Yale University Press
Art publishing has been slow to wake up to digital and not just because it is a notoriously conservative industry. One difficulty lies in production: securing digital image rights is a slog. Another, more serious, question is whether there is a market for this sort of thing.
Scholars can be sniffy: "There is a huge resistance in academia to ebooks, especially in art and art history," an editor from Yale University Press told an American journal. As for the museum-going public, good luck convincing them
As the first week in September comes to a close, we are reminded that in just two short weeks we'll be opening the doors at the New York Marriot Marquis and welcoming in over one thousand publishers, editors, tech masters and industry vendors. As we ramp up to the big event, it only seems right to remind ourselves why we put ourselves through all the last-minute booking, speech preparation, and general stress that comes with an event such as the Publishing Business Conference & Expo.
The Association of American University Presses (AAUP)—an organization of nonprofit publishers whose members strive to advance scholarship through their offerings—believes that the university press segment’s fundamental mission has not changed since America’s oldest university press, The Johns Hopkins University Press, was founded in 1878. However, the landscape in which its members operate has changed greatly, and the forecast calls for additional change in the future. As throughout the rest of the publishing industry, driving this change are advances in digital technologies. A varying segment According to Steve Maikowski, director of NYU Press, the university press world is divided into four major sales groups
In the months following the Sept. 11 attacks, museum admissions declined sharply, exhibitions were cancelled, and in the turbulence, administrators began examining whether they could continue to publish books as a result. Today, “there is generally a very optimistic feeling, which is not to say it’s easy. It’s still very difficult, but it’s an exciting time, and I feel really good about our future,” says Yale University Press Publisher Patricia Fidler. “No one was saying that a few years ago.” Currently, her art and architecture division publishes 120 books annually, of which roughly 60 percent stem from Yale’s museum partners. Stephanie Medlock,
It’s more important than ever to get books to the market fast. More days in production can mean fewer days on the market and fewer sales. For many publishers, especially those producing many titles simultaneously, good production scheduling tools are essential in keeping projects easily trackable, on schedule and problem-free. Here, Book Business takes a look at some of the industry’s leading software providers and the software on the market to help you with the complex task of production scheduling. AEC Software Product: FastTrack Schedule 9 Description: Colorful timelines and calendars are designed to illustrate project deadlines, status and goals. Production details are centralized, aiming to control your
The one thing that remains constant in the book publishing industry is change. That seems to be the underlying response from book publishing industry leaders interviewed by Book Business magazine in various market segments—trade, educational, professional, scientific, technical and medical, university presses among others. These top executives describe the challenges they foresee in the industry, and their strategies for making the years ahead profitable: • William J. Pesce, president and CEO, John Wiley & Sons Inc. • Lisa Holton, president, Scholastic Trade Books and Book Fairs • Philip Shaw, managing director, Elsevier Science and Technology Books • Eric Beck, vice president of sales and marketing, Continental