Not For Tourists is an alternative guide to New York City's contemporary art scene. In each <H>ART-edition, NY-based curator Niels Van Tomme highlights a non-profit cultural organization. Ranging from the well established to the marginal, from the intellectual to the politically engaged, Not For Tourists leads through the artistic heart of the Big Apple. This episode offers an interview with Catherine Krudy, the director of Printed Matter, New York's prime institution for artists' publications.

Previously I interviewed Mary Ceruti from SculptureCenter and asked her what my first question should be to you: "What is your favorite binding technique?"
Catherine Krudy: "These days, I would probably have to say saddle stitch, which is staple bound, for the straightforwardness and simplicity of the presentation. Oftentimes, people come into Printed Matter and ask us how to get their work published. Our usual response is to head to a copy shop and do-it-yourself."

Since 1976, Printed Matter has been New York City's only organization consistently dedicated to the promotion of artists' publications. How did the organization first define that broad field and how has it evolved over the past thirty-four years?
Krudy: "The definition of an artist's book or artist's publication has proven to be a tricky thing, since the moment that contemporary artists' books came onto the scene. Even now, the definition of an artists' publication has proven to be a moving target. Sometimes, I like to reference the Supreme Court's old definition of pornography: ‘I know it when I see it.' More than rethinking the definition of an artist's book, I think that we're starting to adjust our expectations for the practices of the artists behind the books. So we have been taking on more artists' books by makers such as graphic designers, fashion designers or architects. As the parameters for contemporary art practice continue to expand, the subject matter of artists' publications also increasingly broadens."

Can any artist contact Printed Matter to submit his work for distribution? How do you decide which publications you're going to sell or distribute?
Krudy: "We're extremely proud to maintain an open submission policy, which reflects our goal to remain an inclusive meritocracy within the art world. Our guidelines are posted on our website and any artist whose project fits within those guidelines is welcome to submit his or her work for consideration."
"The final decision regarding the titles that we decide to stock comes down to a number of factors. First and foremost is whether or not the title is an artist's publication. Even though this remains our stated mission, we receive an enormous amount of literature, poetry, catalogs, general art magazines, and other items without a strong tie to our focus. Another one of the biggest considerations for us is the retail price. We want titles here to be financially accessible for a large audience and the majority of our stock is priced between $10 and $50. As distributors, we believe the purchase and circulation of the publication in the world completes the printed project. Of course, quality plays a significant factor as well."

Has the current economic crisis influenced Printed Matter's activities?
Krudy: "Certainly, we have not escaped the global economic situation in terms of its impact on our various areas of fiscal support; both private and government contributions have contracted. At the same time, we continue to benefit from the generosity of a loyal group of supporters."

In 2005, Printed Matter started the NY Art Book Fair, a fair that presents a diverse variety of contemporary art publications. What makes the Art Book Fair different from other commercial art fairs?
Krudy: "Our book fair is definitely more of a book fair than an art fair. The biggest difference comes through in the wide spectrum of participation with regards to both the exhibitors and the visitors. We choose to have a wide-range of exhibitors, from artists who self-publish to antiquarian book dealers. Artists sharing and selling their artwork directly is certainly not a common sight at art fairs! They generally center on the collector, which in the case of most contemporary art is an individual of wealth. Since the cost of many books at our fair start at just a couple of dollars, most visitors can participate in collecting and owning great art books. As a result, the amount of dialogue between the average visitor and exhibitors is more substantial."

The summer is a traditionally quiet period in the NYC art world. Is there anything happening at Printed Matter that could provide an alternative to the passive summer months?
Krudy: "Quiet summer months can be a good time for active reading! In July, we're having a launch party for Tan Lin for a number of recent projects, including his new book, ‘Seven Controlled Vocabularies and Obituary 2004, The Joy of Cooking.' It strikes me as a perfect summer time book since it looks at moments of reading, especially the in-between moments, which is what beach blanket reading often feels like to me."

Niels VAN TOMME

Printed Matter, Inc., 195 10th Avenue, New York, NY 10011
www.printedmatter.org
www.nyartbookfair.com