Char Schwall: Sea Lover by Bruno David Gallery

CHAR SCHWALL

Sea Lover

bruno david gallery

Char Schwall Sea Lover

January 27 - March 13, 2021 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Founder/Director: Bruno L. David This catalogue was published in conjunction with the exhibition Char Schwall: Sea Lover at Bruno David Gallery. Editor: Bruno L. David Catalogue Designer: Nina Huang and Grace Ray Designer Assistant: Claudia R. David Printed in USA All works courtesy of Char Schwall and Bruno David Gallery Photographs by Bruno David Gallery Cover image: Genesis XIII, (detail) 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches (52.07 x 52.07 cm) First Edition Copyright ©2021 Char Schwall and Bruno David Gallery All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

CONTENTS

CHAR SCHWALL’S SEA LOVER BY ANNE GATSCHET AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

CHAR SCHWALL’S SEA LOVER BY ANNE GATSCHET

Life on Earth is (…) like a verb. It is a material process, surfing over matter like a strange, slow wave. It is a controlled artistic chaos. — Lynn Margulis and Dorian Sagan, What is Life?

The most generous place Sea Lover, Char Schwall’s latest series of works, activates the eye in a place the artist has called overall softness, an environment that viewers know but forget easily. Undoubtedly, in the room with these acrylic and fabric forms, we revert to our cultural knowledge of paint and cloth. But we return also to a less established knowledge, a feeling we have for the place of form’s becoming. Sea Lover lets us discover our passage to that generous place. There was a time when vision was, as we say, in the making, a time of passage into form, when perception relied on the generosity of its environment. In the body’s memory this is the maternal sea, and returning there means returning to the time when eyes had not yet seen. Sea Lover leads us to that usually forgotten matrix, and we look around us from the liquid environment that lets our eye and its body grow, change, transform. The place that generates form moves like water over sand. To hold our gaze in this slippery vantage, we might locate the maternal sea in the artist’s biography and in her practice. She has often returned to beaches to study shells, sea plants, sand and light. But before Char Schwall began to frame surroundings from the place of her own person, she floated unsighted, in a salty bath. Where no light conveyed color, edge or distance, the maternal sea coaxed her form into its own being, feeding and washing it with placental tides. That light-less, uterine dynamism — must it be lost in the world of light, or might something of its supple responsiveness stay in the form that comes from it, and which now has visible color, edge, and distance of its own, the form of the visual artist? The fact that artistic practice counts on embodied eyes helps us locate that sea through which Sea Lover’s images emerge and interact. Watching their lightly veiled forms curve, reach, fold, switch abruptly or flutter, we want to understand their dance: maybe the story of a body lets us understand the shifting language, the unique morphology that is salient throughout Schwall’s artwork. But, while a genesis narrative can mark out a location from which to view this exhibition, Schwall’s images are not inherently tied to a locus amoenus or naturalized origin. The view that Sea Lover calls for is not nostalgic, but forward thinking, anticipatory. If we linger in the company of these works, the colors and shapes simply reveal their transformation. William Herndon, in a 2007 article on Schwall’s exhibition, Eat Me, Drink Me, said that “[f]or the patient eye, Char Schwall’s paintings come to life, and abound with hidden delights.” We join Sea Lover then, in acts of eager patience.

Patience is visible and palpable where contours of acrylic or fabric have been drawn minutely away from a line’s trajectory or a material’s surface, suggesting anticipation. Schwall is as much a disciplined technician as a lover of the sea, and the tension between these attitudes sets the tone for the scrupulously elaborated environment where a viewer awaits the emergence of form. As when we discover the lines on a shell at the beach or hear minute variations in a dance by the late 19th century, minimalist composer Erik Satie, simple details remind us of a larger, less knowable, transformative force. That passage of remembering takes us to Schwall’s sea. The pre-visible, maternal sea flows through fields of knowledge that define our view of living things — through nature, culture and the material fact of the eye. While flowing, as the title of Schwall’s last show affirmed, the sea is also Breaking, Splitting, Seaming. Its pre-visible wilderness flows where things unite and where they break. If Schwall adores figures of the sea’s offspring and celebrates the symmetries of her shells, waves and algal blades, if she names some of her forms Undine or Nymphea, uplifting their elemental roles across human imagination, she also interrupts them. She puts abrupt edges on their curvaceous volumes and merges their undulant shapes with automated, industrial patterns. Standing among the forms, we sense the eye of the technician patiently expanding its place through the generosity of a pre-visible environment.

