Kahlil Robert Irving: Undocumented by Bruno David Gallery

KAHLIL ROBE RT IRVI NG Undocumented

bruno david gallery

KAHLIL ROBERT IRVING Undocumented

November 10, 2016 - January 7, 2017 Bruno David Gallery 7513 Forsyth Boulevard St. Louis, MO 63105 U.S.A info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Kahlil Robert Irving: Undocumented Editor: Bruno L. David Catalogue Designer: Ashley Lee, Yihuang Lu and Peter Finley Designer Assistant: Claudia R. David Printed in USA All works courtesy of Kahlil Robert Irving and Bruno David Gallery “I Love who you are, I love who you ain’t” (detail) 2016 Glazed stoneware and wood (346 elements) 72 x 240 x 36 inches (183 x 609.6 x 91.4 cm) First Edition Copyright © 2017 Bruno David Gallery, Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery, Inc.

CONTENTS

THERE MAY BE RISKS INVOLVED.... BY Kimberly Diana Jacobs AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION OTHER WORKS FROM THE UNDOCUMENTED SERIES BIOGRAPHY

THERE MAY BE RISKS INVOLVED... by Kimberly Diana Jacobs 2

“There May Be Risks Involved…” “The cultural and political discourse on black pathology has been so pervasive that it could be said to constitute the background against which all representations of blacks, blackness, or (the color) black take place… to the regulatory metaphysics that undergirds interlocking notions of sound and color in aesthetic theory: [B]lackness has been associated with a certain sense of decay, even when that decay is invoked in the name of a certain (fetishization of) vitality .” Fred Moten, “The Case of Blackness,” 2008

Risk dwells at intersection of chance and necessity. All over the globe risks to attain freedom, safety, politics, and the environment are subjects of intense social interest. This present social interest is, perhaps, because exposure to risk can often lead to the development of new awareness andideas. Depending on the context, confronting risk can also shift one’s perception of reality. This shift in perception is indeed the action Kahlil Robert Irving is asking us to take when encountering his multi-dimensional installation, titled I love who you are; love who you ain’t (2016), featured in his solo exhibition, Undocumented at Bruno David Gallery. The truth is, when viewing a work of art we normally do not consider that work a risk. And yet, when approaching I love who you are; I love who you ain’t, one may (or may not) recognize the dichotomies happening in this work, beginning with its title borrowed from the lyrical genius André 3000 Benjamin.

Irving’s title refers to a verse from Outkast’s 2001 hit single, So Fresh, So Clean, in which 3000 writes: “Those huge baby eyes get to running off at they mouth, telling me everything that’s on yo nasty mind, They say your malnutrition in need of Vitamin D, and inviting me to that tingle in yo spine, I love who you are, I love who you ain’t; you’re so Anne Frank. Let’s hit the attic to hide out for bout two weeks, Rick James and no chains and whips I do suck lips, Till hips jerk and double time the by next doors a freek, Ha Ha…” 3000’s verse, like Irving’s title, questions our capacity to hold in our mind two opposing ideas at once . Jazzage novelist F. Scott Fitzgerald once said “the ability to hold two opposing ideas in mind at the same time, and still retain the ability to function,” is the sign of a truly intelligent individual. For some, however, holding opposing ideas in one’s head can cause severe tension. This tension occurs because we, the individual, must observe for ourselves that within ‘sublime aesthetic tension’ resides great risk. I love who you are; I love who you ain’t directly reveals to us through its stature and scale what intense aesthetic tension between accessibility and inaccessibility looks like. Overall, this installation incorporates Irving’s skills in both object making and composition. Playing with the dynamics of space and scale, Irving positions approximately 400 black glazed ceramic vessels slightly above eye-level. This clever optical illusion contributes also to the majestic quality of its scale; and the inability to investigate the work in full heightens the sense of tension in the armature of the work, while requiring us to intentionally shift our bodies, and thus perspective, when encountering Irving’s work. It occupies a commanding position inside of the gallery, and the installation’s powerful stature is indeed quite arresting. The sculpture is a barrier to the viewers access to the entire room, though the viewer can see there is space on the other side of the installation. Although, Irving’s strategic positioning of the installation initiates also a sort of stilted performance or dance, or a dialogue between the viewer and the work of art is present to challenge how one is or unable to have complete control or access.

