The basic business model of the book publishing industry remained largely unchanged between the Great Depression and the turn of the Millennium. Print a lot of books, try to get them reviewed so that stores would stock them on consignment, advertise, then hope that they don't come back as returns. Small imprints and self-publishers were reduced to begging distributors to accept their titles at discounts of 60% or more, and were expected to accept returns in any condition and quantity. Print-on-demand book publishing, combined with short-discount distribution and Internet marketing, is turning the publishing business on its head. For the first time, authors are finding that they can launch their own publishing businesses and earn more from their writing than they would with a major trade publisher. Small imprints can invest their scarce resources in acquiring, designing and promoting new titles, rather than gambling on tons of books that cost money to keep in inventory. This book details the new method with which authors and publishers alike can use POD to cut costs and increase profits, while reaching new readers through the magic of Internet marketing.

This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.

A photobook about traveling. Includes images and textsUn fotolibro de imágenes y textos sobre viajar en México

Interview by Nancy Spector. Text by Marina Abramovic, Erika Fischer-Lichte, Sandra Umathum.

Discusses the significance and history of printmaking and evaluates 700 prints.

If you would like practical advice and useful ideas for artists on websites, email marketing, blogging and more, you've found an excellent source. The whole world, it seems, is online. The internet has changed everything. To say the internet is a disruptive force is an understatement. While it's taken a toll on legacy industries such as physical galleries, it's opened up new opportunities for visual artists. Too many artists have been told at some point to get a job. And, that making and selling art was too hard, and only a lucky few got their tickets punched to success. If that were ever true, it's a lie now. Artists alive in this generation are the first ever to have tools that allow them to connect with buyers and sell to them directly. The internet has changed our buying habits. We can now get so close and learn so much about anything we want to buy, and then e-commerce, UPS, and FedEx make everything readily available. In many metro areas, consumers can order from Amazon and other retailers and get same-day deliveries. The marketing - and therefore the art world - is literally at our fingertips. Consumers are comfortable buying luxury items such as diamonds from Costco.com and pricey fine art from Saatchiart.com or dozens of other online galleries. You can market your art online, too. In fact, it's not just that you can, but that you should learn how to sell art online. It is your future. It is now. Chapters Include: Straight Advice: How to Market Art Online Marketing Art Online Understanding The Value of a Customer Persona Websites for Artists E-Commerce Domain Names Email Marketing for Artists Marketing Automation Blogging Social Media In this book, author Barney Davey, taps his 30 years of experience helping artists get their work to market. He uses a mix of brand new material along with freshly revised content from his books, blog posts and online training. He's combined the best of the best from every source available to him and created a valuable resource for artists. With five books and 600+ posts on art marketing, Davey has a treasure trove of advice for artists to pull from and create something new and beneficial for them. Telling Is Selling Those marketing tools mentioned above are ready for you to start using them. The internet is an equalizer. The systems and programs are the same as top artists use in their art businesses. They are available at low or no cost. It comes down to using them with proficiency and consistency. Essentially, they are forms of digital marketing and electronic communication. Your job as an artist is to connect with your best prospective buyers and then inform, enlighten and entertain them with your story. Stories sell art. You have a unique and compelling story to tell. It may be a few layers down right now, but it's there. Just like making art is a progressive task, meaning you get better at it over time and practice, so is telling your story. As you consistently use your website, blog, email marketing and social media with a purpose in mind, your ability to communicate with and tell your story to your followers improves.