conventions,
amongst others, in their hybrid mix of pop-
Yes, exhibitions, further fairs, stocking of work in
culture references, social comment, bad gags,
bookshops and print work.
word-play and free-association. Editions have
always featured Nicholson’s alter-ego, Ron, but
Q: Is there any advice you feel would have really
more recently the artist himself has appeared in
helped you when you first started out?
the newer bio auto graphic sequence of issues.
There have been over twenty editions to date,
Make the work that you want to make and try
four in the last year.
and sell it on your own terms - its easy to find
yourself making work in response to others’
Production and Marketing
ideas for exhibitions, shops, competitions and
commissions and loose sight of your real reason
Since the London Artist’s Book Fair in 2000,
for making work. (This is very abstract advice
Nicholson and partner Mette Ambeck have built
and I wouldn’t have listened).
profiles for themselves and their work, though
certainly with no initial strategy.
Q: Have you formulated your own pricing
structure for your editions?
Having created work for distant audiences
(magazine readerships for instance) the
Production time, size and nominal value of
immediacy of meeting and greeting potential
materials/processes used are still the major
buyers at fairs was, and remains, a refreshing
guidelines. I value my hand-printed books over
change for Nicholson.
my digitally printed books and the prices reflect
this, I price smaller editions more highly than
The creative process itself still takes place
longer runs but I am increasingly aware that these
alongside Nicholson’s other career(s), indeed
are traditional printmaking considerations and not
follows the pattern of any of his other creative
necessarily major factors for the buying public.
activity, beginning in sketchbooks and developing
from notes and scraps of text into pictures. For the
Q: Have you directly approached collections to
editions he produces for this fresh endeavour,
sell your own work by Letter? Yes (I still like to
added considerations such as narrative pacing
send physical imagery - harder to delete)
and page-to-page composition are layered in, as
Phone? Yes Email? Yes In Person? No
ideas tighten up and final sketches take shape in
pencil. As the artwork is inked up, the final details
Q: Was your contact successful?
of dialogue or descriptive text are also finalised.
In some cases a direct approach has been
His means of production for Ensixteen material
successful. Unsuccessful attempts were due to not
remains for the moment low-tech and simple,
knowing about the nature of the collections, the
both out of economic practicality and aesthetic
type of works they purchase and their specialist
inclination. Basic reprographic printing is done
leanings. I knew the collections I approached had
locally, after hand-drawn artwork is reduced from
an interest in hand printing, and had a contact
A3 originals to A4, and editions are open, more
name. Anyone who has bought from me previously
copies being made as necessary.
is notified when a new edition is published.
However, while the means of production have
Q: Are there any other aspects of marketing your
remained roughly constant, the possibilities for
own work that you would like to improve or know
marketing the subsequent material have not.
more about, or are there any opportunities you
Though editions still sell regularly through the
think should be more available?
original outlet of the fairs (Nicholson and Ambeck
have exhibited at Manchester, London, Leeds
I would appreciate access to more information on
and Bristol in the last 12 months), complex and
the types of work, with images, and names of
interesting new channels have opened.
artists in collections before approaching them.

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 Book Artist Case Study XXIII
Ral Veroni, Argentina
www.indeprintent.com

Ral Veroni has been making artists’ books since

1985, he publishes under his own name and has
produced 19 books in total, with two made in the
last 12 months. This is not his main source of
income.

He produces both small and larger editions

“I usually combine in my work a social
engagement approach with poetics, a political
and personal critique and some sense of humour
to lighten the burden of drama. The artist’s book
works in some cases, as an extension or part of
public art projects.”

