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Shaikh Farukh. Cristi Soft. Velmurugan Gurusamy Pandian. How can a typical book on this subject, such as a monograph, consisting of around , words and illustrations, be made to work? Reproduction fees are one significant issue.
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Although it is true that some museums are making more images freely available, especially for academic publication, in the United Kingdom they have been remarkably reluctant to do so, blaming the need to sustain revenues in a time of declining public subsidy.
Not only are authors increasingly expected to shoulder this financial burden, they are now also often expected to supply their text for nothing, or a nominal fee. Deplorable as this undoubtedly is, it reflects the economic reality of publishing a serious art history title. For such a book to be viable it either needs to be subsidised — by a charitable foundation or an academic institution if not the author — or it has to sell around 3, copies. That is a very tall order for a specialised academic title, which in most subjects typically sell fewer than 1, copies.
One problem is that art history books are too cheap. That is in part a reflection of the industry-wide pressure on book prices created by the ending in the mids of the Net Book Agreement which had made it impossible for booksellers to discount book prices. The abolition of the Net Book Agreement also led to the disappearance of book clubs which had offered discounted titles to their members , whose orders used to add substantial numbers to a print run, bringing down the cost of the individual books.
Information about print runs is hard to obtain, but there is no doubt that in one category, exhibition catalogues, the sale figures for academic art history can be impressive.
That explains why institutions that have closed their bookpublishing arms in recent years, such as the Victoria and Albert Museum, London, have continued to publish their own exhibition catalogues, as the profits are reasonably well guaranteed.
It must surely be the case, however, that the demands on museum curators to stage such ambitious and expensive exhibitions make it increasingly difficult for them to find time to write books with no exhibition for a peg.
[Burlington club catalogues, 1868-1896
By contrast, art historians in universities are under pressure to publish, but increasingly they seem intent on following the precedent of colleagues in literature departments by writing in technical and obscure language. The suspicion must be that the difficulties in selling books on art history are a matter of supply as much as demand. Paradoxically, perhaps, the easy availability of high-quality images of works of art has shifted attention to the text in books on art, since it is now rarely possible to assume that people will download them simply for their illustrations.It is easy to envisage a time in which all publications are digital but as far as illustrated books are concerned, that day is still some way off.
Anonymous JsgoHdcd. Teacher's versions and Student's versions are available for 1 x 1 digital classroom environments. Select the correct speaker option. The way to sell more books on art history is to encourage more people to read them, and that will be achieved not by technological or economic innovation but by something that this Magazine, and now the books it will publish, has always endeavoured to provide — good writing.
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It highlights the special issues and vulnerabilities of older women, older men and persons from the LGTB community. This is an appetite that is much less often satisfied by art historians. Alan Nungaray.
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