Morphology Another story inherent in this work passes through chapters of Schwall’s artistic practice. Her exhibitions at Bruno David Gallery represent these stages: 2007: Eat Me, Drink Me 2011: Source Confluence 2017: Breaking, Splitting, Seaming 2021: Sea Lover

Throughout the shows, she has developed a visual language of life forms. What is more, she has made a commitment to the ongoing gestation and rebirthment of this language, making her artwork a biological and linguistic morphology, a place where viewers begin to make sense of form’s vitality and propensity for change. In linguistics, a morpheme is a unit of sense, a site in language considered stable over time. Schwall created such visual morphemes early on, and we can see in her 2011 show Source Confluence how she explored the potency of the germ, the inwardly curved figure ready to emerge from itself. The exhibition ushered viewers to a place outside their eye and outside the artworks’ frames. Schwall set nine of the oil paintings contiguously on the wall in an installation called Falling into the Beginning. Depending on the direction the viewer moved, each consecutive work was larger or smaller than the next, and every frame showed the seed-like form in a new attitude, palette, and scale. The passage of the germ morpheme happened in the place in which the gaze was moving, not in any one figure or pictorial place. As the title suggested, vision falls into the beginning as the embodied eye moves between forms and beyond frames. The beginning, then, is the radically generous environment outside the eye and outside the work’s visible placement. After refining her germ form, the artist recognized how easy it can be for biomorphism to settle in a naturalized image, to focus, for instance, on a nurturing fertility figure or a lost Eden, and forget the wild sea through which a unit of meaning must pass if it will, indeed, germinate. Interviewed for a 2017 exhibition catalog, she described how her recent work has come to question its own tendency to unify natural forms. Unified forms suggest unbrokenness, and Schwall began intentionally to break the wholeness she perceived in her work, first and foremost by diversifying the materials of her practice. She consciously stepped back from her knowledge of paint to draw on a divergent field of knowledge — fabric. With it, she now mindfully and sensuously mixes languages so the germs of her morphology reach beyond themselves, and their senses multiply. She stated that she has become a thinker who likes “to play with ideas within divergent processes, and enjoy the contrast among ideas as they find solutions.” She has found a salty, active “solution.” It is never final, but continually unsettled by what she refers to as an overall softness. This visual fluidity must not settle into depicted places or captured moments, but must open vision to its own half-forgotten place of becoming. In this near-forgetting, our eye releases the learned comfort of horizon, figurative center, light source and the restriction of frame, broadening to a view outside those conventions. Each of Schwall’s series shown in this gallery

over the past fifteen years flows beyond its own vocabulary, encompassing the divergences, seams and breaks which, in fact, comprise all living forms. With Sea Lover’s eager, sometimes ecstatic shapes and palette, Schwall’s morphology opens beyond its own marine, biological concept and looks for rebirthment (renaissance, perhaps) outside conventional morphemes of bio- natural genesis. Color In the room where Sea Lover is installed, the palette leads the search for the most generous place. As in a Georgia O’Keefe flower scape, chromatic areas defined by clear contours speak as if calling out their hues: “mauve” or “cornflower.” But these pure chromatic voices combine in a soft, harmonic palette. Their interaction and overall softness carry vision on currents through the gallery, passing musically through far-flung fields of our color memory. While they connect one artwork to another, they also move through our memories of natural environments — sky, sand, shell — and of human-made places— tablecloth, upholstery vinyl, kitchen Formica. Lately, in Breaking, Splitting, Seaming and in Sea Lover, the patterns of textile and tonal qualities of prefabricated cloth expand the reach of Schwall’s chromatic references. Also, in the span of these four exhibitions the opacity of oil paint has given way to the translucency of gouache (Breaking, Splitting, Seaming) and, in Sea Lover, to oscillating densities of acrylic, allowing Schwall to layer color-areas on the canvas in veils of paint. Layering is also a motif elaborated in organza, cotton, anti-slip fabric, and chiffon, in Sea Lover’s sewn objects. The exhibition shines in its room with uncanny visibility, little shadow and no darkness. Colors shift restlessly between frames at the white end of their values, calling resolutely upon perception. Why would we search this array of bright, white-framed, well measured shapes for the messy wilderness of a lightless, maternal sea? Because, the works seems to say, the sea’s darkness is not an empty or forbidding blindness. We do not access its generosity in opposition to light. The lightless vantage in Sea Lover is not a deprivation of visibility, but a pre-visibility, a giving liquidity from which to cast a gaze. Becoming The exhibition arrays eighteen, sewn fabric assemblages in three rows on a wall. Bio-morphology is commonly the domain of taxonomy, where the eye classifies, and the hand collects and arranges outcomes of heredity without noticing their ongoing