Production and Marketing

After the fairs there are now regular follow-on
approaches to buy additional copies, and, as Distribution is the most difficult aspect of
well as growing sales to significant institutional marketing his work; he would really like to find a
collections (MMU, Tate, V&A, Winchester School reliable distributor for his larger editions. He has
of Art and Smith College, Massachusetts). not been to any artist’s book fairs in the last year
but has shown at 3 or 4 through agents. He finds
Most recently, representatives from specialist that book fairs and personal interaction are the
outlets have placed orders for multiple issues best ways to sell his work but “I find that friendly
(including La Libreria in Singapore) and publicity intermediaries are better for selling my work than
through the Book Arts Newsletter has also led to myself.” He is happy to sell his work himself or
purchases by private collectors in the UK, USA, through a dealer.
Far East and elsewhere, and further invitations to
exhibit. More specifically commercial outlets He markets his own work “In Argentina: through
(the ‘Travelling Man’ chain of graphic novel street, second-hand book, market stalls and some
outlets included) are also now showing interest. specialised bookshops.” In Spain: “I also find that
(Nicholson would also like to note that since small bookshops are better than galleries. Some
2000 the inclusion of graphic illustrative work in local booksellers are easy to talk with. If I find
the artist’s book arena has certainly become much affinity and goodwill I leave my work with them.”
more commonplace, and multiple zines a regular In Britain: “specialist bookshops and galleries.”
feature, alongside more traditionally fine arts -
related material - older snobberies are fading.) “Having said this I find that the word ‘market’
is a bit misleading: I do not expect to make a
There has been a beneficial connectivity at work living with my books. I see them as my channel
as the years of involvement with artists’ books to communicate. Independent, movable,
events, institutions and people have continued. adaptable. They do not depend on venues,
Since the invitation to write an article for The cultural tendencies or indifferent art officials.
Artist’s Book Yearbook 2005-2007, Nicholson has They are an alternative to the lack of spaces,
sought out further writing opportunities which funding or workshops. A good option for
have added to his academic research profile as nomadic tendencies.”
well as his appreciation of the field as a whole.
He delivered a lecture on his varied practice and “It might take ten years but at the end I usually
philosophy, “I Walk The Line”at the invitation of sell out my editions. I think this probably covers
Herefordshire College of Art and Design, in March the whole cost of the edition, although I don’t
’07. evaluate it like an accountant. Some publishers
suggest putting the RRP at 6 times the production
Through a typically ‘artists’ books’ chance cost of a book. If there is a distributor involved,
meeting, the Ensixteen agenda is soon to expand they take between 50 and 60% of the RRP. If you
across the Atlantic again (after his you nighted deal directly with some specialist bookshops,
states trilogy of 2005-6), as Nicholson collaborates they tend to take between 40 and 50%. Small
with Martin Antonetti, Curator of the Mortimer bookshops (not necessarily specialising in artists’
Rare Books Collection at Smith College, books) are more sympathetic and they tend to
Massachusetts. The project, funded by the charge 30% (more commonly in Spain).”
University for the Creative Arts, will result in
new narrative pieces released through the He has not approached any collections personally
usual outlets, as well as lectures and exhibitions, but some bookshops and workshops that have his
beginning with The Unfinished Line at UWE in work, have done this successfully.
October ’07.

62
 Meeting the people who purchase her work has
not influenced her creative production.
“Sometimes people say, “It would be nice if
you did x” and I do make a mental note; but then
I tend to go ahead and do what I was going to
do anyway.” Meeting purchasers or collectors
has given her some opportunities “I think it has
paved the way to various bits of work e.g. teaching
workshops, and yes, probably a few exhibitions.”

Q. Is there any advice you feel would have really

Veroni has recently curated a travelling show of helped you when you first started out?
works Artists and Bibliophiles: Books by father and
son, Raoul and Ral Veroni which was launched at “I don’t think I would have wasted my time
the 33rd International Book Fair, 16 April - 7 May, applying for any and all exhibitions - as time
La Rural, Buenos Aires, Argentina and will tour went on I became more picky about what I
Europe and the USA.You can view the exhibition would apply for and got to the stage where I only
online at http://www.AetB.com.ar applied for exhibitions which specifically referred
to wanting work with e.g. text, or a particular size,
or whatever. I applied for loads of exhibitions
where clearly in retrospect they were looking for
painting or installation art etc. and it was just a
waste of my time.”
Book Artist Case Study XXIV
Deb Rindl, Talk Sense Press, London, UK

Deb Rindl has been making editions for 11 years

and has published approx 20 since starting, with
one in the last 12 months. Rindl publishes under
her own imprint of Talk Sense Press. This is not
her main source of income.

