Steve Reynolds: Serial Investigations in Sculpture

STEVE REYNOLDS Serial Investigations in Sculpture Curated by Catherine Lee

STEVE REYNOLDS

Serial Investigations in Sculpture

Curated by Catherine Lee Essays by Catherine Lee Kathleen Whitney James A. Broderick Daphne Reynolds

STEVE REYNOLDS: SERIAL INVESTIGATIONS IN SCULPTURE

This publication has been published in conjunction with the exhibition, Steve Reynolds: Serial Investigations in Sculpture, curated by Catherine Lee at the Art Gallery of The University of Texas at San Antonio.

The University of Texas at San Antonio January 19 - February 23, 2011 Texas A&M, Corpus Christi, Texas March 10, 2011 - April 15, 2011

ISBN:978-0-9831130-1-0 Editor: Scott A. Sherer Contributors: Catherine Lee, Kathleen Whitney, James A. Broderick, Daphne Reynolds Designer: Cornelia Swann Photography: Jared Theis Additional photography: Thomas Holton, Catherine Lee, Melanie Rush Davis

All images © 2011 The Estate of Steve Reynolds. All rights reserved. ©2011 UTSA Art Gallery, The University of Texas at San Antonio. All rights reserved.

Cover image: Black Stacks 1-4, glazed earthenware, wire, mixed media, 1997-1998

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WORKS Aleph......................................................pg. 6 Aleph: Australia..................................pg. 8 Aleph: Hunters....................................pg. 9 Aleph: Obituary..................................pg. 10 Aleph: White Porcelain Figures...pg. 11 Vinci........................................................pg. 12 Wire Elements....................................pg. 16

ESSAYS Catherine Lee

Sets & Sub-Sets...............................pg. 14

Elaborated Wire Works..................pg. 19 Plumbs....................................................pg. 20 Courtship Tableaux..........................pg. 22

Kathleen Whitney

Steve Reynolds:

The flux, visualized........................pg. 30

Stained Porcelain Tableaux..........pg. 24

Porsgrund Porcelains.......................pg. 28

Steve Reynolds: His Professional Life....................pg. 34

James A. Broderick

Homage to Steve Reynolds......pg. 52 Daphne Reynolds

Notes on the Series.......................pg. 64

Cortona Bronzes................................pg. 26

Black Birds............................................pg. 36 White Birds...........................................pg. 38 Kettle Pots............................................pg. 40 Porcelain Gestures...........................pg. 44 Ochre Notations................................pg. 46 Etudes.....................................................pg. 48 Cups & Saucers..................................pg. 50 KecskemĂŠt Porcelains......................pg. 54 Tiles.........................................................pg. 56 Gifts for Daphne................................pg. 58 Equinox Porcelains...........................pg. 60 Black Stacks........................................pg. 62 3

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ARTIST’S STATEMENT

My current aesthetic concerns can be intellectually and visually traced back to the diversity of my academic training, the meaningful personalities which were part of that experience, the changing inflection of significant issues governing art-making for the past 30 years, and last but not least, the peculiarities of my psychological-intellectual makeup. This mentality insists that an artist must function in a broad, integrating art context which can be perceived as a double coding system: one must have the capacity to incorporate external references derived from other aspects of the art world (painting, sculpture, criticism) specifically, and its broader cultural base, generally.

My work can hopefully be regarded as a mediating device that attempts to integrate these intellectual ideals with visual sensations while addressing the formal, critical, philosophical and psychological categories that have evolved over the past three decades, which help assign these cultural activities to the history of art. This is no mean trick given the blurred pluralistic situation that distinguishes all aspects of our postmodern art era.

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Photo, The artist in his Lubbock, Texas studio, ca. 1971.

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Aleph ALEPH, 320” x 93” x 3”, mixed media, 1990-2005

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Aleph: Australia

ALEPH: Australia (above), 31" x 34" x 3" mixed media, 1990-2005 ALEPH: Hunters (right), 84" x 42" x 3", mixed media, 1990-2005

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Aleph: Hunters

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Aleph: Obituary ALEPH: Obituary, 42" x 50" x 3" mixed media, 1990-2005

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Aleph: White Porcelain Figures ALEPH: White Porcelain Figures (detail, Male/Female Gestures), 7.5"x 8.5" x 3", porcelain, 1990-2005

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Vinci VINCI, 144" x 156" x 24", mixed media, 2005

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Catherine Lee Sets & Sub-Sets

Steve Reynolds wrote in 2005, near the end of his life, “…I have never been interested in maintaining, as Roland Barthes characterizes it, an image repertoire. It has been my operational pattern to find some ideas of interest and to work out a visually and intellectually gratifying solution over a number of works in a series, usually 8 to 12 pieces....