The power of I love who you are; I love who you ain’t emerges from its conceptual form and the construction of each material element, which embodies both the precision and grandeur of Irving’s sculptural oeuvre. His use of ceramic vessels throughout his Undocumented series also convey deeper meanings of space, time, mass, assumptions, and Blackness. Irving’s installation places necessary pressure on the white gaze by pushing into new possibilities of Blackness itself as a material, relational, historical, and theoretical site for artists and cultural practitioners working in the aftermath of Ferguson. The number Black glazed ceramic vessels situated in a compact formation atop a finely constructed pattern of wooden planks are uncountable from the viewer’s position inside the gallery. In order to see them in full, one must take on a bird’s eye view. This particular position of seeing Blackness undeniably correlates to the gathering of bodies in celebration and or resistance… Currently living and working St. Louis, Kahlil Irving is of a generation of Black artists, well-versed in urban discourse and aware of the artist’s role in society. He understands the profound effects of Black pathologies, as well as social and political constructions that frame others’ views and sensibilities regarding Blackness. Irving focuses his artistic practice on investigating the intersectionality of Blackness, space, and materiality—some may call it alchemy. Irving beautifully utilizes Black as a means of initiating alternative dialogues surrounding Blackness and Humanity.

Kimberly Diana Jacobs ia a curator and PhD student in the Department of Art History at Virginia Commonwealth University. She received a MA in History from Jackson State University (2014), and her Master’s thesis “Approaching Africanisms: An Analysis of Ornamental Ironwork in the American South” provides a close examination of ornamental iron balconies and facades in New Orleans, Louisiana and Charleston, South Carolina. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

AFTERWORD BY BRUNO L. DAVID 6

I am pleased to present an exhibition titled “Undocumented” by Kahlil Robert Irving at the Bruno David Gallery. This is his first exhibition with the gallery. The series explores racism through decorative arts, ceramics, and sculpture. Undocumented is a series that is culminating in Irving’s first solo exhibition at the Bruno David Gallery. Thinking through sculpture, Irving uses the ceramic multiple to be metonymic signifier of bodies. This is an interpretation of marching, congregations of people, or even a family reunion. Blackness is infinity; it is strength, it is power. Most recently, his work utilizes clay as a medium to encapsulate truths to last forever. Irving wants to challenge historical notions of colorism, structural barriers that separate communities, and objects that exist within those communities. Kahlil Irving received his B.F.A. from the Kansas City Art Institute (Art History and Ceramics) and a M.F.A. from the Sam Fox School of Art, Washington University in St. Louis as a Chancellor’s Graduate Fellow. He was a resident artist at the Scuola Internazionale di Grafica in Venice, Italy. He has work in the collections of the Riga Porcelain Museum, in Riga, Latvia; The Ken Ferguson Teaching Collection at the Kansas City Art Institute in Kansas City, Missouri, Foundation for Contemporary Ceramic Art in Kecskemet, Hungary. He recently completed a Durwood trust Provenance Research internship at the Nelson-Atkins Museum of Art for the Architecture, Design, and Decorative Art department in Kansas City, Missouri. He lives and works in Saint Louis, Missouri. 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 Kimberly Diana Jacobs for her thoughtful essay. I am deeply grateful to Ashley Seo-Hyung Lee, Yihuang Lu and Peter Finley, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Cleo Azariadis, Xizi Liu, Marisa Drewes, Charis Schneider, Ashley Lee, Alex DeRosa, Yihuang Lu, and Ryan Eckert.

CHECKLIST & IMAGES OF THE EXHIBITION

“I Love who you are, I love who you ain’t” (Undocumented Series) (detail) 2016 Glazed stoneware and wood (346 elements) 72 x 240 x 36 inches (183 x 609.6 x 91.4 cm)

“I Love who you are, I love who you ain’t” (Undocumented Series), 2016 (installation view - detail) Glazed stoneware and wood (346 elements) 72 x 240 x 36 inches (183 x 609.6 x 91.4 cm) 13

“I Love who you are, I love who you ain’t” (Undocumented Series), 2016 Glazed stoneware and wood (346 elements) 72 x 240 x 36 inches (183 x 609.6 x 91.4 cm)

“I Love who you are, I love who you ain’t” (Undocumented Series) (detail), 2016 Glazed stoneware and wood (346 elements) 72 x 240 x 36 inches (183 x 609.6 x 91.4 cm)

“I Love who you are, I love who you ain’t” (Undocumented Series), 2016 Glazed stoneware and wood (346 elements) 72 x 240 x 36 inches (183 x 609.6 x 91.4 cm)

