Quick Review of Tokyo Art Book Fair Ginza Edition 2019

I love, love, love the Tokyo Art Book Fair. It’s a concentration of great ideas and you can almost feel the creative energy emanating from the pages. From March 8th to April 7th, Tokyo Art Book Fair is holding the “Ginza Edition” at Ginza Sony Park. The Zine’s Mate shop is open every day. On weekdays you can buy books from a vending machine and on the weekends, exhibitors replace the vending machine. Each weekend has different exhibitors. I love the vending machine concept. Between the vending machine and new exhibitors every weekend, there’s plenty of motivation to go more than once.

 

I shared a table with Art Byte Critique on the opening weekend. Working with ABC is another reason I love TABF. Throughout the year I enjoy watching my fellow artists’ creations morph from idea to physical object. Then during TABF we get to see people interact with our books and ask questions. ABC also shared the table with artists from England that we have been collaborating with over the last two years. I really admire how they push the idea of book form and their craftsmanship.

 

 

Like every year we’ve been next to great tables and this year is no exception. Our neighbours were Anmoc Books, which is based in Korea, Homspun, a clothing shop in Shibuya, and COS. COS had a beautiful book about structures and folds.

 

 

Anmoc Books had some of the most beautiful photography books I’ve seen. Their craftsmanship for handmade photography books is amazing. We traded a few books.

Taehee Park of Anmoc Books with fellow exhibitor

 

On a personal note, I was really excited to finish Glow in the Dark Pop Out Mushrooms for TABF. The case is covered with polymer clay that glows in the dark and the  hand-drawn and painted concertina. The smaller green book, Pop Out Mushrooms was first shown at Launch Pad Gallery in September in the Reading Between the Lines exhibition.

I also had a new project called Space songs which is based on the electromagnetic and radiation waves translated into sound.

I’m going to take my own advice and check out the vending machine during the week. I’ll update the post with pics from my next visits along with some books.

Organized by the Tokyo Art Book Fair & Ginza Sony Park
When: Mar 8 – Apr 7, 2019 from 10:00 – 20:00
*Mar 8 will be from 17:00 – 21:00.
Where: Ginza Sony Park 5-3-1 Ginza, Chuo-ku, Tokyo

TRANSIT
Connected via the B9 Exit of Tokyo Metro Ginza Station (Marunouchi Line/Ginza Line/Hibiya Line)
5 min. walk from the Central Exit of JR Yurakucho Station (Yamanote Line/Keihin-Tohoku Line)

Zine’s Mate:  Every day from 10:00-20:00

Vending Machine: Mon – Fri, starting  from 10:00 – 20:00

Creating Community and Artist Books. An Interview with Joan Birkett

Joan Birkett, an artist from the UK, has collaborated several times with Art Byte Critique. Currently, she is part of the UK contingent sharing a table with Art Byte Critique at the Tokyo Art Book Fair Ginza Edition at Sony Park in Yurakucho. The TABF Ginza Edition runs from March 8-April 7. The Art Byte Critique tables from March 9-March 10.

In this interview, Joan talks about her work, collaboration and building a community.

You and Arthur Huang were instrumental in creating Reading Between the Lines, and other shows, how did that collaboration come about?
The group of artists connected with the Tokyo St Helens project, came together at my request after I had made contact with Art Byte Critique through Arthur.

What was the purpose of building the artist group in your area?
Some of them belong to Platform Arts studios which was originally formed by Claire and myself linking up with a number of other interested artists, with help from the very active Arts and Library service in the Town. This was about ten years ago now but it has changed over the years to what it is today, most of the artists now involved are new. Other artists involved work individually across the North West but come together for group projects. There has always been a number of individuals and small art groups in St Helens but Platform arts was possibly the first artist network around in St Helens at the time of its conception. Since then there seems to be a number of artists coming together to form collaborative partnerships. The Yellow Door artists are one example.