“I make small editions (usually around 20 in an

edition, or anything between 5 and 100 - once
950) of ‘sculptural’ bookworks. Sometimes they
contain text but not always. Over the last few
years they have been printed mostly by computer,
but when possible I prefer to print letterpress. Capital Connections Deb Rindl, 2004
I also use some collage, monoprints and various
other media.” Rindl finds ways to market her work mostly
word of mouth. “But in the past I’ve used
Production and Marketing Artists’ Newsletter’s opportunities pages
which can be brilliant.”
“The hardest thing is to market and make work
at the same time! It's incredibly time-consuming Rindl has approached collections herself, usually
and I could easily spend all my spare time with success, although “sometimes it has been
marketing and never make any work. You really made clear that they do not collect my sort of
need a marketing person so you can get on with work and they are looking for e.g. fine press
the work yourself!” bookbinding/whatever”, she always has a contact
name. “The first collection I sold to was the
In the last 12 months Rindl has shown her work at Museum of the Book in The Netherlands, whose
Leeds Artist’s Book Fair and BABE, Bristol. She contact details were given to me by my tutor at
finds that book fairs and personal interaction are college. I didn't know a lot about them apart from
the best ways to sell her work. “When I was first the fact that they collected artists’ books.”
starting out I used to apply for exhibitions all the
time and although I had a good response and To keep collectors up to date with her work
ended up showing work all over the country and “I usually use my Christmas card as a good
also the USA, Japan and Europe, I hardly ever sell opportunity to send out an up to date brochure.
anything at exhibitions. The personal interaction If I was making more work I would do this more
is what creates the sales, even if not at that precise than once a year but as my production is currently
moment. The exception is one dealer in the USA to slow there is no need.”
whom I send work from time to time and he seems
to be able to sell it quite well. I do enjoy talking to “Of course I would like to sell more but at the
people about my work although sometimes it can moment am not in a position to put in the time and
feel like overload. I suppose in an ideal world it effort required. It would be good if there were
would be wonderful just to leave it to someone more small artist’s book fairs around the country,
else.” like Leeds or Oxford [bi-annual Fine Press Book

63
Fair] to reach the people who are in other areas.
They could be fairly cheap, like Leeds, rather than
a big investment, like the London Artist’s Book
Fair, to encourage people to book a stand.”

Book Artist Case Study XXV

Miriam Schaer, New York, USA
http://miriamschaer.NeoImages.net

Miriam Schaer makes unique books, she has

completed around“5 of various ‘densities’ -
from very simple to very complex” in the last
12 months.

“I took my first book class whilst in art school

(Philadelphia College of Art, now University of the
Arts) in 1977. There was no book arts programme
there at the time, as there is now. I moved to NYC
in 1978, found the Center for Book Arts in 1980,
and began taking classes. Addictions Kiss Miriam Schaer, 2006, 21, x 11 x 9, girdle, acrylic
silk, plastic doll arms, dressmaker pins, found objects.
“I make one of a kind, sculptural books from
clothing, and am beginning to make installations,
to place these pieces in context. I have also
started making small editions, from the books conservative part of New York; Wall Street, the
that I make as part of the larger sculpture, to financial area. It was an interesting opportunity
extend the audience for that work.” that cost me dearly in terms of time, but not
so much in terms of money (the tables were
“Last year I had my best year in terms of sales, subsidised and very inexpensive).”
nearly one-fifth of my income came from sales
of the editioned books as well as unique pieces. “In the book fairs, I have so far, covered my
The rest comes from teaching, lecturing and some expenses and then some, but it’s also a way to
design work. I am hoping to shift the balance in generate publicity and meet people who are
the next few years to derive more income from interested in artists’ books in general and my
the sale of my art.” work in particular.”