life. Maybe there is a commentary on taxonomy in this installation’s wall of equal, square, white frames displaying seemingly magnified forms with abundant anatomical references. If so, a tide washes over the boxes, and the misty voice of chiffon, the thick pulse of anti-slip fabric and the layered tissues of acrylic paint speak happily past whatever might order and fix them. Sea Lover’s painted contours clearly came from a disciplined hand, obeisant to the eye; but their lines bulge beyond themselves and their language speaks to a more chaotic force. In her studio one day, Char Schwall picked up a length of organza and showed me how it poured through her hands like water. I could see memory lighting up between the hands and eyes, but I was not yet sure where to find my own story among her mysterious, sewn forms. She left the room, suggesting I take my time. I moved between Undine III and Undine IV. The deep teal and dusty mauve organza, sewn into loose disks, looked both passive and unsettled. Suddenly, I remembered a form I had created on two occasions: a placenta. I remembered when my own were eagerly devouring my energy, a time when I waited for new beings to emerge into visibility. For the first time, I consciously recalled glancing at my placentas briefly, before someone who assumed I would have no interest threw them away. The patient eye wades into this exhibition. Color values layer and shift like cool and warm currents crisscrossing in water. The viewer enters the sea flow to catch glances of long evolved forms washed over a transient, dun ground, ready now for transformation out of memory, into what’s to come. Delighting in detail, the eye enjoys a plunge into invisible memory. The patient eye in the room with Sea Lover feels a brisk, transparent current carry it to this most generous place, where Schwall’s forms come to life.

Anne Gatschet is an arts writer based in Kansas City, Missouri. She has worked as an editor and teacher while raising two children, composing poetry, and studying art, literary theory and languages. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

AFTERWORD BY BRUNO L. DAVID

I am pleased to present Sea Lover, an exhibition by Char Schwall. This is Schwall’s fourth exhibition with the gallery. Char Schwall’s recent body of work, Sea Lover, is an exploration of two material languages, paint, and textiles; the exhibition is comprised of large canvas paintings and sewn fabric appliqué pieces. By placing these two material languages (two material bodies of knowledge) in conversation with one another, the work investigates concepts of surface, gendered space, fluidity, and overall softness. The aesthetic trajectory in the work is one of openness, growth, the expansion of organic systems, and morphology. The conversation between paint and textiles occurs in various ways, such as painted forms that depict cloth, pattern, and textiles; use and reference of the vocabulary of sewing, such as folding and creasing, seaming, tucks, and pleats; and a semi-transparent use color, similar to a veil of fabric, in that it simultaneously hides and reveals. Many of the works also explore fabric’s innate water-like quality, such as the way cloth moves, ruffles, and twists in space. The title of the Sea Lover exhibition is inspired by concepts from French philosopher Luce Irigaray, who explores the complex, and sometimes controversial, relationship that exists between the feminine and the fluid. In this sense, the Sea Lover exhibition interrogates and critiques modernist structures through the point of view of water. In the paintings, organic forms break open, spill forward, and emerge from either the center or the outside edge of the picture plane. Shapes and patterns break free and/or split apart; fold inward and/or wrap around; and open in ways that evoke the growth or birth process. There is interaction of various parts, yet emptiness remains central to the picture plane of each canvas.