Not long after Platform started to operate, the Heart of Glass programme began in St Helens with funding from Arts Council England. This was through what is called the People and Places funding which is for artists to work with communities in order to introduce innovative arts and cultural opportunities, hopefully broadening and raising the level of engagement with Art and Culture throughout a particular Town. A number of different organisations in the Town were involved in bringing bidding for the funding and Platform was one of these. It was through this programme that I originally received some funding to look at the possibilities of linking with artists in Japan, it was suggested by one of the Heart of Glass producers because of my family links in Tokyo and my interest in Japanese woodblock print work and how my own work had been influenced by the connection. It was also about providing information to others about how links could be made and the benefits of working in this way on a number of levels, perhaps influencing others to have a go. So I did quite a lot of research about what networks were in Tokyo and I put some information together which I sent off to them. My daughter-in-law helped by translating the letter for me. However, I wasn’t very successful until I discovered an online blog/help site, by an artist working in Tokyo, named Miki Saito, she was very helpful and receptive to what I was trying to do and put me in touch with Arthur Huang and consequently the artist group -Art Byte Critique. Arthur, was from the beginning as I have always found him to be, so positive and resourceful, open to just trying things out, exactly the artist I needed to meet, he has been so such a great person to meet and work with. It is really down to him and all of the other artists involved that we have been able to put on three joint exhibitions as a result of the partnership. I can’t believe how lucky I have been in being able to meet such open and interesting people.

Another artist that I met was Atsu Harada a really talented traditional wild life artist, this was through a friend of my Son, and we keep in touch and have been able to meet up when I have been in Tokyo

How long have you been making art books?
I started to explore making book art objects as part of the Tokyo/St Helens return project, which began in 2014. This was somewhat of a pragmatic decision on my part because of the practical difficulties of sharing larger works between Tokyo and St Helens. Also the fact that a number of the Art Byte Critique artists with whom I had made contact through the artist Arthur Huang, were making books and zines as part of their practice and exhibiting at The Tokyo Art Book Fair.

Why do you like making books?
It has allowed me to explore 3D possibilities on a scale that I am able to cope with easily, experimenting with materials and form, I also like the fact that it can be touched and explored by the viewer. Although not normally working with paper unless I am sketching or drawing from life, I am interested in materials and texture, and book art has inspired me to work with different papers and to explore my interest in print as a process.

What do you like about making books compared to other forms of expression?
My work generally begins from my being inspired by a particular subject or idea, after  which comes the research that informs the work I eventually make, this is often large scale and consists of a visual language type imagery as a depiction of humanity. Book art allows another dimension to this in presenting a number of possibilities, particularly in the size of the work, it makes me think about working on a different scale and with the text in a different way. It does though present certain constraints given I am quite new to the process and book making skills.

Do you have a favourite method or technique to make books?
I am still learning so I haven’t tried many of the techniques yet, my experience to date is limited but I intend to keep exploring the possibilities.

What method of making books do you want to try next?
I have had a long term interest in using text within my work therefore I suppose I would be interested in exploring different types of text and what I can do with it, therefore developing my work in this way.

What was the biggest challenge in making your book?
Definitely for me not getting too expressive in the making, so that the object becomes too fragile for the viewer. Although I have to say this is often really what I am looking for, a depiction of strong and fragile within the same object, so a bit of challenge. I have also attended a number of print making workshops in order to extend my knowledge and skills with printing methods. I don’t deny that this is quite a challenge for me I work expressively, precision and constraint is not something I am necessarily very good at.

Do you have any favorite book artists?
There are so many artist’s work that I find inspiring generally, I haven’t really just looked at artists who concentrate on this medium. I’m interested in how the making of book art can influence the expression and physicality of my ideas.

Where can people find out more about your work?
www.joanbirkettart.com

Interview with Carol Miller about Artist Books

I haven’t met Carol Miller in person… yet. But through another artist, Joan Birkett, we’ve collaborated on a couple of art book exhibitions. Carol is also a very talented illustrator. Her graphite drawings for Drawlloween 2018 are amazing. I was really impressed with her pieces for Reading Between the Lines and Turning the Page, doubly so since they were her first foray into artist books. She answered a few questions about her work. Check out her interview below.

How long have you been making art books?
Before being invited to participate in this project, I had not made any artists books since my Art Foundation Course.

Why do you like making books? / What do you like about making books compared to other forms of expression?
I enjoyed the tactile nature and sculptural quality of the final works.