Marketing “I don’t see selling myself or through a dealer

as an either/or situation. I have the kind of
“Marketing is another matter, although I have personality where I think it is fun (for short
been steadily exhibiting since 1990 and by doing periods of time) so it’s not a problem. I like
that I have built an audience for my work. I have meeting people, showing my work and talking
also been fortunate to have had several articles about my work. But I am also working with a
written about my work in the past five years and dealer who is really travelling a lot and taking the
that has been great. All sales until the past two work around to a lot of places I wouldn’t be able
years' have been through friends and personal to get to, and, so far has been excellent. He is very
contacts. I did my first artist’s book fair in 2002 honourable and I can’t be everywhere. I also want
(Pyramid Atlantic), sharing a table with a large and need more time in the studio to actually work!
group of artists.” I think you have to have multiple outlets for the
work, and I would like to find a couple of other
Q:What do you feel the most difficult aspect of dealers in other countries and in other parts of
marketing your work has been? the USA.”

“Actually selling. Making appointments, and “I don’t feel that meeting the people who
selling the work. I have been very fortunate to purchase my work influences my creative
have work included in many exhibitions and production, if it did, I would stop making unique
received press which is also very important to pieces, but they are still what I like best. It’s been
marketing and building an audience.” interesting though, and perhaps through my own
experiences with printmaking and print
Schaer has attended three artist’s book fairs and exchanges, that I’ve pushed myself to expand
events in the last 12 months: “Bookfest, ARLIS, my work to include editions. I have realised that
and the Pyramid Atlantic Artist’s Book Fair. I also doing editioned work and unique work is not
did a general craft fair this Christmas and it was mutually exclusive and can work in hand in hand
a disaster - too many education people who to get my ‘vision’ out there.”
didn’t understand the work, also it was in a very

64
 I have an email list I send out for info on all
publications. I will make sales sheets for the new
editioned books and send them out to institutions
that have expressed an interest. One funny thing I
have found is that, especially for unique pieces,
making a box to house the work, makes it much
easier for institutions, universities, etc. to acquire
these sort of quirky unique one of a kind books.”

“I am coming to think the best way to sell books

is to get them into peoples’ hands in-person.
I have had responses to mail, and the catalogue -
and I think these are very important. But you have
to follow up and go see people, both at art fairs
Hands of Josephus Miriam Schaer, 2006, 10.5 x 4 x 15
and by appointments.”
altered text, beads.
Since 2005, I have continued to do sales and book
fairs, in addition to exhibitions and teaching.
“Everything you do to get out makes a difference Selling is still difficult, and I think the next
and creates opportunities. At first they are not hurdle for me will be to make more individual
readily apparent, they can become clear, but appointments to libraries to meet and show the
sometimes not. But yes, things happen if you put work. I reprinted my catalogue this spring and
yourself out there. I think the thing that is most was pleased to realise nearly 20 percent of the
important is to stay true to your vision and then books in the 2005 version were sold. The past
figure out where it fits in, I cannot make work with year at Pyramid, I more than covered my
a specific market in mind. I have to make work expenses, at ARLIS, I did not- but there was
that makes sense for me.” a lot of interest from many libraries, who may
purchase something in the future.
“It’s been a long process - but I am just starting
to figure out ways to market my work. There are I am still continuing to make unique books and
private collectors, but also there are university installation, as well as editioned books. However,
and institutional collections. I have had great one of my very complicated edtioned books is
feedback and advice from other artist friends in nearly sold out (one available copy from a very
the field (not that I have always listened to them).” small edition of 6) It was not an inexpensive
book, and it has encouraged me to begin two
Schaer has approached collections by any more complicated editoned books this coming
methods: “Last year, after doing the ARLIS fair year, to complement the other work.
(Art Librarians of North America), I made a
catalogue of my work, and sent it to everyone who I am also continuing to work with Bill and Vicky
has been interested in my work. Not every contact Stewart (Vamp and Tramp) and that continues to
is successful but, of the catalogue which I made in be a wonderful experience. I know that they go to
June (and reprinted in the fall) two of the small many places and my work is seen by librarians I
editions (selling for $100 and under) are now would not have the ability to connect with. I would
completely sold out, I sold one of the larger like to look into finding other artist’s book dealers,
editioned pieces (selling for $700) and two of especially in the UK and Europe.
the unique pieces, which both sold for $1000
and over. They sold both from me directly,
and through the dealer.”

