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Pre­sen­ta­ti­ons on Ar­tist­s' Pub

Here collec­tions and ar­chi­ves, art dea­lers and gal­le­ries, aca­de­mies and uni­ver­si­ties, as well as pu­blis­hing hou­ses pro­vi­de in­for­ma­ti­on in the form of in­di­vi­du­al pre­sen­ta­ti­ons on the spe­ci­fic ori­en­ta­ti­on of their ac­tivi­ties wi­t­hin the con­text of ar­tist­s’ pu­bli­ca­ti­ons. Their pre­sen­ta­ti­ons, which are grou­ped in four dif­fe­rent sec­tions, give you and any in­te­rested par­ties an op­por­tu­ni­ty to be­co­me in­for­med about ar­tist­s’ pu­bli­ca­ti­ons from the per­spec­tive of the­se four fiel­ds of ac­tivi­ty and also to find the ap­pro­pria­te point of con­tact.

1. The collec­tion in­ven­to­ries of pu­blis­hed works of art pre­sen­ted in the Archives and Collections sec­tion pro­vi­de an over­view as to which mu­se­ums, ar­chi­ves, and collec­tions of ar­tist­s’ pu­bli­ca­ti­ons are in exis­tence and how the­se might be view­ed through ex­hi­bi­ti­ons or per­ma­nent pre­sen­ta­ti­ons. Ap­pa­rent in the collec­tion in­ven­to­ries is the exis­tence of strong net­wor­king and com­mu­ni­ca­ti­on bet­ween ar­tists, pu­blis­hers, collec­tors, and in­te­rested par­ties throughout Eu­ro­pe, star­ting in the 1960s with pos­tal ex­ch­an­ges that came to span all po­li­ti­cal bor­ders. This in­ter­ac­tion soon spre­ad to en­com­pass an in­ter­na­tio­nal scope, which fur­the­red the dis­se­mi­na­ti­on of ar­tist­s’ pu­bli­ca­ti­ons.

2. Publishing Houses have al­ways play­ed a very im­portant role in the crea­ti­on of ar­tist­s’ pu­bli­ca­ti­ons, for a si­gni­fi­cant num­ber of pu­blis­hers have stron­gly sup­por­ted ar­tists in their ac­tivi­ties. Even to­day the­re are small and lar­ge pu­blis­hers that have cho­sen to spe­cia­li­ze in the pu­bli­ca­ti­on of both pu­blis­hed and dis­se­mi­na­ted art­works. For some, ar­tist­s’ books or edi­ti­ons re­pre­sent a spe­cial, sup­ple­men­ta­ry pu­blis­hing ran­ge that fre­quent­ly re­flects their own con­siderable in­te­rest in ar­tist­s’ pu­bli­ca­ti­ons.

3. The­re are a multi­tu­de of Galleries, Art Dealers, and Booksellers that have be­co­me spe­cia­li­zed in pre­sen­ting and dea­ling in ar­tist­s’ pu­bli­ca­ti­ons. Some gal­le­ries or dea­lers fo­cus so­le­ly on the sale of ma­te­ri­als wi­t­hin a con­text of pu­blis­hed art, whe­re­as for others ar­tist­s’ pu­bli­ca­ti­ons not sel­dom com­pri­se but a small (or oc­ca­sio­nal­ly lar­ger) part of their ope­ra­ti­ve scope.

4. Some Universities and Academies host a wide ran­ge of ac­tivi­ties in the re­alm of ar­tist­s’ pu­bli­ca­ti­ons. Here the spec­trum of in­vol­ve­ment with dis­se­mi­na­ted and pu­blis­hed works of art spans from small per­so­nal collec­tions all the way to the ac­tu­al pro­duc­tion of ar­tist­s’ pu­bli­ca­ti­ons in on-site fa­ci­li­ties or pu­blis­hing hou­ses—and might in­clu­de ever­y­thing in bet­ween, such as ma­king ar­tist­s’ pu­bli­ca­ti­ons a se­mi­nar to­pic, in­tro­du­cing stu­dents to the spe­cial ex­hi­bi­ti­on prac­tices em­ploy­ed for this kind of art­work, or de­ve­lo­ping edu­ca­tio­nal stra­te­gies for teaching stu­dents.