The work seeks to create places of openness, of a relation to the other; a generative place where birth and rebirth can continuously prevail. Through these visual actions, the works embody a womb-space, a gendered space that reveals possibilities of multiple states of transition. Char Schwall lives in Kansas City where she maintains her studio. Her paintings have been exhibited in solo and group exhibitions nationally and internationally, including New York, St. Louis, Kansas City, Chicago, and Asuncion, Paraguay. As an early childhood educator, Schwall has extensively studied the educational system in the municipality of Reggio-Emilia, Italy, and co-edited and co-authored the book, In the Spirit of the Studio: Learning from the Atelier of Reggio Emilia. She is also the pedagogical coordinator for The St. Michael School of Clayton. She holds a BFA from the Kansas City Art Institute, and an MFA from Sam Fox School of Visual Arts - Washington University in St. Louis. During the COVID-19 crisis, Schwall has also sewn masks as a volunteer for KC Helps and The Sewing Labs in Kansas City. Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Anne Gatschet for her thoughtful essay. I am deeply grateful to Nina Huang and Grace Ray, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Lily Hollinden, Nina Huang, Jordan Lee, and Grace Ray. 13

CHECKLIST & IMAGES OF THE EXHIBITION

Sea Lover I 2020 Acrylic on canvas 38 x 36 inches

Empathy II 2020 Cotton and chiffon fabric 20.5 x 20.5 inches

Undine IV 2020 Organza and cotton fabric 20.5 x 20.5 inches

Sea Lover VIII 2020 Acrylic on canvas 38 x 36 inches

Sea Lover VI 2020 Acrylic on canvas 38 x 36 inches

Undine III 2020 Organza and cotton fabric 20.5 x 20.5 inches

Undine II 2020 Organza and cotton fabric 20.5 x 20.5 inches

Sea Lover V 2019 Acrylic on canvas 38 x 36 inches

Sea Lover IV 2019 Acrylic on canvas 38 x 36 inches

Becoming VII 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

Sea Lover VII 2020 Acrylic on canvas 38 x 36 inches

Genesis XII 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

Genesis XI 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

Sea Lover II 2020 Acrylic on canvas 38 x 36 inches

Empathy I 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

Undine V 2020 Organza and cotton fabric 20.5 x 20.5 inches

Nymphea IV 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

Genesis XIII 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

Genesis X 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

Nymphea II 2020 Chiffon, and cotton fabric 20.5 x 20.5 inches

Undine VI 2020 Organza and cotton fabric 20.5 x 20.5 inches

Nymphea III 2020 Chiffon, and cotton fabric 20.5 x 20.5 inches

Nymphea II 2020 Chiffon and cotton fabric 20.5 x 20.5 inches

Undine I 2020 Organza and cotton fabric 20.5 x 20.5 inches

Becoming VIII 2020 Cotton, chiffon, and anti-slip fabric 20.5 x 20.5 inches

CHAR SCHWALL Born in Denver, Colorado Lives in Mission, Kansas

EDUCATION MFA 1991, Washington University in St. Louis, St. Louis MO BFA 1987, Kansas City Art Institute, Kansas City, MO

ONE-PERSON EXHIBITIONS 2021 2017 2011 2007 2000 1994 1991 1988

Bruno David Gallery, Sea Lover, St. Louis, MO (catalogue) Bruno David Gallery, Breaking, Splitting, Seaming, St. Louis, MO (catalogue) Bruno David Gallery, Source Confluence, St. Louis, MO (catalogue) Bruno David Gallery, Charles Schwall, St. Louis, MO (catalogue) World Trade Center Regional Commerce Growth Association, Charles Schwall, St. Louis, MO Allegro Gallery, Form in Flux, Kansas City, MO MFA Thesis Exhibition, Washington University Gallery of Art, St. Louis, MO University of Missouri Conference Center, Charles Schwall, Kansas City, MO