Producing work which people are actively encouraged to handle and interact with and which would be enhanced by the potential ‘destructive nature’ of that handling added an additional element not possible in my other work.

Do you have a favourite method or technique to make books?
Whenever I start a piece of work the process is always fluid and I never have an end ‘work’ or image in mind, rather letting the work and lead me.

I approached making books in the same way.   I did rediscover the joy of Ink and bleach and produced 3 of the books using this technique.  I’m not sure I would say it was my favourite technique, more that I got slightly obsessed with it for a while.

“Dirty Washing” Photo courtesy of the artist

The books I made using this technique are still amongst some of my favourite work.

What method of making books do you want to try next?
The books I made for the project were originals and I would like to explore the possibility of producing affordable editions.

What was the biggest challenge in making your book?
Honestly, stopping.  My one book contribution to the project turned fairly rapidly into five.

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Do you have any favourite book artists?
As a ‘newbie’ to the world of artists books, not yet but I enjoy the journey of discovery.

Where can people find out more about your work? (Social Media etc)
Website               www.artistcarolmiller.com
Instagram           carol_miller_artist
Facebook            artistcarolmiller
Twitter                @carol_miller1

Photos courtesy of the artist.

Turning the Page–An Art-Book and Zine Exhibition at PAPER 2 Gallery

“Turning the Page” was an Art-book exhibition at Paper 2 gallery in Manchester that ran from September 29-October November 3, 2018. The exhibition was a collaboration between British artists and members of a Tokyo art collective called Art Byte Critique.

It was really exciting to see the collaboration between the two work and for artists from each group to see their work in the other country via Skype chats and videos.

The British artists generously shared their images of the reception at Paper 2 Gallery. It looked like a great time. I wish I could have been there.

-above images courtesy of the artists

Joan Birkett of St. Helens connected with Tokyo-based Art Byte Critique through Arthur Huang to develop relationships and collaborations. The two groups have had previous collaborations in St. Helens, UK,  at Heart of Glass  and Eccleston Community Library for for World Book Day.

Find out more about the participating artists by clicking the links below:
Jane Barwood
Joan Birkett
Paul Cousins
Deanna Gabiga
Arthur Huang
Patty Hudak
Mariko Jesse
Yuko Kamei
A.J. Malone
Jeni McConnell
Carol Miller
Julia Nascimento
Lyle Nisenholz
Mia O
Lori Ono
Jacqui Priestley
Louise Rouse
Yvonne Tinsley
Claire Weetman
Nick West

Reading Between the Lines–An Art-Book And Zines Exhibition at Launch Pad Gallery

In September, Art Byte Critique artists collaborated with artists from the UK for joint art book exhibitions in two countries. “Reading Between the Lines” at Launch Pad Gallery in Yokohama ran from September 21-October 1, 2018. “Turning the Page” was at Paper 2 gallery in Manchester from September 29-October November 3, 2018.

Joan Birket of St. Helens in the UK developed the connection to Tokyo-based Art Byte Critique to develop relationships and collaborations. The two groups have had previous collaborations in St. Helens, UK,  at Heart of Glass  and Eccleston Community Library for for World Book Day.

Arthur Huang, Art Byte Critique founder, wrote an excellent summary of “Reading Between the Lines”

We would like to thank everyone who came out over the last two weeks to see the exhibition, attend the reception party, listen to artist talks, participate in bookmaking workshops, talk with artists, and most importantly, spend quality time with all the artists’ books created by 20 artists.

It was deeply inspiring and satisfying to see people discovering the book arts for the first time, donning white gloves to pore over the works, finding inspiration in the workshops, and talking about the works and the process.

A big thank you to Fred and Ling from Launch Pad Gallery for giving us the opportunity to put this exhibition together. Their support and enthusiasm for this exhibition was priceless. Thank you to all the Art Byte Critique artists for amazing work and their collective effort in putting on a beautiful, fun, and engaging exhibition supplemented with artist talks and workshops!

Thank you to all the Northwest England artists for sharing their works with us and getting up early to have a great conversation about the book arts and creativity.

It has been an amazing two weeks and we look forward to future opportunities to share our love for book arts in the near future.