OTHER WORKS FROM THE UNDOCUMENTED SERIES

Unity, 2014 Glazed Ceramics, Painted Wood 55 x 72 x 36 inches (139.7 x 183 x 91.4cm)

Unity, 2014 (detail) Glazed Ceramics, Painted Wood 55 x 72 x 36 inches (139.7 x 183 x 91.4 cm)

ConcernedStudent1950; or the Johnson Family Reunion, 2015 Glazed Ceramics, Wood 68 x 54 x 54 inches (172.7 x 137 x 137 cm)

ConcernedStudent1950; or the Johnson Family Reunion, 2015 (detail) Glazed Ceramics, Wood 68 x 54 x 54 inches (172.7 x 137 x 137 cm)

Before and After Sundown, Town; 2016 Glazed Ceramics, Wood 72 x 72 x 120 inches (183 x 183 x 305 cm)

Before and After Sundown, Town; 2016 (detail) Glazed Ceramics, Wood 72 x 72 x 120 inches (183 x 183 x 305 cm)

Before and After Sundown, Town; 2016 Glazed Ceramics, Wood 72 x 72 x 120 inches (183 x 183 x 305 cm)

Before and After Sundown, Town; 2016 Glazed Ceramics, Wood 72 x 72 x 120 inches (183 x 183 x 305 cm) 33

KAHLIL ROBERT IRVING Born in San Diego, California Lives and works in Saint Louis, Missouri

EDUCATION 2017 Washington University in St. Louis, Sam Fox School of Design and Visual Art MFA in Visual Art (Chancellor’s Graduate Fellowship) 2015 Kansas City Art Institute BFA in Art History and Ceramics (Certificates in Asian Studies and Social Practice) 2014 Bezalel Academy of Art and Design, Jerusalem, Israel, Study Abroad Exchange Program 2013 University of West Hungary - Sopron, Study Abroad Exchange Program, Kecskemét, Hungary Art on the Edge of Politics, Study abroad to Vietnam, Laos, and Thailand 2012 Dreaming in the Magyar, Study abroad to Hungary and the Czech Republic Arcosanti Architecture Travel Program, Arcosanti and Cosanti, Mayer and Phoenix, Arizona 2011 New York City Residency Program, New York City, New York

SOLO AND TWO-PERSON EXHIBITIONS (*Forthcoming) 2018 2017 2016 2013

*Jewett Art Gallery, Wellesley College, Wellesley, Massachusetts * Response, (two-person exhibition with Sandra Ginter) Saint Mary’s College, Notre Dame, Indiana *Hesston College Art Gallery, Hesston, Kansas *Callicoon Fine Art, New York City, New York “One Step Ahead”, (two-person exhibition with Lyndon Barrios Jr.) South Dallas Cultural Center, Dallas, Texas Undocumented, Bruno David Gallery, Saint Louis, Missouri (catalogue) Crossing Skylines, Museum Night, (two-person exhibition with Pernille Kjholdt), Danish Culture Center, Kecskemét, Hungary

GROUP EXHIBITIONS 2018 2017

*They, Clay Art Center, Port Chester, NY *Alternate Endings: Contemporary Ceramic Bookends, Carnegie Library of Pittsburgh, Pittsburgh, Pennsylvania *Another Country, 50/50, Kansas City, Missouri Desirable Objects| Cabinet, David B. Smith Gallery, Denver, Colorado OVERVIEW_2017, Bruno David Gallery, Saint Louis, Missouri (catalogue) Almost Now, Just Then…, Projects + Gallery, Saint Louis, Missouri (catalogue) Frame by Frame, Calicoon Fine Arts, New York City, New York Daisy, Brooklyn, New York MFA Thesis, Mildred Lane Kemper Art Museum, Saint Louis, Missouri People of Color, People in Clay, Baltimore Clayworks, Curated by Leslie King-Hammond, Baltimore, Maryland Transparency Shade. Seeing through the shadow, Curated by Modou Dieng, Project+ Gallery, Saint Louis, Missouri Attach Files, 50/50, Kansas City, Missouri Crafting Resistance, Visual Arts Center, Boise State University, Boise, Idaho Constructed Visions, Saint Louis Artist Guild, Saint Louis, Missouri Encoded, Gallery of Contemporary Art, Saint Louis Community College at Forest Park, Saint Louis, Missouri 2016 Government Cheese: Addiction, Incarceration, and Violence, Lilstreet Art Center, Chicago, Illinois The Blooming Artists Project 2016, Old Orchard Gallery, Webster groves, Missouri Multiplicity: Repetition in Contemporary Art, Edwardsville Art Center, Edwardsville, Illinois MFA Candidacy Exhibition Part #1, Des Lee Gallery, Saint Louis, Missouri Chromophilia | Chromophobia, Kansas City Art Institute at Grand Arts Gallery, Kansas City, Missouri Gyorgy’s Life Changing Hungarian Adventure: Special Artists Use a Special Material at the ICS, The Drug Store, Kansas City, Missouri Art.Work., Westminster Press, Saint Louis, Missouri Varsity XX, Art Saint Louis, Saint Louis, Missouri MFA Invitational, Saint Charles Community College, Saint Charles, Missouri Functionality, Duet Gallery, Saint Louis, Missouri

