Artists' Books Creative Production and Marketing
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
A guide for the book artist - in their role of producer, publisher and distributor of their own artwork, to discuss some of the practical issues arising from this. There is a more direct link between the artist and the buyer in the field of artists’ books than any other art discipline. Many book artists are unsure of the market potential of their work and this is particularly difficult when they are directly responsible for sales. \n \nWe have interviewed artists about producing and distributing their work, and the importance of artist’s book fairs and events for building relationships with purchasers and other artists. This ranges from established to fledgling artists, curators, collectors (both institutional and private) bookshop and gallery owners, dealers, lecturers and instructors. \n \nA series of 24 case studies explores artists’ experiences of making and marketing their books in the UK, France, Germany, EIRE, Spain, Denmark, Japan, Argentina, Australia and the USA, and can be used as reference for newer artists and students wanting to find out more about producing and marketing their artists’ books. We selected a range of artists with 2 - 30+ years experience of making and marketing artists’ books, zines, multiples and unique books and asked them to share their working practice and experience of book fairs, interaction with purchasers, discuss any problems and offer advice. \n \nWe also asked private and institutional collectors to tell us about the ways in which they would prefer to interact with artists selling their books and any issues arising from their own collecting. Whilst travelling, we interviewed Max Schumann (Printed Matter), Cathy Chambers and Heather Cleary (Otis College of Art & Design Library) for some in depth accounts of selling, purchasing and collecting artists’ books. Maria White (Tate Britain), Kristen Merola and Tate Shaw (Preacher’s Biscuit Books), Mar Batalla (La Rara), Barrie Tullett and Philippa Wood (The Caseroom Press) also kindly participated for case studies of collectors, dealers and publishers.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.005 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.003 | 0.003 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.002 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it