Got in contact with DR.ME in regards to their FIN? publication as I am interested to see why/how the design studio
Answer: Two reasons really, firstly to simply reach more people, the stores we sell through have huge networks and people trust the quality of the stock they sell. Secondly, our egos! We have always loved shops like good press and printed matter and see it as a huge honour that they would carry our titles!
Comments:
Evidence that using independent bookstores is a vehicle to reach more people - Like Roth, DR.MR are using publishing as an expansion of their design practice and the printed format as a vehicle to distribute to a large audience.
Evidence to suggest that independent retailers are using their reputation to support independent publishers. - Win win scenario?
Evidence of a desire for graphic authorship? Using publishing to boost creativity away from client orientated projects.
Why did you convert FIN? from a digital process to physical printed copies?
Answer: It was our intention from the start to mark every 6 months of FIN? by publishing a physical ‘Best of’. FIN? does continue to be a online publication each month though.
Comments:
Using the printed form to distribute the 'best of' the past six months of FIN? Showing that the printed form holds more authority suggesting the digital, print at home publication, provides a platform for more experimental methods of publishing as the printed form is more trusted.
Has this influenced the popularity of FIN? And the awareness of DR.ME?
Answer: I think so yes, it’s a fairly untraditional form of publishing so I think it has taken people longer to understand what it is than perhaps if we were just creating physical copies each month.
Has this influenced the popularity of FIN? And the awareness of DR.ME?
Answer: I think so yes, it’s a fairly untraditional form of publishing so I think it has taken people longer to understand what it is than perhaps if we were just creating physical copies each month.
Comments:
Print at home seems to confuse consumers
However this experimental method of publishing has created more exposure
Artists' books are popular within sub-cultures (zines), do you think they can be popular within mainstream culture? Eg- Available at newsagents, supermarkets, etc
Answer: Potentially, the production values might need to be a bit higher than a simple Xerox’d zine but as long as the content is of a high enough quality then there’s no reason why not.
Answer: Potentially, the production values might need to be a bit higher than a simple Xerox’d zine but as long as the content is of a high enough quality then there’s no reason why not.
Comments:
There is a lot of potential for artists' book to progress into the mainstream. It seems like the content needs to have more professional awareness for it to evolve further. However does this go against the ideals of the artists' book to go against glossy commercial publishers?
Do you feel it is important to have a good relationship with publishers?
Answer: Not really, we went to Thames & Hudson with a rough idea for Cut That Out and they went for it, that just stemmed from a Email cold call style! Even though Cut That Out has been a relative success we’ve suggested different titles since that they’ve rejected so I’d say that good ideas are more important than relationships.
Do you feel it is important to have a good relationship with publishers?
Answer: Not really, we went to Thames & Hudson with a rough idea for Cut That Out and they went for it, that just stemmed from a Email cold call style! Even though Cut That Out has been a relative success we’ve suggested different titles since that they’ve rejected so I’d say that good ideas are more important than relationships.
Comments:
Mainly about good ideas - Suggests that the experimental processes can generate innovative ideas which is attractive to independent publishers in order to stand out against commercial presses. More artists', designers and writers are now resorting to creating artists' books as a drive for authorship which can explain the increase in self published books. As a direct response, there has been an increase in independent publishers.
There is evidence to suggest that the artist book still remains within the origins of the gallery context - Philpott would say, the 'book object' - as institutions such as MOMA and Tate are keeping archives of the publications as well as hosting events such as Off Print.
The ideal of the democratic multiple, to bring artwork to the public for cheap prices, was represented by Roth through his use of cheap production methods to increase the volume and distribution of his oeuvre. DR.ME have continued the DIY ethos of Roth but re-conceptualised it introduced new technologies such as the WWW and laser printing to further quality and distribution of work to reach larger audiences.
However there seems to be a shift towards professional standards such as being well designed, quality printing methods and an emphasis on quality.
This has helped independent publishers gain a trust between there audience as well as other artists'/designers wishing to distribute their work to a larger audience.
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