Isca Greenfield-Sanders, Pikes Peak (2012).

No. 5: Pikes Peak by Isca Greenfield-Sanders

Isca Greenfield-Sanders, Pikes Peak (2012).

Judging a print prize on the basis of anonymous digital images is standard practice, but challenging nonetheless. Deprived of the usual apparatus of supporting information that comes with an attribution, one’s choice becomes much more subjective, grounded only in the appearance of the image and the facts of title, medium, dimensions and edition number. …Read More

No. 4: Breathing Touch by Annu Vertanen

I made my way with great pleasure through all the submissions for the fourth Prix de Print competition. Though aware, as previous jurors have been, of the limitations of digital imagery when assessing the full sensuous worth of a print, I did not feel entirely stymied. Aesthetic strategies of formal design, expression, idea and historical resonance could be mine to judge. …Read More

No. 3: J.X.E. 358 by James S. Janecek

If I could curate an exhibition from this round of Prix de Print entries, I would concentrate on the large group of abstract prints found among the applications—works that exploit the materials, processes and historical implications of printmaking to carve out distinctive territory for abstraction. …Read More

No. 2: Punkt zu Linie by Gesa Puell

Gesa Puell, Punkt zu Linie (Point to Line) (2013).

The submissions for this round of the Prix de Print were remarkable for their variety. There were books, installations, DIY constructions, sculptures and animations—each with as strong a claim to be considered “a print” as the eloquent etchings, engravings, woodcuts and monotypes also submitted. Most entries were rich in content and invention …Read More

No. 1: Fallen Chapter 71 or 4836 Times E by Justin Quinn

Justin Quinn, Fallen Chapter 71 or 4836 Times E (2012).

I am delighted to be the first juror for the newly initiated Art in Print Prix de Print. I have been looking at prints for many years as an artist, a juror, a printer and an instructor. Above all, though, I look at prints for the sheer visceral excitement. I love prints that have their own kind of clarity and appear coherent and beautifully made. …Read More