Prin­ted Mat­ter Calls for Sub­mis­sions for a New Emer­ging Artists Pub­lic­a­tion Series

Five selec­ted artists will work with the sup­port of Prin­ted Mat­ter and a ded­ic­ated designer to real­ize indi­vidual projects…

Sub­mis­sions are open to emer­ging artists whose prac­tice has demon­strated a com­mit­ment to exper­i­ment­a­tion within the artists‹ book medium in unusual and excit­ing ways.

Broadly speak­ing, Prin­ted Mat­ter is inter­ested in pub­lic­a­tions that have been con­ceived as art­works in their own right, rather than books that doc­u­ment work cre­ated in another medium. Pro­pos­als should not be a con­ven­tional cata­log of art­works, tra­di­tional artists‹ mono­graph, chap­book, or other straight­for­ward works of fic­tion, non-​​fiction or poetry, as these fall out­side our scope.

Sub­mit­ted pro­pos­als will be reviewed by a com­mit­tee made up of Tauba Auerbach (Artist), David Senior (Bib­li­o­grapher, MoMA Lib­rary), Gar­rick Gott(Con­sult­ing Design Dir­ector, Prin­ted Mat­ter) and James Jen­kin (Exec­ut­ive Dir­ector, Prin­ted Matter).

All items should be sent as attach­ments in a single email to submissions{at}, with the sub­ject line EMER­GINGARTISTS_[YOUR NAME]. Emails should not exceed 10 MB.

Unfor­tu­nately, due to the expec­ted volume of sub­mis­sions, we will not be able to acknow­ledge the receipt of applic­a­tions, and will only be able to notify selec­ted applicants.

All book pro­pos­als must be sent by Monday, August 10, 2013. Selec­ted applic­ants will be noti­fied by Septem­ber 10, 2013 with the expect­a­tion that work on the first two sched­uled pro­jects will com­mence in the fol­low­ing weeks. The five books in the series will be pub­lished over the course of a year.

Sup­port from Prin­ted Matter

  • $1,500 fee to artist
  • Print­ing and design costs paid (within pro­ject budget)
  • Optional access to a designer, who will aid as needed in ready­ing pub­lic­a­tion for print
  • A launch event at Prin­ted Mat­ter or at our NY Art Book Fair or LA Art Book Fair, or pos­sibly another major fair atten­ded by the organ­iz­a­tion, includ­ing Frieze NY, Basel, Miami Basel, LA Con­tem­por­ary, Inde­pend­ent, NADA, and Chicago Expo
  • Press announce­ment of pub­lic­a­tion via Prin­ted Matter’s social media
  • Oppor­tun­ity for in-​​store exhib­i­tion and win­dow installation
  • Inclu­sion in Prin­ted Matter’s dis­tri­bu­tion pro­gram and offer­ings to lib­rar­ies and institutions

Read the full submission guidelines here.



Yesterday, I joined the ArtStack site.

ArtStack is something like Pinterest, only strictly for sharing images of art past and present–including your own which you can easily upload. Follow other artists, galleries, museums and brands on ArtStack.

Guest Blog Article by Stephen Tiano

Digital Portfolios and Books

To a book designer like myself, a digital portfolio is a must—along with an abundant and varied social media presence—so that I can present myself to any traditional publishers or self-publishers who might need services such as I offer.

When I began looking into establishing a digital portfolio, I ran across a number of free options, collective sites that housed the portfolios of a large number of freelance artists. At first I thought this could be a good thing, as a large site with many artists would likely draw a large audience perhaps already open to the idea of contracting a book designer. It would, of course, be up to me to distinguish myself from all the others on display.

However, the more I looked around and discussed it with other book designers, graphic artists, and publishing freelancers, the more apparent it became that the more professional route was to pay for a website of my own. And that is what I recommend to any kind of artist wishing to establish a digital portfolio. Those free, group alternatives reek of “amateur hour” and suggest that one isn’t committed enough to being a professional to invest in a site of one’s own.

I tell self-publishers all the time that publishing their books means they choose to go into the publishing business. That means financing their business like any other business, as there are certain needs that will cost real money. But these costs should be regarded as investments.

Something similar goes for artists. Since a large part of art is presenting the work, a professional digital portfolio is a no-brainer. Perhaps the collective portfolio sites are okay as a secondary option, in order to reach into smaller markets, but I truly think it is a mistake to rely on such sites. Put up your own digital portfolio. The costs of this should be regarded as an investment. Collective sites have their own brand to sell—your prime interest should not be their brand, but in establishing your own.

Additionally, many of those collective sites are connected with what I call “meat-rack” job boards on which freelancers are encouraged to outbid each in a downward spiral—“reverse leapfrogging” I call that—to see who can win jobs by offering to do the work at the smallest rate. I can’t imagine any artist wanting anything but that the value of their works should grow higher and higher.

Make a digital portfolio that is entirely your own. Your professional reputation will be better for it.

Stephen Tiano
Book Designer, Page Compositor & Layout Artist

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