While “Reading Between The Lines” at Launch Pad Gallery closed at the beginning of October, Art Byte Critique and Northwest England Artists books were on display at PAPER 2 Gallery in Manchester for the “Turning the Page” artist book exhibition until November 3rd.

It’s been great to meet Fred and Ling at Launch Pad Gallery and to get to know the British artists and talk about books. I look forward to connecting and collaborating with them more often.

COMING SOON: Check this link to see images provided from the reception of Turning the Page at PAPER 2 Gallery

Find out more about the participating artists by clicking the links below:
Jane Barwood
Joan Birkett
Paul Cousins
Deanna Gabiga
Arthur Huang
Patty Hudak
Mariko Jesse
Yuko Kamei
A.J. Malone
Jeni McConnell
Carol Miller
Julia Nascimento
Lyle Nisenholz
Mia O
Lori Ono
Jacqui Priestley
Louise Rouse
Yvonne Tinsley
Claire Weetman
Nick West

2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Patty Hudak

The final artist of in the interview series of Art Byte Critique’s 2017 Tokyo Art Book Fair participating artists is  Patty Hudak.

From: USA
Time in Japan: 2 years
Education/ Occupation: Artist

How many TABF have you participated in?
This will be my second Tokyo Art Book Fair participation.

How long have you been making books?
I have been making books for almost 2 years.

What is your favorite kind of books to make?
I like to make books based on digital drawings.  I feel very free in the digital world to manipulate drawings without considering physical scale or the limitations of media. In this way, the process feels close to thinking.

Do you have favorite materials to use?
I like laser printing on tracing paper.  The paper reveals marks below, adding dimension to each drawing, and allowing them to react to each other., mimicking the feeling of memory and imagination, as things fade in and out of consciousness.

What is the biggest challenge for you when you make a book?
The biggest challenge for me when making the book is in the binding.

What kind of books are you making for this fair?
This year, I have created two books, both made with tracing paper and laser printing.

Tokyo Notes is based on lines and shapes drawn from ukiyoe prints.  I am abstracting the shapes of the drawings into a standardized image, with a similar relationships to the page they fall on. The shapes do not directly represent any kind of object, but reference natural forms in lines that echo some kind of Japanese esthetic.

Space Junk represents the near future as an environmental fantasy.  We have placed so many satellites and materials into our atmosphere and beyond; pieces of these materials orbit around our planet.  I imagine a technical and organic swirl, where materials and molecules begin to morph into some kind of accidental design.

What did you learn from last book fair? What are you doing differently for this book fair?
I was not prepared for the amount of enthusiasm that I saw last year at the Tokyo Art Book Fair.  The artists are earnest people, eager to share their ideas, and do not necessarily create for profit. It made me think about how accessible books are to people, and how they can affordably communicate ideas and concepts in a beautiful and direct format.

This year, I am concentrating more on the imagery than making a precious work of art.  I like the exchange aspect of the art fair, and how the fair itself becomes an exhibit of conceptual ideas, which are not always fleshed out in their most perfect form.

How did working with Art Byte Critique help you prepare your work?
Art Byte Critique’s artists have been participating in the TABF since 2014.  I got so much practical advice about such things as glues, formats, bindings,  but, most of all, ABC artists inspired me to join them in the book making experience.

Do you have any advice for people who want to start making books?
Just do it!  It doesn’t need to be complicated, don’t be afraid to express your ideas, even if imperfectly.  Allow the book to be a work in progress.

What would you like people to know about your books?
I would love for someone to respond to one of my books by making a book.  That would be great.

You can see more of Patty’s work at:
www.pattyhudak.com
Instagram: hudakpatty
Facebook: Patty Hudak
Canvas: Patty Hudak
Linked In: Patty Hudak

Photos courtesy of the artist.

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2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Louise Rouse

This is the fifth in a series of interviews with Art Byte Critique members participating in the Tokyo Art Book Fair which runs from October 5 to October 8th. This is Art Byte Critique’s fourth appearance at TABF and we are all really excited.  Louise kindly too time to do a Q&A series and provides some images of her projects.

Name: Louise Rouse
From: UK
Time in Japan: 9 years 336 days as of today. Plus 4 months before that in 2006. Plus 2 weeks before that in 2003. Plus 3 weeks before that in 1998.

