This series features interviews with independent photobook publishers. This month’s interview is with the founder of Dais Books, Shawn Bush.
Small details are important and carefully considered. All archive images from At No Point In Between have an additional layer of clear varnish over them.
Don’t Take Pictures: How would you describe your publishing house to someone who has never seen your books?
Shawn Bush: Dais Books is an independent publisher devoted to making artists’ books in small editions with handmade qualities. Each unique publication is a limited-edition object, stemming from an intimate and collaborative effort between artist and designers. Our aim is to showcase visual artists who are dedicated to experimenting with innovative methods of visual communication through a limited circulation of beautifully produced and highly collectible books. The focus for the final product is to meld concept, material, image, text to enhance user experience and amplify concept. The materiality of the form is key in how I approach bookmaking.
DTP: What series of events led you to start your own publishing house?
SB: Over the past 10 years, I have been producing my own artist books and for others. I have also been lucky enough to have had the opportunity to work as a designer on large run photo book projects, which gave me insight into how I could fit into the increasing world of photo book publishers. Working as a designer allowed me to understand the production and financial aspects of producing a large edition of books. It also made me understand that there are tons of photo books out there, many of which are poorly designed and in too large of an edition. I was frustrated with the parameters that publishers gave me when designing books and wanted to break that barrier, so I decided to create my own formula. Once I hand-produced an edition of A Golden State for Skylark Editions in my small studio, I knew that I could do the same for other artists at a larger scale than I had been used to. Also, right around the time when I was thinking about starting an imprint, I moved to Wyoming to teach full time, disconnecting me from any art community. Dais is also a way for me to stay connected and engaged within the photo community outside my own practice.
DTP: How do you find photographers that you want to work with and how do you determine what might make a good photo book?
SB: That is a difficult question to answer and one that I am unsure I have 100% defined parameters for, though I will do my best. There are many ways that I look for photographers such a through seeing their work in a gallery, viewing an artist lecture, looking at previous publications they have participated in, Instagram, artist websites and/or suggestions from other artists. I also keep a close eye to graduating MFA students, as I am interested in highlighting talent that is about the break the cusp of being described as an “emerging” artist. One element of an artists practice that I look for when selecting an artist is how they use material and space, inside and outside of the gallery environment. A well-rounded practice is a must for me when selecting an artist.
My choice to work with Zora is a culmination of all of the above. I could see how he played with those elements and his ability to seamlessly integrate his images with ephemera and installation, showing he has a clear understanding of the works intentions. For me, a good photo book brings together the best parts of one’s (well rounded) practice and places them in a book. How a photographer works outside of the photography informs how book design and material will enhance experience. If there is cohesion between images, installation, material and concept in a gallery space, there is a lot of ground to work with when bringing that to a book.
The inaugural Dais book, Zora J. Murff’s At No Point In Between.
DTP: Have there been any books that have been particularly rewarding to produce or that you felt a special kinship with?
SB: Zora’s book At No Point In Between is the first fully produced and available title, so I will have to default to his book, though I don’t think that will change in the future. Starting this company was an emotional process and a decision that I mulled over for years. Zora was a huge part in making that a realty. It was truly an honor to work with him to produce At No Point In Between. He was a pleasure to work with and sets the bar for all other Dais published artists moving forward. We worked long and hard on that design and it took me over 200 hours to hand make those books myself. Once I was finally done and the books were out in the world showing everyone how amazing Zora’s work is, I felt a huge sense of relief, pride and emotion. Enough to make me cry.
Zora’s interest in ephemera sparked the design for the pamphlet and integration with the archive image seated below.
DTP: What was one of the most challenging books that you have published and why?
SB: Producing any book is a challenge. If it is not a challenge, someone (probably the designer and/or publisher) is not trying hard enough and corners are being cut, which is something we see that a lot in the photo book world unfortunately. With Dais, the biggest challenge has been the pre-production process working with artists to design the best book possible, as there is so much to consider. Hand-making all of the books myself certainly takes time, though I can easily estimate how much time will be needed given on edition size, materials and design. I know how long it takes me to do the necessary tasks to produce a book. The design/collaboration process to get to the point of production, I cannot accurately estimate. It took Zora and I almost a year to design and produce At No Point In Between. It is a slow process and one that cannot be rushed. The challenge to work and rework a design until it lives its best life is what drives me to continue Dais. I don’t think of the challenge as negative, though have had those experiences as a freelance designer (aside from Dais) working with wealthy amateur photographers, which were painful experiences.
Mock forThe Tower, The Range.
DTP: It seems that an increasing number of photographers, at all stages of their careers, are looking to publish a book. What should photographers think about before they embark on the book process?
SB: There is a lot to consider. The first question that any artist needs to ask themselves is why does this work need to live in a book and who is the audience? This is a hard question to ask oneself, as there is enormous pressure for artists to be active in the art world and a book is an easy venue for that. Not every photo project should live in a book through. Be open and honest about your intentions with the work and continually question those intentions. Photo books and all art books used to be a pillar in one’s career that happened every so often, not every two years. With the number of publishers that are present, that is no longer the case, resulting in an oversaturated market and plenty of books that shouldn’t have been produced in a high-volume manner.
The second thing I would suggest is to do your research before contacting any publisher, months or years ahead. Look for a publisher that has a lineage of artists that your work fits with. Contact (some of) those artists and see how their experience was working with said publisher and if warranted, share information about their contract. See who runs the publication and research them. Each publisher should have a mission that you and your work align with. Again, there are so many publishers that there is a high likelihood that one exists which will suit your needs. Be cautious though, there are many who prey on the innate desire for ones work to be accepted, to be displayed, to be chosen and will create 500 or more of your books for $20,000 to 30,000 (a sum almost no artist has to give away). Be real with yourself and your expectations.
Lastly, be ready to pay and not get paid (or least until production costs are recouped, which could take years). There are a small number of publishers in the world that fully fund an entire production without artist contribution, Dais being one of them. From my experience as an artist and publisher, most contracts revolve around the artist paying for the entire production and then splitting the edition and/or profits from the edition. If a publisher is willing to pay for your production, they really believe in the work and subsequent book, which should say a lot if you find yourself in that situation.
Visit the Dais Books website to learn more about their books.