SELECTED TWO-PERSON & GROUP EXHIBITIONS 2021 Bruno David Gallery, Bilingual: Abstract & Figurative, St. Louis, MO (catalogue) 2020 Bruno David Gallery, OVERVIEW_2020, St. Louis, MO 2019 Bruno David Gallery, OVERVIEW_2019, St. Louis, MO 2018 Bruno David Gallery, OVERVIEW_2018, St. Louis, MO 2017 Bruno David Gallery, OVERVIEW_2017, St. Louis, MO 2016 H&R Block Artspace, 2016 Kansas City Flatfile & Digital Flatfile, Kansas City, MO E. B. White Gallery, 6 Abstract Painters: Joe Bussell, Gehry Kohler, Kevin Mullins, Charles Schwall, Kate Van Steenhuyse, Caleb Taylor, Butler Community College, El Dorado, KS 2015 Bruno David Gallery, AND/OR, St. Louis, MO (catalogue) Bruno David Gallery, Project Room, St. Louis, MO 2014 Bruno David Gallery, Overview_2014, St. Louis, MO 2012 Bruno David Gallery, Blue – White – Red, St. Louis, MO 2011 Recession Rejuvenations, Bruno David Gallery, St. Louis, MO 2010 2009 2008 2007 2006 2005 2004 2003 2002 2000 1999

Color & Design, LH Horton Jr. Gallery, San Joaquin Delta College, Stockton, CA Biennial Quad-State Exhibition, Quincy Art Center, Quincy, IL Over_View, Group Exhibition, Bruno David Gallery, St. Louis, MO Synchronous Events: Charles Schwall & Chris Kahler, Rueff Gallery at Purdue University, West Lafayette, IN Charles Schwall & Jason Urban, Schmidt Arts Center at Southwestern Illinois College, Belleville, IL Nineteen St. Louis Painters, Daum Museum of Contemporary Art, Sedalia, MO Selections from the Contemporary’s Flat Files, Contemporary Art Museum St. Louis, St. Louis, MO Summer Exhibition, Space B, New York, NY Gallery 20th Anniversary Exhibit, Elliot Smith Contemporary Art, St. Louis, MO Everything You Ever Wanted to Know about Art, Elliot Smith Contemporary Art, St. Louis, MO Group Exhibition, Philip Slein Gallery, St. Louis, MO Bi-National Art Exhibit, U.S. Embassy, Asuncion, Paraguay Group Exhibit, Ninth Street Gallery, St. Louis, MO 6th Annual Regional Exhibition, St. Charles County Community College, St. Charles, MO Group Exhibit, Bi-State Development Company, St. Louis, MO

1999 1998 1997 1995 1994 1992 1991 1990 1987 1986

5th Annual Regional Exhibit, St. Charles County Community College, St. Charles, MO Sharpening the Edges: 2nd Annual Invitation Exhibit, North Gallery, St. Louis, MO Woman in the Broader Sense, St. Louis Artists’ Guild, St. Louis, MO Two Person Exhibit, St. Louis Regional Commerce & Growth Association, St. Louis, MO Group Exhibition, Lisa Steinmetz Gallery, St. Louis, MO Honors Exhibition: Selected Artists from Art St. Louis X, Art St. Louis, St. Louis, MO Art St. Louis X, Art St. Louis, St. Louis, MO Art Facult y Exhibit, Forest Park Community College Art Gallery, St. Louis, MO Group Invitational, Culver Gallery, St. Louis, MO Two-person show, Forest Park Community College Art Gallery, St. Louis, MO Brave New Pixels 3: A Computer Generated Art Exhibit, A.R.C. Gallery, Chicago, IL Group Exhibit, Randall Gallery, St. Louis, MO BFA Exhibition, Charlotte Crosby Kemper Gallery, Kansas City, MO The 29th Chautauqua National Exhibition, Chautauqua Art Association Gallery, Chautauqua, NY

SELECTED BIBLIOGRAPHY Gatschet, Anne. “Char Schwall’s Sea Lover” Catalogue Essay, Bruno David Gallery Publications, March, 2021 Hollerbach, Bryan A. “A Natural Fit,” Ladue News, February 5, 2021 Langdon, Paul. “Interviews,” HEC-TV, March 3, 2017 David, Bruno. “A Conversation With The Artist” Catalogue Essay, Bruno David Gallery Publications, March, 2017 Ferber, Andrea. “Source Confluence,” Catalogue Essay, Bruno David Gallery Publications, November, 2011 Cooper, Ivy. “Bruno David Shows Connect Wall,” St. Louis Beacon, November 20, 2011. Barone, Laura. “Charles Schwall: Source Confluence at Bruno David”, archedartnow.wordpress.com/2011/10/24/charles-schwall-source-confluence-bruno-david-gallery/ Beall, Dickson. Insight from artist Charles Schwall, web video, www.westendword.com/Articles-c-2011-10-21-177463.114137-Insight-From-Artist-Charles-Schwall.html Beall, Dickson. “Charles Schwall at Bruno David,” West End Word, October 21 - November 3, 2011

