{"id":17900,"date":"2026-01-26T15:54:31","date_gmt":"2026-01-26T20:54:31","guid":{"rendered":"https:\/\/printcenter.org\/100\/?page_id=17900"},"modified":"2026-02-09T17:25:54","modified_gmt":"2026-02-09T22:25:54","slug":"100th-annual-solo-exhibitions","status":"publish","type":"page","link":"https:\/\/printcenter.org\/100\/100th-annual-solo-exhibitions\/","title":{"rendered":"100th ANNUAL Solo Exhibitions"},"content":{"rendered":"

Glen Baldridge: The Pond<\/span><\/strong><\/h3>\n<\/div><\/div>

Mary Enoch Elizabeth Baxter: Epilogues of the Black Madonna<\/span><\/strong><\/h3>\n<\/div><\/div>

Adi Sundoro: Seeking Into The Folds<\/span><\/strong><\/h3>\n<\/div><\/div><\/div>
\"\"
(left to right) Glen Baldridge, For Real<\/em>, 2025, UV screenprint, ink and watercolor, 38 \u215c\u201d x 52\u201d, courtesy of the Artist and Klaus von Nichtssagend Gallery, NY; Mary Enoch Elizabeth Baxter, Our Lady Mary<\/em>, 2025, from the series \u201cCult of the Virgin,\u201d digital print on aluminum, 62\u201d x 47\u201d; Adi Sundoro, Belantara Data #2 (Data Wilderness #2)<\/em>, 2025, offset lithograph and glue, 39 \u2153\u201d x 59\u201d<\/figcaption><\/figure>\n<\/div><\/div><\/div><\/div>

January 23 \u2013 April 4, 2026<\/span><\/h2>\n

It is quite exciting to celebrate 100 years of The Print Center\u2019s ANNUAL International Competition. The ANNUAL has, of course, evolved since its beginnings, but has always remained an important way for artists to meet The Print Center and its jurors \u2013 and for The Print Center to stay connected to the pulse of what artists are thinking about and creating at the moment. We celebrate the first century and look forward to the next!<\/p>\n

The 100th ANNUAL International Competition<\/strong> solo exhibitions feature artists representing a wide geographic range, from Philadelphia, Maine and Indonesia. Glen Baldridge<\/strong>, Mary Enoch Elizabeth Baxter<\/strong> and Adi Sundoro<\/strong> take widely different approaches to their subject matter, each expressing a strong creative vision through a compelling exploration of materials.\u00a0Solo exhibition winners were among the ten Finalists selected from the 725 international artists who submitted to the 100th ANNUAL International Competition, juried by Anders Bergstrom<\/strong>, Artist and Director of Editions, Hauser & Wirth, New York, NY; Joshua Chuang<\/strong>, Director of Photography, Gagosian, New York, NY; and Lesley A. Martin<\/strong>, Executive Director, Printed Matter, Inc., New York, NY.<\/p>\n<\/div><\/div><\/div>

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Exhibition Resources<\/strong><\/span><\/h3>\n

Announcement Card<\/a><\/span><\/h2>\n

Press Release<\/a><\/span><\/h2>\n

Gallery Notes<\/a><\/span><\/h2>\n

<\/h2>\n<\/div><\/div><\/div><\/div>

Programs<\/strong><\/span><\/h3>\n

All of The Print Center\u2019s exhibitions and programs are free and open to the public.<\/span><\/span><\/p>\n

\n
Gallery Talk + Opening Reception<\/strong><\/a><\/span><\/h5>\n

Thursday, January 22, 5:30 <\/strong><\/span>\u2013 7:30pm<\/span><\/strong>\u00a0<\/span><\/p>\n<\/div>

