Selection Jurors will review and rate all artwork submitted. Those with the highest ratings in each category will be featured in the exhibition. Selection jurors include:

Janet Koplos is co-author of Makers: A History of American Studio Craft (2010) and author of Contemporary Japanese Sculpture (1990) and other books. Her book of interviews with American functional potters will be published in 2019.

She has written extensively on crafts and on American, Japanese and Dutch contemporary art and has published approximately 2,500 articles, reviews and essays in some two dozen periodicals over the last 30 years. She was for 18 years a staff editor at Art in America magazine and is currently a contributing editor. She lectures, critiques and juries frequently, and has taught at Parsons The New School for Design and Pratt Institute in New York City, the University of the Arts in Philadelphia and the Rhode Island School of Design in Providence.

She is a Phi Beta Kappa graduate of the University of Minnesota and holds a master’s degree from Illinois State University. She received a National Endowment for the Arts critic’s grant early in her career, in 2010 was named an Honorary Fellow of the American Crafts Council, and in 2015 was awarded an Art Writers Grant from the Warhol Foundation and Creative Capital to research a history of the New Art Examiner, a sometimes-controversial publication based in Chicago, which published from 1973 to 2002.

Rachelle Mozman Solano grew up in New York City of parents who shared the experience of immigration. She works between New York and Panama the country of her maternal family. Starting often from her biography and family history Mozman Solano explores how culture shapes individuals, how environment conditions behavior. Her work is concerned with the intersection of mythology, history, economics, and the psyche through photographs and films that confound fact and fictional narrative. In her work narrative is explored as inherent to our humanity and shaped by perception. Mozman Solano’s art is deeply informed by her clinical work in psychoanalysis. In 2018 Mozman Solano exhibited El espejo opaco de Gauguin in Arteconsult, Panamá, Panamá and in 2017 she exhibited in A New Region of the World at Bunkier Sztuki, Kraków, Poland and LARA (Latin American Roaming Art), Panamá, Panamá. In 2016 Mozman Solano exhibited in the X Bienal Centroaméricana and in 2015 she exhibited in Do/Tell at the Institute of Contemporary Art at the University of Pennsylvania, and Portraiture Now: Staging the Self at Americas Society. Mozman Solano has been awarded residencies at LMCC workspace, Smack Mellon, The Camera Club of New York, and Light Work. Her work has been published in the Light Work annual Contact Sheet, Presumed Innocence, Exit magazine and numerous other publications.

Mozman is a Fulbright Fellow, and has exhibited at the National Portrait Gallery at Smithsonian Institution, Washington D.C, the Americas Society, New York, New York, National Hispanic Cultural Center, Albuquerque, New Mexico, The Studio Museum in Harlem, New York, New York, the Chelsea Museum, New York, New York, The DeCordova Sculpture Park and Museum, Lincoln, Massachusetts, the Museum of Latin American Art, Long Beach, California, the Shore Institute of Contemporary Art, Long Branch, New Jersey, Festival de la luz at the Centro Cultural Recoleta, Buenos Aires, Argentina the Instituto Cultural Itau, São Paulo, Brazil, the Friese Museum, Berlin, Germany,  the Museo Nacional de Bellas Artes, Santiago, Chile, Museo Nacional de Artes Visuales, Montevideo, Uruguay, Centro Cultural de España, Mexico City, Mexico,  Festival Biarritz, Biarritz, France, as well as the IX Bienal de Cuenca, Ecuador.

Marin R. Sullivan (PhD, University of Michigan) is a Chicago-based art historian and curator. Her primary research interests include the histories of modern and contemporary sculpture, and its interdisciplinary, intermedial dialogues with photography, design, and the built environment. Sullivan was most recently Assistant Professor of Art History at Keene State College in New Hampshire, and prior to her appointment served as the Henry Moore Post-Doctoral Research Fellow at the University of Leeds. She is the author of Sculptural Materiality in the Age of Conceptualism (2017), numerous articles in publications including Art History, History of Photography, the Journal of Curatorial Studies, and Sculpture Journal, and is co-editor of Postwar Italian Art Today: Untying ‘the Knot’ (2018). She is currently at work on a new book project, Alloys: American Sculpture and Architecture at Midcentury, which has been supported by fellowships from the Smithsonian American Art Museum and the Crystal Bridges Museum of American Art. Sullivan is also co-curating a major retrospective exhibition on Harry Bertoia, scheduled to open at the Nasher Sculpture Center in 2020.

The Awards Juror will determine the award winners in each of the categories. The Awards Juror for Art of the State: Pennsylvania 2019 is

Joyce Henri Robinson is Assistant Director at the Palmer Museum of Art and is also affiliate associate professor in the Department of Art History at Penn State. She received her Ph.D. in 19th- and 20th-century European and American art at the University of Virginia, and has taught at Kenyon College, Davidson College, the American University in Paris, and the University of Virginia.

During her 20-year tenure at the Palmer, Dr. Robinson has organized more than 60 exhibitions and authored exhibition catalogues primarily in the fields of contemporary art, photography, American art, and, most recently, studio glass. She has published articles and presented papers on a wide range of topics including contemporary art, African American art, Matisse and decoration, 19th-century French art, and Thomas Jefferson’s collection at Monticello. Her publications have appeared in Museum News, Winterthur Portfolio, New Art Examiner, Studies in the Decorative Arts, Nineteenth Century Studies, American Art Review, and International Review of African American Art. Her essays have also been published in several anthologies including Acts of Possession: Essays on Collecting in America (Rutgers University Press, 2002) and Not at Home: The Suppression of Domesticity in Modern Art and Architecture (Thames and Hudson, 1996).