2015 Alternative Currencies, Curated by The English, Vox Populi Gallery, Philadelphia, Pennsylvania Surface – in Tenstion, Techartista, Saint Louis, Missouri Pentimento, Intersect Art Center, Saint Louis, Missouri The Marge Brown Kalodner Graduate Student Exhibition, The Clay Studio, Philadelphia, Pennsylvania From the Earth - Contemporary Ceramics, Edwardsville Art Center, Edwardsville, Illinois BFA Exhibition, H&R Block Artspace, Kansas City, Missouri Yet Unfulfilled, Reese Gallery, Saint Louis, Missouri Designated Areas, Delmar Loop Gallery. Craft Alliance Center for Art and Design, Saint Louis, Missouri 2014 Terra Form, Stern Ceramics Building, Kansas City Art Institute, Kansas City, Missouri Four Assorted Chocolates, Carter Art Center Gallery, Kansas City, Missouri Nebraska National Collegiate Juried Art Exhibition, Eisentrager - Howard Gallery, University Nebraska – Lincoln, Lincoln, Nebraska. IV International Triennial of Silicate Arts, Kecskemét Cultural and Conference Center, Foundation for Contemporary Ceramics, Kecskemét, Hungary ADDmix, Stern Ceramics Building, Kansas City Art Institute, Kansas City, Missouri Undergraduate College Student Juried Exhibition, Kansas City Artist Coalition, Kansas City, Missouri Progress and Prosperity, Vulpes Bastille, Kansas City, Missouri National Student Juried Exhibition, National Council of the Education of Ceramic Art, Milwaukee Institute of Art and Design, Milwaukee, Wisconsin X, Bezalel Academy of Art and Design, Jerusalem, Israel AHEM #1, Bezalel Academy of Art and Design, Jerusalem, Israel 2013 8th International Exhibition of Small Porcelain Forms, Riga Porcelain Museum, Riga, Latvia National Student Juried Exhibition, National Council of the Education of Ceramic Art, Glassell School and Museum of fine art, Houston, Texas 2012 Flux, Stern Ceramics Building, Kansas City Art Institute

What is Black? Kansas City Art Institute Student Gallery, Kansas City, Missouri Change for Change, Rag and Bone Gallery, Kansas City, Missouri 7th International Exhibition of Small Porcelain Forms, Riga Porcelain Museum, Riga, Latvia KILNGOD, International Ceramics Studio, Kecskemét, Hungary

2012 2011 2010

XOXO Salon, Spraybooth Gallery, Kansas City, Missouri Expo 82, Stern Ceramics Building, Kansas City Art Institute. Kansas City, Missouri Gradient Observation, Vanderslice Hall, Kansas City Art Institute, Kansas City, Missouri Strata, Stern Ceramics Building, Kansas City Art Institute, Kansas City, Missouri Young Gifted and Talented, Bruce R. Watkins Cultural Center, Kansas City, Missouri Arcosanti Architectural and Landscape, Arcosanti, Mayer, Arizona National Council of the Education of Ceramic Art K-12, Pennsylvania Convention Center, Philadelphia, Pennsylvania

