Douglas Stockdale on the 2020 Artist Book Workshop

How does putting your artwork into book form enhance our understanding of the of work itself?

One of things to think about is that when photographs are edited and sequenced in a book, the artists narrative takes on a unique form. Unlike a gallery exhibition in which you can walk about while viewing the artwork, the book object requires the reader to follow a viewing specific sequence which allows specific image and word relationships. Thus an artist, similar to a movie director, by means of the book’s design, materials of construction and image sequencing can shape their message and story.

You’ve taught book making workshops many times before, tell us about an “ah-ha” moment workshop participants can look forward to.

There have been a whole variety of such moments, as I found teaching workshops, photographic and technical, for over twenty-five years, that each individual has their own past experiences and ways of learning. The aha! moment will not be the same for each person, but we all celebrate when it occurs.

For some, it was the exercise on defining their personal goals and why making this book mattered.  For others it was figuring out what was the First photograph that they needed to start the book with and others it realizing what the Last photograph should be to close their narrative. I have seen the lights really shine bright for artists who are able to articulate who exactly their audience is in conjunction with the book they are developing, which became a break-through moment for them.

I try to probe where an artistic block might be occurring early on when the group introduces themselves and their projects as to why they are in this workshop. Usually everyone attending knows where they are having issues; the big edit, the fine edit, sequencing, creating a narrative, basics of book design and layout, to name only a few.

What are some of the more exciting trends in artist books that we can look forward to in the workshop?

What is exciting, and being the Editor-in-Chief of the PhotoBook Journal magazine, is the creative shifts in photo books that are constantly evolving and that I am able to see in real time. The creative book design changes that had a big impact a few years ago quickly become assimilated in our global book community. This is a quickly evolving book design community.

Nevertheless, for some projects, the latest and newest bells-and-whistle designs can be a visual distraction, while the classic book designs can still be really effective. I usually bring some book examples that illustrate the point that new for news-sake can result in a really dreadful book. As part of my editorial job for the magazine, I need to stay on top of the changing trends and I will discuss the aspects of book design and production that are evolving so that these new elements might be an option to consider.

Is there a specific point in time that is appropriate for an artist to begin working on a book?

Yes and no. The reason for this contradiction is when during a project does one become aware that a book might be one of the outcomes? Sometimes it is at the project onset, which is really great, as someone can start the pre-visualization process early at the inception and then photograph purposefully to create the intended narrative. For others, a body of work evolves and then the realization that they have accumulated enough artwork to warrant considering a book.

As a book artist, I am thinking about the book project very early on. Okay, for me, every photographic project can also be considered a book project. That is not always the case for many others. Nevertheless, whenever the catharsis to create a book occurs, then it’s time to really become engaged with all of the moving parts that constitute publishing a book. Book making is complex and if someone is thinking about self-publishing, even more complex. Also artists need to be thinking when to bring in other creatives to facilitate their book project; editors, designs, and printers, to name a few. You may need to consider where the work will be exhibited in conjunction with the book, when you want to launch the book, which bookstores and distributors may want to sell the book and where do you want to publicize the book project?

Tell us about something specific an artist should look for as a seed for beginning down the book path.

I like to start the workshop working on some big Why questions; Why do you need to make a book from this project, why would someone care if your book is published, why is this book/project important to your long-term artist career? Or your short-term artistic career? It’s a lot of work to finish a book, so why do it and why not invest your time into something else?

I think the next questions that an artist/photographer needs to answer is; Is this project really a book? A related question to ask is Who is the audience for this book (project)? Requires a bit of honest self-reflection; if in fact the artwork is a collection of one-hit wonders, or favorite photos that you like, unless you are really famous, this is probably not a book. A book should have an audience, however small, a focus, and makes some kind of connection to a (super) engaged audience. Then the artist is probably ready to to take on the tasks of editing and sequencing to start developing a coherent book dummy, whether to self-publish or pitch to a publisher.

As an attendee in the last book making workshop it is clear this experience holds tremendous value for artists. Are you looking forward to this four-day workshop?

Yes! Thanks for this opportunity to discuss some of the aspects to my book workshop which is getting me fired up to get this going, and like last time, I think it’s going to be both fun and intense time with the artists and photographers who attend.