Education/ Occupation: MFA / Adjunct Professor for Printmaking & Drawing, Art Program, Temple University Japan Campus

How long have you been making books?
I don’t think I could pinpoint when I started organising ideas into bound paper objects of some kind. I can remember doing that forever.

When I was in middle school I even made my maths coursework which was a large part of the final grade into a ringbound zine with elaborately designed pages printed out on our home inkjet printer. I cannot speak for the quality of the maths though…

My middle school social studies teacher liked my zine assignment submission on the subject of local church history and paintings so much he wouldn’t give it back and was still showing it to other classes the last I heard… I’m still a little mad he didn’t give it back.

At age 15 I went on a work experience placement to a teen girl magazine in London and told my class I wanted to be a magazine designer as an adult.

I think I have always used something like graphic design (even before I knew what that was) to organise my thoughts and to actually understand the world.

I instinctively tidy disparate thoughts into sequential sections that are visually easy to look at and somehow the information gets traction where otherwise it would get lost and unprocessed in the sea of un-designed chaos out there in the world.

There is almost nothing that consistently pleases me as much as beautiful images and lettering on paper that I can hold in my hands and flip back and forth through my fingers.

What is the biggest challenge for you when you make a book?
The biggest dilemma is to counter any and all inclinations to complicate an already large engineering challenge. In other words, making the book the simplest form of the idea you want to achieve because once you start editioning books you really discover the limits of one human’s time and labour.

This year I’m making a set of more elaborate books than I have in a while so we’ll see if I can actually adhere to my own hard-learned principle.

Do you have any art book heroes?
I’m indebted to Jonathan Ward who taught at my undergrad in Bristol. He told me romantic stories of his youth, carrying a suitcase of artist books around on the trains of Europe and selling them for a living. This seemed totally normal at the time, like “oh yeah, make money from artist books while traveling on trains, I dig it”.

He owns a small fine-art silkscreen press on the Isle of Weight now so it must be possible.

Also at the same university is Sarah Bodman, a dedicated book arts researcher and champion of this artform based in the Centre for Fine Print Research. Her passion and dedication to the community is inspiring. You can subscribe to her newsletter here: http://www.bookarts.uwe.ac.uk/newsletters.html

How did working with Art Byte Critique help you prepare your work?
Art Byte Critique consistently supports all members and everyone seems to really feel it at the end of each meeting. Normally as an artist, it’s very easy to feel like your work is an island of no relevance to any living being but I feel the exact opposite of that in the company of these incredible people. The combined output of our collective is like a living organism. Maybe like a wild wisteria… A bit invasive…. and sprawling…. but hella pretty.

What would you like people to know about your books?
This year I am presenting a book series of four titles, Kinjo, Tsukin, Tocho and Kabukicho (Neighborhood, Commute to work, Tokyo Metropolitan Government and the red light district of Kabukicho) Each book is made with wooden casings which are carved with the title. The wood used is all native to Japan and reflects the character of the area, the paper is also hand made paper from Japan with connotations about those locations. Inside are frottage rubbings taken by using the streets and surfaces of the city as “wild printing plates”. Creating the work itself is a very public performance and a lot of interactions occurred between me and fellow Tokyoites who caught me doing this unusual thing in public space. It has been a very engaging project to work on and given me a lot of new thoughts and ideas each day working on it and I’m looking forward to presenting the works and the diary of making it to people at the book fair.

Do you have any advice for people coming to the book fair?
Last year I found a Japanese-run stall that imported a range of small edition linocut illustration magazines from a specialist German publisher, that was a great find. Around 40 pages of full color or 2-color linocuts, carved by artists and printed by this publisher, maybe ¥9000 or so which is a steal considering. Also some unexpected finds from totally unknown young artists who should be charging a lot more for intensively loved and crafted art books and fine-printed zines.

In between all of this magic, take lots of breaks for refreshments.