\n
Conversation: Adi Sundoro + Gesyada Siregar<\/span><\/a><\/h5>\n

Wednesday, February 11, 7pm
\n<\/b>On Zoom<\/span><\/p>\n<\/div>

\n
Artist Talk: Glen Baldridge<\/span><\/a><\/h5>\n

Thursday, February 26, 6pm
\n<\/b>On Zoom<\/span><\/p>\n<\/div>

\n
Artist Talk: Mary Enoch Elizabeth Baxter<\/span><\/a><\/h5>\n

Thursday, March 19, 6p<\/b>m<\/strong>
\nIn-person and on Zoom<\/span><\/p>\n<\/div>

\n
Free Public Exhibition Tours<\/span><\/a><\/h5>\n

Wednesday, February 18, 12:30pm<\/strong>
\nFriday, March 6, 5:30pm<\/strong>
\nWednesday, March 18, 12:30pm<\/strong>
\nFriday, April 3, 5:30pm<\/strong>
\nIn-person, RSVP requested<\/a> (not required)<\/span><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div><\/div>

Glen Baldridge: The Pond<\/span><\/strong><\/h3>\n<\/div><\/div>

For Glen Baldridge's<\/strong>\u00a0The Pond<\/em>, a body of water and the dense woods that surround it in rural Maine serve as the setting for his experimental prints. Featuring artworks produced over the past ten years, the project started while the artist was based in New York City and was forced to explore the woods from afar. Fascinated by its dynamics, he continues to make artworks \u201ctriggered by both unseen forces and wildlife\u201d that spark his imagination. Together, the prints combine what seems to be the solitary, peaceful lives of animals with hallucinatory, sinister landscapes that signify fear of the unknown.<\/span><\/p>\n

To make the images, Baldridge began by setting up motion-activated hunting cameras near a pond, which captured thousands of pictures of animals\u2019 nocturnal activities. He focuses on those that he describes as \u201canimal selfies.\u201d Three of his most recent \u2013 For Real<\/em>, Weather Tamer<\/em> and Moon Wobble<\/em> \u2013 are large-scale prints that comprise the core of the exhibition. Baldridge uses a unique, experimental process to make them. He first creates vibrant, gestural abstractions in watercolor and ink on paper. He then screenprints a clear UV ink on top of that image to protect the areas of color already on the paper. From there, he prints additional passages of dynamic color. The results are muted renderings of wildlife within a multi-colored, psychedelic world.<\/span><\/p>\n

These visually dynamic prints are complemented by smaller-scaled prints that focus on nature\u2019s haunting qualities. The series \u201cModus Tollens (Woodwose)\u201d is titled after a mythical wild man who lived in the woods, as first described in medieval European folklore. Printed as photogravures, the process yields tonally rich black-and-white images featuring nature, mostly devoid of animal life. The series culminates with a ghostly, animal-like shadow that evokes a phantasmic fear of the woods.<\/span><\/p>\n

Read more in the Gallery Notes<\/a><\/span>.<\/span><\/p>\n<\/div><\/div><\/div>

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      Photo: Willy Somma<\/figcaption><\/figure>\n

      Glen Baldridge<\/strong> (born 1977, Nashville, TN; lives Portland, ME) has a BFA from Rhode Island School of Design, Providence. He is known for his technically masterful, exuberant and experimental prints which have been published under his own imprint (Forth Estate) as well as by a roster of outstanding printshops including: EFA Robert Blackburn Printmaking Workshop, Dieu Donn\u00e9, Flying Horse Editions, PS Marlowe and Du-Good Press. Baldridge\u2019s work has been exhibited widely, including at the Pizzuti Collection, Columbus, OH; Spencer Museum of Art, Lawrence, KS; Print Center New York, NY; The Print Center, Philadelphia, PA; RISD Museum, Providence; and University Galleries, William Paterson University, Wayne, NJ, among others. His work is collected by the Yale University Art Gallery, New Haven, CT; Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art and New York Public Library, all New York, NY; RISD Museum; and The Library of Congress, Washington, DC. Baldridge is represented by Klaus von Nichtssagend Gallery, New York and Halsey McKay Gallery, East Hampton, NY.<\/span><\/p>\n<\/div><\/div>

