[3차 입고] Tropical Reading: Photobook and Self-Publishing
40,000원
Author: Fotobook DUMMIES Day (Liu Chao-tze, Lin Junye)
Editor: Chen Yu-ting, Chou Hsiang Hsuan
Copy Editor: Chou Hsiang Hsuan
Translator: Joanna Lee
Designer: Anthony Fook
Logotype Design: GY Chen
Administrative Coordinator: Lu Ya Hsuan
Text: Chinese / English
Published in February 2022
Edition of 400
ISBN 978-986-98628-4-4
배송
택배 · 기본 3,000원 · 도서산간 배송비 popover
50,000원 이상 구매 시 무료배송
Tropical Reading: Photobook and Self-Publishing is divided into three parts: a) artists; b) art bookstores; c) photobooks and self-publishing scenes; plus, an appendix and an index of ten cities. A bilingual publication, the English version reads from left to right; the Chinese version right to left.
The first section illustrates the photography practitioners and artist collectives from each city in Southeast Asia, examining why they chose to get into self-publishing. The second section explores the ways in which independent art bookstores came to be the social parlors of the self-publishing crowd. The third section island-hops between the photobook and self-publishing phenomena of recent years, observing how the outsider artists, archives and arts initiatives of Southeast Asia came to shape the face of photography and self-publishing in their respective cities.
As an appendix, “So, Why Photobook?” explores the changing meaning of the term “photobook” in different linguistic contexts, the myriad of links between the term and the physical object – and ultimately, why exactly we do photobooks.
The final part of the book, the index, is a compilation of our project field research, condensing the profiles of all the interviewees – from people to bookstores to organizations – to make a kind of alternative Yellow Pages for the Southeast Asian art scene.
Tropical Reading: Photobook and Self-Publishing is divided into three parts: a) artists; b) art bookstores; c) photobooks and self-publishing scenes; plus, an appendix and an index of ten cities. A bilingual publication, the English version reads from left to right; the Chinese version right to left.
The first section illustrates the photography practitioners and artist collectives from each city in Southeast Asia, examining why they chose to get into self-publishing. The second section explores the ways in which independent art bookstores came to be the social parlors of the self-publishing crowd. The third section island-hops between the photobook and self-publishing phenomena of recent years, observing how the outsider artists, archives and arts initiatives of Southeast Asia came to shape the face of photography and self-publishing in their respective cities.
As an appendix, “So, Why Photobook?” explores the changing meaning of the term “photobook” in different linguistic contexts, the myriad of links between the term and the physical object – and ultimately, why exactly we do photobooks.
The final part of the book, the index, is a compilation of our project field research, condensing the profiles of all the interviewees – from people to bookstores to organizations – to make a kind of alternative Yellow Pages for the Southeast Asian art scene.