You can find out more about Louise and her work at the following:
instagram.com/louise.rouse.art

instagram.com/louises_love_letters

facebook.com/louise.prints.art/

louiserouse.com (empty at the moment though but for posterity… when i get it back up)

Tokyo Art Book Fair is at Warehouse TERRADA
2-6-10 Higashishinagawa Shinagawa-ku Tokyo

Preview/Reception and Hours and Admission
October 5th (Thu) 15:00-21:00(Tentative)
Admission: 1,000 yen

Free Admission and Hours:
October 6th (Fri) 12:00-20:00
October 7th (Sat) 12:00-20:00
October 8th (Sun) 11:00-19:00

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2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Nick West

Our fourth interview in our Tokyo Art Book Fair 2017 with Art Byte Critique artists is Nick West.

Name: Nick West
From: Brighton, UK.
Time in Japan: 7 years.

How many TABF have you participated in? 
TABF 2017 will be my second artist book fair that I’ve participated in. In both years I showed my work with artists from the collective Art Byte Critique.

How long have you been making books?
I have been making books, on and off, since about 1998.

What is your favorite kind of books to make?
I’ve always been drawn to the physicality of books so I like to make books that emphasise their sculptural characteristics.

Do you have favorite materials to use?
I like to use simple materials. Just paper, thread and glue.

What kind of books are you making for this fair?
Actually, I’ve spent some time working on an installation in a gallery in the UK this summer.  This work entailed making 26 circular-bound books cut in shapes that approximate letters of the alphabet. Although there isn’t room for the whole work at TABF, I’ll be exhibiting some images and an example book from this project alongside a separate blueprint.

Nick West, A-Z² (2017)

 

 

What did you learn from last book fair? What are you doing differently for this book fair?
The best thing I saw was that the delight that people take from thumbing through books. I hope to give visitors a more tactile appreciation of my works this year.

Do you have any art book heroes?
Not art book heroes, as such, but I’ve long been interested in a French group called Oulipo. Roughly translated, ‘Oulipo’ means ‘the potential for literature’. They aren’t so well known but they were a group of writers during the 1960s who devised various ways of writing using constrained techniques. One novel, ‘A Void’ was even told without the letter e.

Do you have any advice for people who want to start making books?
Make the book you want to read.

Do you have any advice for people coming to the book fair?
There’s always loads to see at TABF. Give yourself plenty of time to get lost in the books on display.

You can find out more about Nick West and his work at:
https://www.facebook.com/nickweststudio/
Twitter – @nwestmeetseast
https://www.canvas.co.com/creatives/nick-west

Photo courtesy of the artist.

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2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Yuko Kamei

The third interview of the Art Byte Critique’s 2017 Tokyo Art Book Fair participating artists is with Yuko Kamei.

From: Japan
Time in Japan: Most of my life except 5 years in U.K.
Education/ Occupation: MFA Fine Art & BA Dance Studies
Yuko works full time while continuing her practice

How many TABF have you participated in?
This year will be my second time participating in TABF.

How long have you been making books?
My first art book came out in 2009 as part of “on concrete” exhibition which I organised together with Jörg Obergfell and Sebastian Stumpf. Working with a graphic designer in Leipzig, Germany, it was a fun collaborative project from conception to materialisation. I worked on a similar publication in 2013 with Hikaru Miyakawa along with the show titled “Platonic Obsession”. For this one I took all the initiative from the layout to selecting paper, ink color, and binding methods.

I began to take book making more seriously recently especially after my first TABF in 2016. I think I will produce more in the coming years.

What is your favorite kind of books to make?
I like books with a feel of somewhere between DIY and mechanical reproduction, which might explain why I employ photography as a main medium.

What kind of books are you making for this fair?
The new book is called “The Great Stillness”, and it is based on a photo series which I have been working on since 2012. Each picture was taken to be printed in a large size so that one can see both the whole scene and details, but for turning them into a book I wanted it to be a handy pocketable size while keeping the in-and-out movement of picture viewing. This is gradually determining the book structure, and I would like to be playful about combining different methods of printing. Like music, this will be the first remix of the ongoing project, and there could be many more versions to come.

What did you learn from last book fair? What are you doing differently for this book fair?

Picture of Yuko Kamei’s work in progress.

The great thing I learned last year was that people who will buy my book exist. Someone I don’t know took my book in his/her hand, flipped it through, liked it, and brought it home. My idea somehow clicked their mind, and I think that is very special. Because of this I am approaching this year’s TABF little more confidently. I hope it happens again this year.

