In a digital world increasingly dominated by ephemeral media, independent publishing in Australia is experiencing a renaissance marked by creativity, collaboration and diverse narratives.
Spurred on by National Reading Survey results, showing 42 per cent of Australians are “occasional” readers and read a book every 15 weeks at most, the Melbourne Art Book Fair (MABF) — part of this year’s Design Week 2025 — is out to cultivate a vibrant reading culture.
Indie publishers “play a disproportionate role … in nurturing young talent”, Monash University media lecturer Ben Eltham told the ABC earlier this year. (Supplied: Melbourne Art Book Fair/Tobias Titz)
The Stallholder Fair, from May 16–18, showcases more than 100 leading publishers and artists from the Asia-Pacific region, with limited-edition books, prints and magazines.
And the flourishing indie publishing scene is right at the forefront.
Indie publishing movement
Indie publishing — small scale, often self-directed and with a focus on unique content and alternative voices — is “having a moment”, says Dr Megan Patty, publisher at the National Gallery of Victoria (NGV), and founder and curator of the MABF.
That’s in part because, in recent years, an influx of independent publishers has filled the gaps left by traditional publishing houses, offering fresh perspectives.
These publishers are part of a movement that focuses on collaboration, experimentation and support for emerging artists. They are a catalyst for creative dialogue and community-building.
The fair allows for “real-world connections and conversations” around books, curator Megan Patty says. (Supplied: Melbourne Art Book Fair/Tobias Titz)
The MABF has grown in response to this style of publishing, highlighting the importance of inclusivity and community-building in the literary world.
“Every year has been bigger and better for us,” says Perimeter Books co-founder Dan Rule, a proud participant in the fair since its inception in 2014.
Established in 2011, Perimeter has published more than 100 works focusing on the interrelation between a book’s form and the content it carries.
Rule draws inspiration from art critics like late New Yorker critic Peter Schjeldahl, and works closely with artists to translate their ideas into publications.
“Being a publisher is inherently collaborative,” Rule says; the creative process involves partnering with artists, designers and writers to bring their visions to life.
Resisting homogenisation
Indie publishers face unique challenges, particularly in funding and business sustainability.
Recently, three Australian independent publishing houses — Text, Affirm and Pantera — were acquired by multinational publishing houses.
“History shows that mergers often result in the dissolution of the smaller imprint,” editor and researcher Alice Grundy wrote in The Conversation.
And while acquisitions by mainstream publishers can offer some positives, like increased distribution reach and financial stability, they also raise important concerns; namely, that being acquired could threaten indie publishers’ editorial independence, leading to homogenisation and the loss of diverse, innovative voices.
Those innovative voices include marginalised perspectives, those experimenting with form, and authors who are emerging.
As Rule notes: “Independent publishers can take the kind of risks around the specificities of content, perspective and form that larger publishers simply cannot.”
Transforming ideas
Despite the challenges, the industry is far from devoid of good news stories.
“Variety is good for the industry,” Millicent Weber, lecturer in English at the ANU, told the ABC. (Supplied: Melbourne Art Book Fair/Sarah Pannell)
Perimeter has built a flexible business model rooted in three pillars: publishing, distribution and retail, and Rule says this integrated approach ensures that each aspect supports the others.
Uro Publications, co-founded by Mat Ward and Andrew McKenzie nearly 20 years ago, has carved a niche as a leading publisher of architecture and design books.
“As a local architecture and design publisher, there needs to be a conversation about how we shape our built environment for the people that live here,” Ward says, aligning with the fair’s commitment to diverse narratives.
Uro’s publications often challenge conventional formats, featuring authoritative voices from architectural critics and innovative practitioners, which “foster fruitful discussions, [which] enrich the community, ultimately transforming how architecture is perceived”.
“I get a kick out of providing a platform for people to share their expertise and ideas,” Ward says.
Growth year on year
Over its 11-year history, the MABF has established itself as a vital platform, not only for showcasing innovative art and design publications, but for enhancing literacy and promoting cultural discourse across Australia.
“Every year, the anticipation builds,” Dr Patty says.
“It’s incredible to see how the fair continues to foster connections within the creative community and engage audiences in meaningful ways.”
Since its inception, more than 200,000 people have attended the MABF.
For Dr Patty, every interaction represents an opportunity to ignite a passion for reading, particularly among young children who are more likely to develop lifelong reading habits when exposed to vibrant art books and interactive storytelling experiences.
“Find your people, collaborate, and get offline,” she says.
“Because it’s in those real-world connections and conversations that the future of indie publishing truly takes shape.”
Melbourne Design Week and the Melbourne Art Book Fair run from May 15–25.
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