HONORS & AWARDS 2017 Alice. C. Cole Fellowship, Wellesley College, Wellesley, Massachusetts Artist Support Grant, The Regional Arts Commission, Saint Louis, Missouri The John Anson Kittredge Fund Grant, Cambridge, Massachusetts Lighton International Artist Exchange Program Grant, Kansas City, Missouri Dubinsky Fund Grant, Saint Louis, Missouri Alternate, Fulbright, United States Depart of State, Bureau of Educational and Cultural Affairs, United States of America Graduate Student Travel Grant, Washington University in St. Louis, Saint Louis, Missouri 2016 MFA Publication Fellow, Peripheral Vision Arts, Dallas, Texas Honorable Mention, Outstanding Student Achievement in Contemporary Sculpture Award, International Sculpture Center, Hamilton, New Jersey Artist Support Grant, National Society of Arts and Letters Saint Louis Chapter, Saint Louis, Missouri Artist Support Grant, The Regional Arts Commission, Saint Louis, Missouri Residency Fellowship, Scuola Internazionale di Grafica (International Graphics School), Venice, Italy Graduate Student Fellowship, NCECA, Boulder, Colorado 2015 Graduate Student Travel Grant, Washington University in St. Louis, Saint Louis, Missouri Chancellorâ&#x20AC;&#x2122;s Graduate Fellowship, Washington University in Saint Louis, Saint Louis, Missouri 2012 Benjamin Gilman International Study Abroad Scholarship, U.S. Department of Stateâ&#x20AC;&#x2122;s Bureau of Education and Cultural Affairs, Institute of International Education, Houston, Texas

2011 - 2015 Dean’s List, Kansas City Art Institute, Kansas City, Missouri 2010 Competitive Merit – Full Tuition scholarship, Kansas City Art Institute, Kansas City, Missouri Greater St. Louis Artist Association Scholarship, Saint Louis, Missouri St. Louis Board of Education Pepsi Scholarship, Saint Louis, Missouri Ingrid Mahan Scholarship, 4-year renewable scholarship, The National K-12 Ceramic Exhibition Foundation, Millington, New Jersey RESIDENCIES 2017 2016 2013

South Dallas Cultural Center, Dallas, Texas The Luminary, Saint Louis, Missouri Gene Slay’s Boy’s & Girls Club of St. Louis, Saint Louis, Missouri Scuola Internazionale di Grafica (International Graphics School), Venice, Italy Nemzetközi Kerámia Stúdió, (International Ceramics Studio), Kecskemét, Hungary

ORGANIZED EXHIBITIONS 2017 Encoded, Gallery of Contemporary Art, Saint Louis Community College at Forrest Park, Saint Louis, Missouri *Another Country, 50/50, Kansas City, Missouri 2016 Their Way, Militzer Gallery, Saint Louis, Missouri

PUBLIC PROJECTS 2016 Metroscapes 2016, large digital print for Metro bus stops all over Saint Louis apart of the Arts in Transit program, Metro Transit, Saint Louis, Missouri Billboard Project, Apart of the “Wares for the People” project, Three Rugs for a Fallen Local, digital print billboard, Craft Alliance Center for Art and Design, Saint Louis, Missouri Public Ritual, Bhanu Kapil, Pulizer Arts Foundation, Produced ceramic bowls for the collaborative event, Saint Louis, Missouri

COLLECTIONS

Alserkal Avenue Artist Residency Research Library, Dubai, United Arab Emirates Bezalel Academy of Art and Design, Jerusalem, Israel Collection of Contemporary Ceramic Art, Riga Porcelain Museum, Riga Latvia International Ceramics Studio, Foundation for Contemporary Ceramic Art, Kecskemét, Hungary Ken Ferguson Teaching Collection, Kansas City Art Institute, Kansas City, Missouri Scuola Internazionale di Grafica (International Graphics School), Venice, Italy *Also several private Collections in Kansas City, Saint Louis, Missouri, and San Francisco, California

VISITING ARTIST, LECTURER 2017 2016 2015

Visiting Artist, Brittany Woods Middle School, University City, Missouri Visiting Artist, Saint Louis Community College Forrest Park, Saint Louis, Missouri Visiting Artist, Centre College, Jones Visual Arts Center, Danville, Kentucky Panelist, Critical Conversations – Presence and Absence: Representations and Expressions of African and African-American Identity, St. Louis Artworks, St. Louis, Missouri Panelist, Critical Conversations – Art and Black Body Part 1, Contemporary Art Museum St. Louis, Missouri Visiting Artist, Visiting Artist Series: Noon Lecture, Webster University, Saint Louis, Missouri Presenter, “The politics of ware - our history contained in and on the ceramic vase” Arts and Letters Colloquium, Washington University in St. Louis, Missouri Visiting Artist, Crossroads Academy, Saint Louis, Missouri Visiting Artist Ceramics department, Webster University, Saint Louis, Missouri The Twenty-Ninth Annual National Conference on Liberal Arts and the Education of Artists Presenter, School of Visual Art, New York City, New York 2013 ARTrageous Gold Ball Gala, Speaker, Craft Alliance – Palladium, Saint Louis, Missouri ARTrageous Gala, Speaker, Craft Alliance – Palladium, Saint Louis, Missouri