How did working with Art Byte Critique help you prepare your work?
ABC for me is a serious yet inclusive place where I can be myself and fuelled to do what I do. Going to the monthly get-together helps me to get back on track and be productive.

What would you like people to know about your books?
Making books is like creating a framework to perch upon for the ideas that float inside my head. It is becoming an important medium for me apart from photography.

You can see more of Yuko’s work at:
http://yuccak.net

Photo courtesy of the artist.
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2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Arthur Huang

Arthur Huang took time out to do a Q &A session for the interview series with Art Byte Critique members participating in the Tokyo Art Book Fair. TABF  runs from October 5 to October 8th.

Name:  Arthur Huang
From:  United States
Time in Japan:  Eight years
Occupation: Artist / Researcher

How many TABF have you participated in?
2017 will be the fourth time that I have participated in the Tokyo Art Book Fair.

How long have you been making books?
I have been making artist’s books and zines off and on for the last four years

What is your favorite kind of books to make?
I like to make books which have something unique or unusual in their structure and form.

Do you have favorite materials to use?
I have a fondness for transparent and translucent materials although those materials can be a challenge to translate into book form.

What is the biggest challenge for you when you make a book?
Finding a balance between content and form like any other creative genre continues to be the biggest challenge for me.  I often struggle with finding a unique form that does not overpower or silence the content of the book.

What kind of books are you making for this fair?
I am going to publish the second issue in my Dialogue zine series where I take my practice of Daily Drawings and translate that to book form.  For the second issue, I am going to shrink the size of the zine and focus on the development on one drawing rather than two opposing drawings.  The second issue will be more of an internal dialogue.

I am also going to publish the first 2016 Memory Walks artist book.  I have worked with my Memory Walks project regularly in book form over the last four years.  The sequential and archival nature of that project seems to lend itself well to the book form.  For the 2016 Memory Walks Artist’s Book Project, I will create a series of 12 books, one for each month, which will consist of images from my 2016 Memory Walks eggshell drawings.  The books will hopefully be released each month with the inaugural release being October 2016.  The size and form of the books will resemble and eggshell, that is smaller and round.  That is all I will say about the book itself so as to encourage you to come out to TABF 2017 in October!

What did you learn from last book fair? What are you doing differently for this book fair?
Every year at the TABF is different.  You never know where your booth is going to be, you cannot control the weather, and you cannot control who buys your books.  I think like any other creative endeavour, I have decided that I will focus on making books and zines that interest me process-wise.

Do you have any art book heroes?
Brian Dettmer and Maya Lin

Do you have any advice for people who want to start making books?
Just start with some blank pieces of paper and learn how to create the book structures you are interested in.  Worst case, you have a spare memo pad in book form, best case, you have an awesome new notebook for yourself.

How did working with Art Byte Critique help you prepare your work?
It is also helpful to know that other people are working towards the same goal as you.  Ever since the first time ABC participated in the TABF in 2014, there have always been a group of artists that want to work towards the next year’s TABF.  There are also artists who have never made artist’s books or zines that find their way into that world.  And the regular meetings, of course, as it always helps to have deadlines.

Do you have any advice for people coming to the book fair?
If you have the time, I suggest going through the entire book fair rather quickly to scout out booths that catch your eye.  On the second pass, take your time visiting booths that pique your interest.  Talk with the artists.  Divide your budget for buying books and zines over the number of days you are planning to visit, so you can buy that last minute discovery.

Learn more about Arthur and his work or follow him on social media:
www.arthurjhuang.com (Website)
arthurjhuang.wordpress.com (Blog)
Instagram: @lifeasaconsumer
Twitter: @lifeasaconsumer

Tokyo Art Book Fair is at Warehouse TERRADA
2-6-10 Higashishinagawa Shinagawa-ku Tokyo

Preview/Reception and Hours and Admission
October 5th (Thu) 15:00-21:00(Tentative)
Admission: 1,000 yen

Free Admission and Hours:
October 6th (Fri) 12:00-20:00
October 7th (Sat) 12:00-20:00
October 8th (Sun) 11:00-19:00

This interview also appears on the Art Byte Critique website.

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