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      Mary Enoch Elizabeth Baxter: Epilogues of the Black Madonna<\/span><\/strong><\/h3>\n<\/div><\/div>

      Mary Enoch Elizabeth Baxter\u2019s<\/strong> Epilogues of the Black Madonna <\/em>is the first in her hometown of Philadelphia. The show expands upon her widely lauded photographic series, \u201cConsecration to Mary.\u201d In this innovative presentation, Baxter presents the series as a part of a larger, sculptural installation that draws together Christian worship furnishings, medieval Marian iconography, 19th century photography and self-portraiture. Rooted in Black feminist thought and transformative justice, Baxter envisions new ways to reclaim the sanctity of Black girlhood<\/span><\/p>\n

      In the \u201cConsecration to Mary\u201d series, started in 2021, Baxter reimagines Philadelphia painter Thomas Eakins\u2019 (1844-1916) sexually-exploitative nude photographs of an unidentified Black girl from 1882. She combats this painful history by inserting herself into the images and shielding the child. For Baxter, Eakins\u2019 pictures are misrepresentations of Black girlhood and demonstrate historical forms of \u201cadultification,\u201d a socio-political bias that treats children as adults. Today, it is understood that the sexualization and criminalization of young Black girls has far-reaching implications, including their punitive treatment in the educational and judicial systems.<\/span><\/p>\n

      In the exhibition, images framed like daguerreotypes are displayed on Christian prayer kneelers, which also serve as vitrines. They are complemented by Cult of the Virgin<\/em>, large-scale, photographic self-portraits presented as a three-part devotional altarpiece, a format common in European churches since the Middle Ages. Baxter describes the Black Madonna, \u201cnot as icon or martyr, but as guardian \u2013 a figure whose power lies in refusal, endurance and care. Devotion becomes an ethics and art-making a practice of protection, one that challenges inherited narratives of trauma while creating space for collective healing, remembrance, and repair.\u201d<\/span><\/p>\n

      Read more in the Gallery Notes<\/a><\/span>.<\/span><\/p>\n<\/div><\/div><\/div>

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        Photo: Eva Cruz<\/figcaption><\/figure>\n

        Mary Enoch Elizabeth Baxter<\/strong> (born 1981, <\/span>Philadelphia, PA; lives Philadelphia) has <\/span>an AA from the Community College of <\/span>Philadelphia and is an MFA candidate at <\/span>Tyler School of Art & Architecture, Temple <\/span>University, Philadelphia. Baxter\u2019s work was <\/span>included in the monumental exhibition, <\/span>Marking Time: Art in the Age of Mass <\/span><\/em>Incarceration<\/em>, 2020, and has also been <\/span>shown at the Brooklyn Museum, NY; <\/span>National Underground Railroad Freedom Center, Cincinnati, OH; <\/span>Yale University Art Gallery, New Haven, CT; Ford Foundation Gallery <\/span>and MoMA PS1, both New York, NY; African American Museum <\/span>of Philadelphia; and Kittredge Gallery, University of Puget Sound, <\/span>Tacoma, WA. She received a public art commission from the For <\/em><\/span>Freedoms<\/em> project in 2022. Baxter was an executive producer and a <\/span>featured subject of the feature-length documentary Paint Me a Road <\/em><\/span>Out of Here<\/em>, 2024, about Faith Ringgold. She has received honors <\/span>and awards from the Commonwealth of Pennsylvania, Anonymous <\/span>was a Woman, Soros Justice Fellowship, Art Matters and the Leeway <\/span>Foundation.<\/span><\/p>\n<\/div><\/div>

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        Adi Sundoro: Seeking Into The Folds<\/span><\/strong><\/h3>\n<\/div><\/div>

