We have books in Photo-Eye or Printed Matter from time to time, but we don’t sell to bookstores and we don’t distribute anything. What support do you give artists in terms of marketing or distribution? Do you attend book fairs? But we also don’t pay the artist, so it works both ways. The artist pays for nothing, the artist is indebted to us for nothing. I’m actually not sure if we make a profit on anything we don’t seem to be losing money on books, but I would be surprised if we made a profit on anything we publish. Then I just pay myself back and pay for marketing. if I make five hundred books I send the artist fifty copies as payment). The artist doesn’t make any money, but they get 10% of the books (i.e. How is that money divided between you and the artist? And if we can sell a hundred copies from an edition of three-hundred books during pre-order, it’s pretty likely that we’ll sell almost all of the books within a year or so. You’d probably need to sell double that for a larger book or a hardcover book, but that’s how it works in my mind. If you can sell ten prints at $200, that’s another two grand, so you’re getting close to making $3500 for the hundred or so books you sold. If it’s a small book and you sell it for $30, that’s about $1500. For example, if you have like five thousand followers, we’d have to imagine that at least fifty to a hundred people would buy a book. ![]() ![]() If I like the work then I’m going to try and make it work, and usually if I like the work, a lot of other people already like the work. But, usually those artists don’t have a following like the most famous artists because the biggest artists are almost never as good as the smaller artists. Slightly, but not really. I try to focus on artists who are the best in the world. Is the size of the audience you think an artist can bring in terms of pre-orders one of the factors you consider when choosing what to publish? I think that sometimes artists want to be in the print world so badly they forget how enormous the world is beyond that. If you promote it on your website, hundreds of thousands or maybe even millions of people will see it. Realistically, only 500-1000 people in the world are probably ever going to see your book, and maybe 300 people will see your work in a show. Best printer for photographers 2010 full#I mean, I think photographers should have all their stuff on their websites- not just a selection but the full series, because that’s really the only place for anyone to see them. Of course, the most accessible thing we have is the Internet. I mean, prints and books are both special, but I think books are more important than prints.Īnd make it accessible outside of the institutions of fine art Books and photographers are made for each other because they also allow you to have the whole project as opposed to just one image. You can never be inspired by something if you’re not with it you can’t see a print once you leave your home, but with a book you can take it anywhere and be inspired. For one, because you can look at a book anywhere- you can be at home, you can put it in your backpack and show it to your parents, you can send it to another country. Isaac Diggs and Edward Hillel, Electronic Landscapes, 2021ĭo you think photographs communicate differently in a book versus on the wall? Today, photographer Kellye Eisworth interviews photographer and publisher Kris Graves. ![]() ![]() MONOLITH EDITIONS was founded by Kris Graves and is a Black-owned publishing house dedicated to showcasing work from artists of color across mediums that address issues of race, identity, equity, gender, sexuality, and class. We strive to expand the reach of artists, cultivate a new cohort of art collectors, and amplify stories that empower the long forgotten and underrepresented. In 2011, +KGP expanded into publishing, recognizing that books and prints have the unique ability to make fine art both accessible and affordable. +KGP was originally founded as a gallery space in DUMBO, Brooklyn. Kris Graves Projects collaborates with artists to create limited edition publications and archival prints, focusing on contemporary photography and works on paper that address issues of race, identity, equity, gender, sexuality, and class. We are so grateful for the time and energies these publishers have extended to share their perspectives, missions, and most importantly, their books. In order to understand the contemporary photo book landscape, we are interviewing and celebrating significant photography book publishers, large and small, who are elevating photographs on the page through design and unique presentation. These past months we have been focusing on books on Lenscratch.
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