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    IAF INTERFICTIONS ONLINE INDIEGOGO CAMPAIGN ends above target goal

    Thanks to 277 generous backers for our Interfictions Indiegogo Campaign, we raised $10,318 by the time our campaign ended at midnight, July 14th, 2014.  When we launched on June 3rd, we were staggered to find donations doubling almost daily, until after about 3 weeks we had reached our original target goal of $8,500, and were able to move on to our Stretch Goal of $10,000.

    Which means we not only get to publish Interfictions Online for another year, but we can pay our contributors at higher rates now, rates more in line with the effort and talent that innovation requires. Thank you, each and every one of the 277 generous donors who stepped forward to say that interstitial art is valued and valuable. The number of people is as important as the number of dollars raised. We are awed by your generosity.
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    INTERFICTIONS issue #3 is up online!

    The editors of Interfictions Online are happy to announce the birth of the journal’s latest issue, on May 22, 2014!

    The Spring 2014 issue’s non-fiction offerings include Mark Craddock’s poignant collage in Aerial Acrobatics and Gender Reassignment Surgery – A How-To Guide, while Inda Lauryn’s Parallels and Transitions splices analysis of contemporary female vocalists into a graduate school memoir. Isabel Yap’s Life Is Not a Shoujo Manga speaks for itself. And in an interview with Jeff VanderMeer and Jeremy Zerfoss, the two creators discuss their illustrated guide to writing, Wonderbook.

    The fiction offerings remix tropes from ghosts to automata, with new work by Richard Butner, Su-Yee Lin, Kat Howard, Tade Thompson and S. Craig Renfroe Jr.

    Several of the poems in this issue reimagine older narratives: Sridala Swami’s AI Winter draws on the Mahabharata, Sonya Taaffe’s Double Business on Hamlet, and Mary Alexandra Agner’s Hypothesis Between Your Ribs on the brief life of Charles Darwin’s daughter.

    [...]

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  • Book Artist: an interview with Papaveria Press founder Erzebet YellowBoy Carr
    by mallen | March 29th, 2011 |

    (Eds. note: Interstitial March continues with an interview with Erzebet YellowBoy Carr, author, poet, artist and founder of Papaveria Press.)

    A work in progress: one of Papaveria Press’s limited edition handbound volumes of Alex Dally MacFarlane’s”Two Coins”

    What do you do, and how is it interstitial?

    The fact that I can’t even think of one label to sum up what I do should indicate its interstitiality. One year I’m a publisher, the next an artist, the next an author, but they’re never separate from each other. Each influences the other, facets of one appear in all and when I’m asked what I do for a living, I draw a blank. I have been yearning for that one label for my entire life, if only for the sake of my sanity.

    Right now I mostly make books. I’d say that most of those books are not interstitial. A traditionally bound book is a book and generally cannot be categorised as anything but a book. The content I publish in those books is, for the most part, easily categorized. The limited editions produced by Papaveria are books that just happen to have unusual covers. The book assemblages I create are where the interstitiality happens. In those pieces elements of the book form are explored and utilised to give the impression of a book. Pages can sometimes be turned, text of some sort is almost always present, and each one brings to mind the idea of a book, but they are not books. They are book art, and that label brings its own interesting dilemmas as even the artists who work with books cannot agree on a definition of “book artist” or “artist book”. Richard Miller says that an “‘Artists book’ is a [controversial term given to] book or book-like object in which the primary interest, or emphasis, is visual rather than textual.” (from the Books Arts List, March 1998) Others disagree, claiming that even this broad definition boxes us in.

    A complete “Two Coins”

    For a long time, the field of book arts fell into this interstitial space (at the time known as limbo), where it wasn’t traditional bookbinding but neither was it recognised as fine art. Since it wasn’t one or the other, it was impossible for the artists to achieve any kind of recognition. They were simply written off.

    I would like to mention one book I’ve published that stands out as possibly being interstitial. There are stories in Amal El-Mohtar’s collection The Honey Month that certainly fall under fantasy. There are poems in the collection that are literary, there is food tasting which falls under… what? Food critique? Who knows! There is artwork in there by Oliver Hunter that defies any label I know. (Eds. note: the Interstitial March series also contains C.S.E. Cooney’s review of The Honey Month and interview with Amal El-Mohtar — click the links to read them.)

    Has being interstitial (i.e. creating a project that falls outside recognized marketing categories) created difficulties for you? If so, how?

    My difficulty lies in promoting the work. If I can’t figure out what to call it, how can I possibly attract interest in it? Where do I go to market it? What do I do with it? I’ve got stuff lying around the house that I probably should get out there into the world, but where do I put it? How do I figure out who wants it? I believe that for everything, a label can be found. Sometimes it’s like squeezing into those old jeans — uncomfortable, but at least you’re in. The question one has to ask is, is the discomfort worth it? For me, it’s not.

    “Chanteys for the Fisherangels,” a poetry collection from Papaveria Press

    What strategies have you used to get around this? What advice would you give to another interstitial artist in a similar position?

    My strategy was to give up worrying about these things, and to simply focus on the work itself. If I want to make a book, I make a book. If I want to create some unusual assemblage with paper and bone, I do that. I put them on my website and hope for the best. I take the systems and industries that require a label with a grain of salt, and in no cases do I let a lack of a label stop me. That would be my advice: do what you’re called to do and don’t let anything stop you.

    If you could change one thing about the situation, what would it be?

    There are a lot of brilliant artists out there, and authors, and all manner of creative people, who are right now being overlooked because their work doesn’t fit into any predefined categories. I would see that change. I would see something in place for those people who look at their finished product and think what have I done. There is nothing worse than exciting work collecting dust on a closet shelf.

    Bio:

    Erzebet YellowBoy Carr is an author, artist, and bookbinder, and the founder of Papaveria Press, a micropress specialising in fairy tales and fantasies. She is the co-editor (with Donna Quattrone) of Cabinet des Fées and (with Sean Wallace) of Jabberwocky. Her work is concerned with memory and transformation, and she loves fairy tales. Visit her website at www.erzebet.com.

    finish line

    4 Responses to “Book Artist: an interview with Papaveria Press founder Erzebet YellowBoy Carr”

    1. Amal El-Mohtar Says:

      Such awesomeness!

    2. SF Signal: SF Tidbits for 3/30/11 Says:

      [...] for April 2011 » SF Tidbits for 3/30/11 Interviews/Profiles Mike Allen interviews Erzebet Yellowboy Carr. The Functional Nerds interviews Ari Marmell (podcast).Jennifer Konieczny profiles George R. R. [...]

    3. March 30, 2011 Links and Plugs : Hobbies and Rides Says:

      [...] Mike Allen interviews Erzebet Yellowboy Carr. [...]

    4. Ellen Kushner Says:

      *If you could change one thing about the situation, what would it be?*

      “There are a lot of brilliant artists out there. . . who are right now being overlooked because their work doesn’t fit into any predefined categories. I would see that change.”

      So would we! That is, in a nutshell, what the IAF was founded to work to try to achieve. Inch by inch, row by row…

      Thank you for adding your strength to our efforts with this lovely interview, and your wonderful work.

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