“I think it takes a long time to generate

sales, especially of higher end items, and like Book Artist Case Study XXVI
everything, it is based on relationships, which Chris Taylor, Wild Pansy Press, Leeds, UK
take time to develop. For example, I showed my www.leeds.ac.uk/fine_art/people/staff/ct.html
work to a University with a very specific collection
focus, at the request of the collections librarian Chris Taylor has been making artists’ books,
who was interested in my work, in the fall of 2003. mostly in small to medium editions, for 14 years,
He saw me at an artist’s book fair in spring 2004 with four editions published in the last 12 months.
and that reminded him he wanted to acquire a He has his own imprint Wild Pansy Press, and also
book before he went on sabbatical. He did.” makes collaborative artists’ books and catalogues
with artists, galleries and institutions. He also
“I need to be better about this - doing research lectures in Fine Art at the University of Leeds and
and making cold calls - it terrifies me. I have is co-organiser (with John McDowall) of the annual
to date, approached institutions where I have a artist’s book fair, formerly at Dean Clough, Halifax
contact, and often they have replied and are and now at the University of Leeds.
interested in my work. It is one of my goals to
do more researching of institutions and make Chris Taylor and John McDowall co-curated the
more calls and sales appointments.” exhibition Special Collections this March (2007)

65
as part of the 10th anniversary celebrations of the For Tyson, the most difficult aspect of marketing
book fair. The exhibition included works selected is “finding enough people willing to buy.” He has
on the theme of Collections and Collecting, shown attended two artist’s book fairs in France in the
alongside selected works from the University's last12 months: Pays Pasage in St Yrieix-la-Perche
Brotherton Library collection. and Atelier Vis-à-vis in Marseille, and Leeds in the
UK. He prefers to sell through an intermediary, as
This was part of PAGE, an integrated project they are more objective about the work, but also
of lectures, public workshops and artists’ enjoys meeting potential purchasers.
commissions, which took place throughout
February and March 2007 in the University He finds out marketing strategies from other
Gallery. artists. He has sold work to collections through
contacting them, but not in person. He does
The most difficult aspect of marketing his work is keep them up to date with new works. He feels:
finding the time. He has co-organised, and shown “it would help if there were more serious artist’s
his work at the Artist’s Book Fair in the last12 book dealers willing to show and disseminate
months and finds this and personal interaction are information about books.”
the best ways to sell his work, although he would
prefer to sell through an intermediary “because Ian Tyson’s books were exhibited at Art Around
I hate selling - I’d rather give the books away.” Books Gallery, Brighton Press in San Diego,
California, this March-April. “The gallery
He finds ways to market his work through hosted A Continuous Reason an impressive
networking and feels the advice that would have selection of Ian Tyson’s books and prints, the
helped him when starting out, would be to focus elegant formalism of Tyson’s settings for
on North America. contemporary poetry lending a palpably spiritual
air to the gallery. Tyson also figured prominently
For production costs “a number of books have had in a concurrent exhibition of poet Jerome
ACE funding and been given away/exchanged as Rothenberg’s publications, many of them from
part of exhibition programmes.” He would like to Tetrad Press, nearby at the University of
see more available “information for graduates on California, San Diego, in the Geisel Library.
publishing, ISBNs, artist’s book fairs etc.” More on Brighton Press and the Art Around Books
Gallery at: www.ebrightonarts.com” (from report
by Steve Woodall in BAN No. 34)

Book Artist Case Study XXVII

Ian Tyson, ed.it
St Roman de Malegarde, France Book Artist Case Study XXVIII
‹usus› Uta Schneider and Ulrike Stoltz
Offenbach am Main, Germany
www.boatbook.de

Uta Schneider and Ulrike Stoltz have been making

artists’ books for over 20 years, collaborating
under the imprint Unica T from 1986-2001,
and as ‹usus› since 2001. Their work consists of
“bookworks, small editions and one-offs, all
printing techniques available to us (mainly
letterpress and digital) plus drawings,
installations (and music: Ulrike Stoltz).”
They each have additional careers in this field.

Production and Marketing

A Continuous Reason, a selection of Ian Tyson’s books and prints
at Art Around Books Gallery, Brighton Press, San Diego, The most difficult aspect of marketing is “Time!
California, USA, March 2007.
(the lack of!) and the necessity of having to do the
marketing: there are less and less dealers.”

