Award-winning illustrator Carol Fabricatore, a longtime subscriber and contributor, as well as Professor of Art at School of Visual Arts, also offers workshops at Kykuit (the Rockefeller Estate), in Westchester. She has been awarded numerous residencies from Alaska to Ireland to foster her work as a painter. Among her independent projects is a series of paintings of women from the Coney Island Mermaid Parade, which she created during a residency at Byrdcliffe, in Woodstock. With that in mind, we reached out to her as a representative for Women’s History Month in this email interview.

Peggy Roalf: Do you remember the first art book you ever purchased, and why it caught your attention?

Carol Fabricatore: One of the first art books I ever purchased was N. C. Wyeth: The Collected Paintings, Illustrations, and Murals. It holds a special place in my heart because I first encountered Wyeth's work as a young child in our town library. I vividly remember being captivated by his illustration 'The Giant,' though I didn't know the artist behind it at the time. Years later, during art school, I stumbled upon this book in the library and turned straight to the page featuring 'The Giant.' The rush of recognition and joy I felt then solidified my admiration for Wyeth's artistry and introduced me to the world of the Brandywine artists. Another cherished early addition to my collection is Egon Schiele's breathtaking book of watercolors and drawings, which I found at the Strand bookstore. What a treasure! These books inspired my artistic journey and remind me of the profound impact art can have from a young age.

PR: How many libraries do you have? How do they differ? Where are they located? 

CF: I have always been passionate about collecting books, especially art books. My most extensive library is in my studio, where I keep a vast collection of art books that continue to inform my work. At the school where I teach, I maintain mini libraries in different lockers, constantly rotating books to share with my students—introducing them to new artists, techniques, and ideas. I have smaller libraries in various rooms at home, each serving a different purpose. One of the most cherished is filled with books from my childhood and my daughter’s childhood—treasures I will keep forever and eventually pass down to her. Each library reflects different parts of my life, my love of learning, and my desire to share that love with others.

PR: What went into your choice of bookcases? Is there any research? Any seen/envied among friends/colleagues? Any particular manufacturer?

CF: I’ve always collected large and heavy art books—coffee table books, medium and oversized volumes—so durability was a key factor in choosing bookshelves. My husband suggested the [metal] Metro Shelving because it’s strong enough to handle the weight while offering flexibility in shelf height. That practicality made it the perfect solution for my studio and many of my bookshelves at home. When I had a studio in the city, I opted for tall, painted metal bookshelves with a similar industrial feel. I have beautiful wooden bookshelves in our living room that hold other types of books, adding warmth and character to the space. I’ve also incorporated smaller, wall-mounted shelves throughout our home to maximize space while keeping treasured books within easy reach.

PR: Please share some ideas with the readers about organizing all the different kinds of books and objects in your library. 

CF: Organization has never been my strong suit—I have to admit, I’ve never been one to alphabetize my books! Instead, my library is in a constant state of motion. I’m always pulling books off the shelves, poring over them for inspiration, and leaving them around my studio or bringing them to class to share with students, depending on what projects they’re working on. I’ve been collecting books since I was a kid, and over time, I’ve developed a system that works for me: I organize them by subject. For example, I group books on drawing, painting, anatomy, graphic design, printmaking, graphic novels, children’s books, series, etc. Since I’m constantly taking books off the shelves, I try to keep the space uncluttered, avoiding too many objects in front of them. My sketchbooks also occupy shelf space—so much so that I’ve officially run out of room!

PR: How do you maintain your library? For example, do you periodically take it apart and reorganize it, or something along those lines? 

CF: I try to reorganize my library during the summer, usually when I bring back many of the books from my school lockers. But every time I attempt to put things in order, I realize I’ve accumulated even more books, and suddenly, space becomes an issue again! No matter how much I rearrange, it always seems like I need more shelves.

 PR: What do you do when you run out of shelf space? Do you ever weed out volumes that you feel you are done with?

CF: I can’t help but run out of shelf space—it’s a constant cycle! I’ve tried to pare down my collection by donating books to our local library and art center, but it always feels like I’m only making room for more. Parting with books, especially those that have been a source of inspiration, knowledge, and comfort, is surprisingly difficult for me. So, even though I try to weed out the volumes I no longer need, a stack always stays close by, ready to offer new insights or revisit old ones.

PR: Have you ever had to move your library? What are the best and worst things about moving this kind of collection?

CF: When I moved out of the city years ago, boxing up my entire library was daunting—but the reward was worth it. Transitioning from a one-bedroom apartment to a house meant finally having the space to organize and expand my collection. I also had to move the books from my rented studio, which added to the challenge. I’ll never forget the movers’ reactions when they saw all the boxes filled with books—they took one look, groaned, and braced themselves for the heavy lifting. The best part of the move was gaining more room to house my books; the worst was carrying them all! I moved one more time, into a bigger house, several years later. That was good for culling out some books I wasn’t using. 

PR: What are the best bookcases you have ever seen, and what do you envy about them? 

CF: I’ve seen some incredible floor-to-ceiling built-in bookcases that I’ve envied—they create such a beautiful, immersive space for books. But for me, it’s always been more about the books and having easy access to them than the shelves they sit on. As long as I can easily reach for a book, I’m happy with the bookcases I have!

PR: Is there anything you might want to include about favorite libraries for researching over the years? 

CF: I’ve always loved the New York Public Library’s Picture Collection. I frequently visited to research and find rare, unexpected images to work from for illustration projects. It was an incredible resource, filled with photographs and reference materials I had never seen anywhere else—especially historical imagery. It offered something far beyond what you could find with a quick online search.

Another library I’ve relied on over the years is the SVA Library. Their collection of art books is outstanding, and I’ve spent hours browsing and discovering newideas there. And while it’s not a library, I have to mention the bookstore at the Metropolitan Museum of Art—it’s a dangerous place for a book lover like me! Every time I visit, I walk out with more books than I intended, but I can never resist adding to my collection. 

PR: Do you consider being a bibliophile a form of madness?

CF: Not at all! For me, books are my teachers, my guides, and my constant source of motivation. They help me push through creative slumps and remind me of what’s possible. Whenever I need a nudge, I turn tomy books—they remind me to be fearless and keep going.

Carol Fabricatore is a visual artist based in the New York City area, renowned for her narrative imagery and emotional depth. Drawing from the cultural diversity of urban life and natural landscapes, her work delves into the intricate beauty and complexity of human experiences. Utilizing acrylic and gouache, Carol creates compelling stories that capture the essence of her surroundings.

Carol's artistic journey began in editorial and book illustration, where she collaborated with publishers such as The Franklin Library and Little, Brown, and Company. Her illustrations have graced the pages of The New York Times, The Wall Street Journal, and The Chicago Tribune, reflecting her talent for crafting evocative visual narratives.

With an MFA from the School of Visual Arts, Carol Fabricatore continues to inspire through her dual roles as an artist and educator. For over two decades, she has enriched the graduate and undergraduate programs at SVA with her expertise in narrative drawing. Her exploration of landscape and form is deeply rooted in residencies across Alaska, Mexico, Ireland, and the United States. Carol's work has been showcased in solo exhibitions and group shows worldwide, including venues such as the SVA Visual Arts Gallery, The National Arts Club in NYC, and St. Rémy de Provence in France. She has been recognized in publications like American Illustration, Communication Arts, and the Society of Illustrators affirming her impact on contemporary visual arts.

Website: carolfabricatore.com

IG: @cfabricatore