Shannon Michael Cane share with us some of his favorite publishers and art book initiatives.
Paperhouses: Do you have a top five list of publishers or artists you've seen in the course of these events and in the last year that you're really fond of or are looking forward to seeing more of?
Shannon Michael Cane: I really love Werkplaats Typografie. We invite them every year. They are from the Netherlands and every year they invite part of their student body to apply to these workshops at the book fair. They always come up with some sort of installation and programming around the installation and it's, it's like this amazing school. And I always find that's pretty interesting that they, they're young, they're excited. I mean you're a Dutch student in your barely 20s in Amsterdam and then you're told that you're gonna go to New York for a weekend to conceptualize a booth, and room and workshop and project. I mean I would like to be 21 again and, and be one of those kids.
Then there's David Senior who curates The Classroom, which is always really amazing. He's a librarian at the MoMA and he pulls together programming for three days and bases it on his exhibition so he does a bunch of research and figures out who's gonna be there, what type of books they're launching, what type of people will be there…
Someone else who I've always been interested in who finally came to the book fair in New York this year, is based in London, and that's called The Archive of Modern Conflict. They're an independent publisher in London. A lot of their books are photography based, but they have this archive and I think they've got over 4 million photographs in this archive apparently and basically they just try and pull themes and programs around different parts of their archive and they make publications about them And their books are really amazing and interesting. I mean I do like an idea of, uh, this idea of an image bank that people like sharing an image bank.
Who else…? Um, what am I at? I'm at three so I've got two more. Oh! I mean I cannot not mention the antiquarian section, because I think it's really important historically and we work with a small handful of people who are dedicated to collecting and selling these historical artist books. I think it's really important even if people can't afford to buy a $4,000.00 first edition of a book. Most of these publishers do set up their booth so you can like at least look at the books even if you can't buy them, and then really like, uh, Jeremy Sanders from 6 Decades.
Max Blagg exhibition, 6 Decades
Who else… I mean, uh, it's hard to single out people but I think the zine sections are really important at that fair and we kind of changed it up a bit and we gave it a new name this year so it got a little bit of a rebranding.You know, out of all the booths that we had it's one of the most unsought after booths. We only usually have like 100 to sell and we get like at least 300 people applying for those booths. So that's really hard to curate. We try and like give everyone a chance to have some time at the fair. But the 50 cent zines are really important for the book fair.
Well, that's five, sorta? (Laughter)
Who are your favorite publishers? Leave us your suggestions below!