Ian Tyson has been making and marketing They have not personally attended any artist’s
artists’ books for 37 years. He has produced book fairs in the last 12 months due to other
over 100 editions, with 3 made in the last 12 work commitments but their books have been
months. He publishes under his own imprint represented by galleries attending fairs. In the
ed.it (since 1995) and previously as Tetrad Press. past, they have attended: Mainzer Minipressen
He collaborates with writers and other artists, Messe; LAB; Pays Pasage, France; Editionale Köln;
including Julia Farrer under the Partworks imprint. Marché de la Poésie, Paris, France; International
His books are “geometric constructivism with a Frankfurt Book Fair; International Leipzig Book
hint of romantic minimalism.” Fair. They also showed books at BABE, Bristol.

66
They find book fairs and personal interaction the
best way to sell their work. “Selling through an
intermediary is good (because someone else is
speaking for you) - but it is also difficult (the
dealer shows books by other artists as well).
And some of the collectors/customers like to
be in contact with the artist (which can be
exhausting as well as satisfying!).”

Q. Has meeting potential purchasers or collectors

given you any opportunities you may not have had
otherwise? Leseboot/ Segelbuch reading boat / sailing book
Uta Schneider and Ulrike Stoltz <USUS>, 2002

“Yes,: the careers we have made in the book world

(Uta Schneider: managing director of Stiftung “We would like to know whether it is actually
Buchkunst; Ulrike Stoltz: professor for typography) possible to make a living just from artists’ books.
would not have been possible without our We doubt it. Most people we know make books
independent artwork. But these opportunities PLUS something else: like other art work, printing
never came directly: it was more due to the for other people, graphic design, teaching, taxi
phenomenon of getting known; and also driving, etc. or they have another type of income,
because we did not make any compromises like renting a house/apartment they own to
in our artwork.” someone else; or living from their husband’s
or wife’s income, or having inherited enough
On any advice that would have helped when they money from their parents... so it would be
first started out: “Well, 20 years ago making interesting to know.”
artists’ books, or starting to make them, was like
an expedition into an unknown territory! We went
to the International Frankfurt Book Fair with Trans-lation: Dem Möglichkeitssinn Fläche, Raum
the idea that someone would publish our books - und Stimme geben / Lending surface, space and
and had to learn that we would have to be our voice to the sense of possibility, a major exhibition
own publishers. That’s where we learned most of new works by <usus>, Uta Schneider and
(from customers and collectors as well as from Ulrike Stoltz, was shown at the Klingspor Museum,
colleagues).” Offenbach am Main, Germany, August 2007.
A bilingual catalogue (German/English) is
Pricing their work is “always very intuitive ... available, for more info email: [email protected]
when something sells fast, this could indicate For more information see:
that it is too “cheap”, but on the other hand: www.klingspor-museum.de
reducing the price of a work does not mean
it will sell any easier. It also depends on the Contemporary book art featuring the work of
country where you want to sell. members of the German artist group 13+, which
includes <usus>, (presented by the San Francisco
Also we don’t think that a book should be more Public Library’s Book Arts and Special Collections
expensive just because it is letterpress printed! Center, and the Goethe-Institute) is on show at
We strongly think that the price for a book should San Francisco Public Library, USA until14th
have something to do with the contents (being October 2007.
new and original, like any good art!) - and not
with the technique of printing.” See http://sfpl.org/news/exhibitions.htm and
www.13-plus.de for more information.
They approach collections by letter, phone or
email to make a date, then visit, which is usually
successful. “They don’t necessarily buy everything
we show, but most of the time they buy something.
The reason for not buying seems to be influenced
by the personal taste of the curator/librarian or by
the general direction of the collection (which we
do not always know before the meeting).”

They would like to keep collectors up to date with

information on new publications “but that kind
of work is another full time job, which we don’t
always find the time to do on top of everything
else. We think we have a good approach in
general and lots of ideas of what else we could
do - the main problem is time, time, time ...
marketing is a professional job that requires
special skills and a special attitude - both
different from those you have to have as an artist.”

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