This September Plymouth will be hosting its first ever International Artists’ Book Fair as a part of Plymouth International Book Festival.
The call is currently ‘out’ for stall holders and absentee table contributors so the team is keen to hear from publishers, artists and makers of all things book-related to take part in this super special event taking place on Saturday 15th September 2012.
Participating in PABF is, like our Book Arts Fayres, free of charge (a cause we believe in!) and therefore is a rare and valuable opportunity to share your works and wares with a new audience, meeting and getting inspired by like-minded makers and initiatives – and a worthwhile excuse for an adventure to Plymouth.
We’re really excited that BAF6 stall holder Oliver Uddy of Antler Press is part of the PABF team – you can get in touch with him here for more information about how to get involved.
Brighton-based Photobook Show, who presented and sold a fantastic selection of artist newspapers at BAF6 are still receiving submissions for their recent call for entries.
With an aim to raise the profile of artist-led photobooks, this is a great opportunity for self-publishing artists and photographers with submissions, which can be of all shapes and sizes, stocks and formats, being considered for presentation at the next two Book Shows; C at Create Studios, Brighton, UK from the 17 -19 August 2012 and D at the Finnish Museum of Photography, Helsinki, Finland from 31 Aug – 2 September 2012.
It costs £5 to enter and the cost of postage and the deadline for submissions is the 18 July 2012. Donated books will be added to the ever-increasing Photobook Show Archive in Brighton; a research and development resource available to the public and from which the team regularly draw on a changing selection of works to be exhibited or featured in Photobook Show events, shows and public programmes. If the taster of works already submitted is anything to go by, these shows are definitely worth being a part of.
Interested in entering?
BAF6 has now officially been archived with our epic picture gallery and full line-up. Let these photographs take you back to all the festivities on that sunny Saturday in February…
Keep checking the links to the right for new additions to the line-up for Ffotogallery’s 2012 Book Arts Fayre on Saturday 25th February.
We’ve just received virtual word that the 2012 Dummy Award from Fotobook Festival is now receiving entries. If you have a photobook masterpiece in the making but no publisher and a spare 32 euros, this international competition could be a fantastic opportunity.
Yes, you have to pay 32 euros just to enter, but one silver lining is that 50 of the best submissions (selected by a jury of international professionals) will be exhibited as a part of the Festival, taking place at the Parisian photography art space du jour, Le Bal this coming April 2012. If that isn’t convincing enough odds, first, second and third prizes are awarded, with the first prize winner receiving full production by German publishers Seltmann+Söhne. Although relatively unknown here in the UK, S+S boasts a decent catalogue with a particular interest in photography. The company, since its birth in 2004, takes pride in each publication being designed and printed in house. Last years 2nd and 3rd places were awarded book production with the festival’s other partners Blurb, to the value of 500 and 300 euros.
Two closing dates have been advertised, 31st March and 5th April…March it is then. There’s more information about the competition and how to enter here.
Take a look at last year’s shortlist here. So there you have it. Happy New Year!
This article from Time magazine provokes some interesting questions about zines and self-publishing in an age of globalization. Give it a read and see if you’re convinced that creating physical artefacts in a literary world currently enamoured with internet publishing is in line with, or a betrayal of the counter-cultural roots of the zine.
When does an ethical stance become snobbery? Are there any “wrong” reasons to make a zine?
Would you be turned off a publication because of its high or low production values?
Do you find zines therapeutic to read or create? What makes unedited, unmediated media so appealing to people more accustomed to the opposite?