Herndon, William. “Looking with Soft Eyes: The Paintings of Charles Schwall,” Catalogue Essay, Bruno David Gallery Publications, (March 2007) Bonetti, David. “Artist Celebrate Elliot Smith With Works Incorporating 20,” St. Louis Post -Dispatch, October 3, 2004. p. F6. St. Louis, MO Cooper, Ivy. “1984-2004 Twentieth Anniversary Celebration At Elliot Smith”, Riverfront Times, September 29 -October 5, 2004, p. 178. St. Louis, MO. Martelli, Rose. “Smith Elliot: The Gallery Looks In The Mirror For Its 20th.”, Riverfront Times , September 15-21, 2004, p. 32. St. Louis, MO Bonetti, David. “Everything Show”, St. Louis Post- Dispatch, July 18, 2004, p. F8. St. Louis, MO Cooper, Ivy. “ Everything You Ever Wanted To Know About Art...”, Riverfront Times, July 28- August 3, 2004, p. 42. St. Louis, MO. Duffy, Robert. “Art St. Louis X, Exhibition Review,” St. Louis Post-Dispatch, October 13, 1994

AWARDS & HONORS 2012 2010 2009

The Ragdale Foundation, artist residency, Lake Forest, IL Vermont Studio Center, artist residency, Johnson, VT Anderson Ranch Arts Center, Art Educator Institute residency, Snowmass, CO. (National Endowment for the Arts grant)

SELECTED LECTURES & PRESENTATIONS 2011 2008

Lecture on Creative Practice, College of Visual Arts & Design, University of North Texas, Denton, TX An Artist’s Favorites, gallery talk, St. Louis Art Museum, St. Louis, MO Lecture on Creative Practice, Yue-Kong Pao Hall of Visual & Performing Arts, Purdue University, West Lafayette, IN Lecture on Creative Practice, Schmidt Arts Center at Southwestern Illinois College, Belleville, Il

WRITING BY THE ARTIST Schwall, Charles, Grounding, Flow, Release: The Paintings of Laura Beard, essay published by the Bruno David Gallery, 2008. Schwall, Charles, Tenuous Occupancy: The Sculpture of Lindsey Stoufer, essay published by the Bruno David Gallery, 2007. New, Rebecca & Cochran, Moncrieff, Early Childhood Education: An International Encyclopedia (four volumes), “Atelier” entry by C. Schwall, (Greenwood), 2007. Mendez, Guy, Art to Heart, DVD television program & supporting materials produced by Kentucky Educational (PBS) Television, 2006. Gandini, Hill, Cadwell, Schwall, In the Spirit of the Studio: Learning from the Atelier of Reggio Emilia, (Teachers College Press), 2005 Schwall, Charles, “Creative Computer Play,” Parent & Child Magazine, Scholastic,vol. 13, no.1, September, 2005. Wein, Carol Anne, “Book Review,” Innovations in Early Education, vol. 10, no. 3, Spring, 2003 Schwall, Charles, “The Atelier Environment: Recognizing the Power of Materials as Languages,” in Next Steps Towards Teaching the Reggio Way, second edition, edited by Joanne Hendricks, (Merril Prentice Hall), 2003.

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ARTISTS Sara Ghazi Asadollahi Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Judy Child Carmon Colangelo Alex Couwenberg Terry James Conrad Jill Downen Damon Freed

Yvette Drury Dubinsky Douglass Freed Richard Hull Kelley Johnson Chris Kahler Leslie Laskey Justin Henry Miller James Austin Murray Yvonne Osei Patricia Olynyk Gary Passanise

Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Char Schwall Christina Shmigel Thomas Sleet Buzz Spector Mark Travers Monika Wulfers