BIBLIOGRAPHY 2017 Confluence Journal: Volume II, Issue 1, Spring/Summer 2017, cover image and essay pg. 6-9 An International Exhibition Imagines an Intersectional Future, by Devon Van Houten Maldonado, Hyperallergic, April 27th, 2017 Transparency Shade, Catalogue, essay by Danielle Jackson and Charlotte Eyerman, Projects+ Gallery, Saint Louis, Missouri, ISBN # 978-0-692-86120-2 “Transparency Shade: Seeing Through the Shadow,” examines postcolonial identity at Projects + Gallery, by Chelsie Hollis, Saint Louis Magazine, March 31st, 2017 Next Generation, Expose Art Magazine, pg. 37 – 41, April 2017 Encoded, Art In America, Review written by Gavin Kroeber, March 28th, 2017 Kahlil Irving discusses Direct Drive by Kelly Walker at CAMSTL, Informality Blog, February 17th, 2017 Q&A: Kahlil Robert Irving, by Jess T. Dugan, February 2, 2017 “There May Be Risks Involved...” Catalogue, essay by Kimberly D. Jacobs, Bruno David Gallery Publications, Saint Louis, Missouri, March 2017 On View: “Encoded” at the Gallery of Contemporary Art, by Emma Dent, St. Louis Magazine, January 19th, 2017 2016 WE LIVE HERE, episode 37 – Museum Meltdown, Saint Louis Public Radio, December 12, 2016 The Lyrical Pottery of Artist Kahlil Irving, by Stefene Russell, Saint Louis Magazine, November 17th, 2016 Kahlil Irving’s Sculptures Protest Racism, Call for More Black Voices in Art, by Willis Ryder Arnold, Saint Louis Public Radio, NPR, October 28th, 2016 The Education of Kahlil Irving – Kahlil Irving Makes Art That Grapples with Race – and Life, Artist Feature and Cover Page, River Front Times, By: Danny Wicentowski, Saint Louis, Missouri After Museum Controversy, St. Louis Artists Focus on Community Building, by Mallory Nezam, Hyperallergic NP, October 24th, 2016 Appropriated Images of Black People Spark Boycott of St. Louis Museum, by Claire Voon, Hyperallergic, September 22, 2016. From the South Side to Venice: Introducing Potter and Provocateur Kahlil Irving, October issue, Alive Magazine, By: Eileen G’Sell, September 9th, 2016, Saint Louis, Missouri 2015 Open Studio, Personal Style of Creative Artists, Armour Magazine, Saint Louis, Missouri Compendium, Kansas City Art Institute, Kansas City, Missouri “Yet Unfufilled at Reese Gallery” by Daniel Stumeier, Temporary Art Review, February 20th, 2015.

2014 “Chocolates’ Is Richly Satisfying” by Elizabeth Kirsch, The Kansas City Star pg. D6, November 2, 2014. The Artist Catalogue, Winter 2014 ed. Cover image, and interview pg. 34- 38 Undergraduate Showcase, Ceramics Monthly, September Issue, pg. 53 IV International Triennial of Silicate Arts, IV Nemzetközi Szilikátművészeti Triennálé, Foundation for Contemporary Ceramics, Kecskemét, Hungary, ISBN #978-963-08-9950-5 National Juried Student Exhibition Catalog, National Council of the Education of Ceramic Art Milwaukee Institute of Art and Design, Milwaukee, Wisconsin, ISBN # 978-1-935046-58-5 2013 National Juried Student Exhibition Catalog, National Council of the Education of Ceramic Art, Glassell School and Museum of Fine Arts, Houston, Texas, ISBN #978-1-935046-53-0

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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Judy Child Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky

Ellen Jantzen Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Xizi Liu Bill Kohn (Estate) Leslie Laskey Yvonne Osei Patricia Olynyk

Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower

Damon Freed Douglass Freed Kahlil Robert Irving

Gary Passanise Judy Pfaff

Ann Wimsatt Monika Wulfers