        Jakarta-based Adi Sundoro<\/strong> has created an installation composed of printed wrappers for the popular street food gorengan<\/em>, or Indonesian fried fritters, which are commonly repurposed from confidential documents. <\/span>Gorengan<\/em> literally translates to \u201cfried things,\u201d and is a generic category used to describe a broad array of foods, both savory and sweet, that are deep-fried. These egg-battered foods are filled with a variety of things, such as banana, cabbage, carrot, cassava, jackfruit, sweet potato, tempeh (fermented soybean cakes) and tofu \u2013 in numerous combinations. The snacks are found throughout Indonesia and are often sold by mobile street carts or market vendors.<\/span><\/p>\n

        At the core of Sundoro\u2019s project is his observation that confidential documents, often containing personal identification, government data or legal information, are recycled by street vendors as wrapped packaging for their gorengan<\/em>. As a result, there is a massive data leak at the street level, which he describes as an \u201curban phenomenon,\u201d related to his observation of his prints circulating around the world.<\/span><\/p>\n

        For the sculptural prints on view in Seeking Into The Folds<\/em>, the artist considers that \u201cfor some people, the data on the fried food packaging may only be considered as incidental information. However, I wonder, what would happen if this data fell into the wrong hands?\u201d The artist amasses and combines information directly from many different gorengan<\/em> wrappers, such as official texts, signatures, photos and stamps, to use in his prints. He collages this reprinted information and uses the new prints to reconstruct food packaging, as in the series \u201cFritters Wrappers,\u201d or as colorful wall sculptures in his series \u201cData Wilderness.\u201d<\/span><\/p>\n

        Read more in the Gallery Notes<\/a><\/span>.<\/span><\/p>\n<\/div><\/div><\/div>

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          Photo: Kai Maetani<\/figcaption><\/figure>\n

          Adi \u2018Asun\u2019 Sundoro<\/strong> (born in 1992, <\/span>Jakarta, Indonesia; lives Jakarta) <\/span>completed his undergraduate fine arts <\/span>education at Jakarta State University <\/span>and earned an MA from the Bandung <\/span>Institute of Technology, Indonesia. <\/span>Sundoro\u2019s first solo exhibition was held <\/span>at Kedai Kebun Forum, Yogyakarta, <\/span>Indonesia in 2019. Since then, he has <\/span>exhibited his works both nationally and <\/span>internationally, including in Egypt, India, Japan, South Korea and <\/span>Vietnam. His achievements include being the winner of the Basoeki <\/span>Abdullah Art Award #4 and bronze winner of the UOB Painting of the <\/span>Year in the Established Artist category, both in 2022. In 2025, Sundoro <\/span>was commissioned by the Museum of Modern and Contemporary Art <\/span>in Nusantara, Jakarta to create a temporary, interactive installation, <\/span>and was an artist-in-residence at the Aomori Contemporary Art <\/span>Center, Japan. Since 2014, Sundoro has been actively involved with <\/span>Grafis Huru Hara, a studio-based collective dedicated to exploration, <\/span>experimentation and education in printmaking. He is the Creative <\/span>Director at The Distillery Asia, and a lecturer in the New Media program <\/span>at BINUS University, Jakarta.<\/span><\/p>\n<\/div><\/div><\/div><\/div>

          All images are courtesy of the artists unless otherwise noted.<\/h6>\n<\/div><\/div>
          <\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

          Glen Baldridge: The Pond Mary Enoch Elizabeth Baxter: Epilogues of the Black Madonna Adi Sundoro: Seeking Into The Folds January 23 \u2013 April 4, 2026 It is quite exciting to celebrate 100 years of The Print Center\u2019s ANNUAL International Competition. … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"class_list":["post-17900","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/17900","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/comments?post=17900"}],"version-history":[{"count":14,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/17900\/revisions"}],"predecessor-version":[{"id":17971,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/17900\/revisions\/17971"}],"wp:attachment":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/media?parent=17900"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}