Juror’s statement: “What a juried exhibition truly measures is the circumstantial interaction of judge and artwork in a given viewing/judging situation. Any judge should simply be looking for the best work — the best conceived, best realized, best in tune with the perceived needs and attitudes of current artistic discourse — among the material provided her or him. No more specific, intricate, or profound factor affects the character of a juried exhibit. What motivates a juror is the hope that artists of uncommon ability and inventiveness can come to light in the process of assembling such a show.
“Judging is thus a lazier job than curating, but not necessarily an easier job. It is also an effort that may be less intellectually gratifying, but is potentially more gratifying to one’s curiosity. I value equally the tasks of jurying and of curating, and believe the two tasks affect and abet each other. Actually, both tasks are informed importantly by the closely related activity of looking constantly at art with a critical eye — that is, with an eye that is constantly analyzing and evaluating, deriving certain satisfaction from having seen and needing to see yet more. The best jurors have the hungriest eyes.”
Juror’s bio: PETER FRANK, Editor of Visions art quarterly and art critic for the L. A. Weekly, was born in 1950 in New York and moved to Los Angeles in 1988. In New York Frank served as art critic for The Village Voice and The SoHo Weekly News. He contributes articles to numerous publications and has written many catalogues to one person and group exhibitions. Frank has also organized numerous theme and survey shows, including “Artists’ Books U.S.A.”, “Mapped Art: Charts, Routes, Regions” and “Line and Image: The Northern Sensibility in Recent European Drawing”, all for Independent Curators Inc.; “Young Fluxus” for Artists’ Space in New York; “To the Astonishing Horizon” for Los Angeles Visual Arts; “Southern Abstraction” for the Raleigh (NC) City Gallery of Contemporary Art; “The Theater of the Object, 1958-1972” for New York’s Alternative Museum; “Visual Poetry” for the Otis/Parsons Art Institute in Los Angeles; “Multiple World” for the Atlanta College of Art; and most notably “19 Artists Emergent Americans,” the 1981 Exxon National Exhibition mounted at the Guggenheim Museum. Frank has taught at Pratt Institute, Columbia University’s School of the Arts, the Tyler School of Art, the University of California Irvine, Claremont Graduate School, California State University Fullerton, the University of California Santa Barbara, and other institutions. His Something Else Press: An Annotated Bibliography was published by McPherson Co. in 1983. A cycle of poems, The Travelogues, was issued by Sun Moon Press in 1982. Abbeville Press released New, Used Improved, an overview of the New York art scene co-written with Michael McKenzie, in 1987.