Jurors
Anders Bergstrom
Anders Bergstrom is a Director at Hauser & Wirth and oversees its editions program. In addition to working with Zoe Leonard and the Estate of Philip Guston, he publishes new editions and works with prints by the gallery’s stable of artists and estates. Bergstrom also organizes print-focused exhibitions at the gallery’s 18th Street location in New York City. In his own decades-long practice as an artist and practitioner of printmaking, he has been exhibited widely and his work is held in many public collections including the New York Public Library and The Metropolitan Museum of Art, both New York, NY, and the Worcester Art Museum, MA. He is represented by Dolan/Maxwell in Philadelphia, PA and Planthouse in New York. Bergstrom sits on the boards of Print Center New York and the International Fine Art Print Dealers Association.
When reviewing work for a competition, what do you take into consideration? Form? Process? Content?
I love printmaking. Throughout history, great works of art have been made in the medium, but medium and proficiency of technique should be paired with ideas and artist’s intention. Whether the intention is political or apolitical, to make a pretty picture or something more conceptual – there can still be a unique voice that can come through in the gesture of a sugar lift or the touch of a litho crayon which is specific to that person. I love print processes – and could talk about them all night long – but the message or artist’s intention is equally important.
What projects are you excited to be working on right now and/or in the coming months?
For the last year, I have been working in my studio making unique monotypes– without a press. It has been a great learning experience. I have been printing for many years at Manhattan Graphics Center, a nonprofit workshop established in 1986, which has etching and litho and screenprint facilities. I love being part of a community print shop experience, where ideas and conversations happen organically and everyone works in a shared space. MGC has recently relocated, and I am looking forward this fall to getting back into the workshop and focusing on some etchings.
How does your work as an artist and a gallerist inform the way you look at other artists’ work?
When I see other work, I think about it from my vantage point as a practitioner and printmaker, which helps me better understand other artists’ insights, process, or meanings. In my dual roles as both gallerist and artist, I have been looking at art for many years, in museums, galleries, friends’ studios, in professional print workshops, or community shops. It’s the culmination of all the years of looking that informs the way I think about art.
Joshua Chuang
Joshua Chuang is Director of Photography at Gagosian as well as a curator, writer and photobook editor. He was formerly Miriam & Ira D. Wallach Associate Director for Art, Prints, and Photographs and Robert B. Menschel Senior Curator of Photography at the New York Public Library. Chuang has also held curatorial positions at the Center for Creative Photography and Yale University Art Gallery. Exhibitions he has organized have been shown at LACMA, Los Angeles, CA; Philadelphia Museum of Art, PA; Museo Reina Sofía, Madrid, Spain; The Walther Collection, Neu-Ulm, Germany; Jeu de Paume and Le Bal, both Paris, France; and the Fotomuseum Winterthur, Germany; among other venues. Chuang’s projects include Kikuji Kawada: Chizu (Maquette Version) (2021); Judith Joy Ross (2021); The Color of a Flea’s Eye: The Picture Collection by Taryn Simon (2021); Sun Gardens: Cyanotypes by Anna Atkins (2018); and Robert Adams: The Place We Live (2011).
Lesley A. Martin
Lesley Martin is the Executive Director of Printed Matter, Inc., overseeing its extensive retail offering of artist books, its highly respected programming including exhibitions, events and an active publishing program, as well as its premier annual LA and NY Art Book Fairs. Formerly, she was the creative director of Aperture and founding publisher of The PhotoBook Review. She has been a visiting critic at the Yale University Graduate School of Art since 2016, and co-founded the Paris Photo–Aperture Foundation PhotoBook Awards. Her writing has been published in Aperture, FOAM and IMA magazine, among other publications, and she has edited and commissioned over one hundred books of photography, including LaToya Ruby Frazier: A Notion of Family; Rinko Kawauchi: Illuminance; Stephen Shore: Selected Works; Zanele Muholi: Somnyama Ngonyama; The New Black Vanguard by Antwaun Sargent; Sara Cwynar: Glass Life; and Tommy Kha: Half, Full, Quarter. Martin has curated exhibitions that have traveled both nationally and internationally, including Mickalene Thomas: Muse; The Ubiquitous Image; and Aperture Remix, a commission-based exhibition celebrating Aperture’s sixtieth anniversary.