Talia Linz’s presentation also questioned whose needs are being addressed in systems of knowledge production and dissemination. Coming from an institutional perspective, Sydney’s Artspace, Linz acknowledged that publishing often involves compromising funding from other areas of programming, however she believes independent spaces have a responsibility to rethink existing models. Artspace explored this with 2015’s Volume Art Book Fair which employed an accessible model and featured Book Machine, a project which allowed participants to create and instantly publish books in an informal, collaborative environment. Linz observed that the ubiquity of digital also means a turnback to these analogue forms, another reminder of the book’s relationship to the body.
"TAKE precipitated a longtime dream to connect the stories and knowledge of artists, art historians, critics, curators, gallerists and administrators, without distinction, while evolving a language for art writing that could establish camaraderie between these various wheels that propel the arts forward. It eventually took form and took off into the art world’s orbit in 2009 with the mission to infuse conversation and discourse on the arts into the phantasmagoric shell that the boom had turned art into. TAKE was committed to being a platform for its readers and writers—far apart as they might be physically—to come together in the simultaneity of its pages. I wanted the journal to not just be the end result of the efforts of its contributors, but also be the friend and the mentor that I had sought while starting out—a witness and participant to coffee table discussions, tea stall banter and the wine and cheese of the white cube—in the formal, more accessible mode of a publication."
- Excerpt from the editorial by Bhavna Kakar