The point is to challenge how we receive and process information. I am constructing an idea that is impossible to engage in one conclusive gestalt hit. It is more like a piece of literature where one accrues the data in a linear manner but also moves from configuration to configuration in a totally non-sequential manner.” † Steve Reynolds worked in an intensely serial manner when researching and creating forms or ideas. He was constantly gathering, searching, sorting, making use of random occurrences and improvising. Reynolds could have taken any of the multifarious objects in this exhibition and combined them, in some unexplainable attack of insight, into his own particular, grander art. I believe that each piece presented here stands eloquently on its own, that is what inspired this exhibition - that each series, and each sculpture within a series, is worthy of contemplation.

In coordination with the artist’s wife and life partner, Daphne Reynolds, I have selected some of his many serial investigations. Most of these sculptures, including the 14

entire Gifts for Daphne series, have never been exhibited until now. Certainly, a comprehensive retrospective of his documented, larger, more complex works is needed, to do this artist justice. But Steve Reynolds was a teacher as well as an artist, and there is much to be learned from his copious body of individual works. So I think he would not mind what I have presented here, but rather, I imagine he would be mildly amused.

Within any given civilization there are common and shared purposes, beliefs and concerns communicated among its people. Part of what defines or describes any culture are certain characteristics a group feels the need to repeat, refine and restate in a sustained manner over time. Visually, when we think of Assyrian reliefs or Cycladic figures or Greek kouroi or Egyptian glyphs, for instance, we are examining cultural seriality. Visual knowledge is gained and passed on in a process similar to verbal language, serving the human desire to communicate, requiring order, repetition, mutability, and logic (and challenges to “logic” through idiosyncrasies of intuitive inflection). Within a single artist’s body of work, whatever is serially investigated in a sustained manner is a tacit declaration of what is of greatest importance to that artist. Seriality, in this aesthetic sense, is not mathematical but intuitive; it is an in-depth exploration of a concept.

of art, especially his love of the making of art, is revealed here by simply lining these objects up, categorically, and allowing them to speak for themselves. In the absence of his guidance, I can only hope here to gesture toward the expanse of his work.

WIRE ELEMENTS (studio view), wire with mixed media, 2001

Look into any artist’s serial issues and you will find their heart.

But art is not simply an expression. It is also a plunge into a subject, rationally and willfully, and it requires a certain balance between what is felt emotionally and what is known intellectually. Reynolds’ work demonstrates a wonderfully incisive intelligence coupled with great empathy for all life. My appreciation of his art developed over years, visiting his studio and observing how he would pursue a particular idea or subject or form or process.

There were forays into color studies, into methods of construction, into chemistry. There were always several sets of issues in play, and inevitably sub-sets were formed as he moved toward a deeper investigation of whatever matter was at hand. Sets, of course, are simply a collection of elements considered as a unit; sub-sets are a means of bringing those elements toward a state of increased intensity or clarity. This is the nature of delving.

The series included in this exhibition are at times categorized by form or by subject or by methodology or by materials used. In all cases, it is the pursuit of a keener understanding, and it is the journey into the heart of a matter, that was so quintessentially Steve Reynolds. This is what binds all the facets of his work together. His love

Wire Elements, Birds, Etudes, Black Stacks, Kettle Pots, Tiles - in fact, all the series in this exhibition - demonstrate that Reynolds’ most intimate and delicate works can be on their own momentous, expressive, worthy. Remarkably, however, he could further morph and combine those many expressive elements into larger, more complex and signature art works, such as the Elaborated Wire Works, Aleph and Vinci, demonstrating his personal, and inexplicable, domain of creativity. Vinci, for instance, makes use of Tiles, Elaborated Prints, Wire Elements, Ochre Notations, among many others. It is full of wit and irony and linguistics and bricolage, a brave foray into visual dynamism. But I am drawn back again and again to the single, simple works, that speak eloquently of his ability to make something tender and brave out of nothing at all.

My profound thanks to Daphne Reynolds for allowing me access to Steve Reynolds’ studio, his papers and artworks, and for helping me to understand more fully her husband’s aesthetic intentions. I would like to extend my gratitude also to Kathleen Whitney for her wonderfully insightful text on the nature of Reynolds’ work, to James Broderick for making the narrative of Reynolds’ career come to life, to Scott Sherer, insightful editor and director of the Art Gallery at The University of Texas at San Antonio, which is the originating institution for this traveling exhibition, to Jared Theis for assisting in a hundred crucial ways toward the realization of this exhibit. In addition, sincere thanks to Laura Crist, Cornelia Swann, John Hooper and Thomas Holton, each of whom have contributed their time and considerable skills. Lastly, my personal thanks - from one sculptor to another - to Steve Reynolds, for having created such works of art as these.

Correspondence with Paula Owen, President of the Southwest School of Art & Craft, on the occasion of the exhibition “Steve Reynolds, Selections 1985-2005” ††

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Wire Elements

WIRE ELEMENT 1, 57.5"x 16"x 8", wire with mixed media, 2001

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WIRE ELEMENT 6, 25"x 28"x 7", wire with mixed media, 2001 WIRE ELEMENT 8, 21"x 19"x 9.25", wire with mixed media, 2001

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WIRE ELEMENT 10, 15"x 16"x 9", wire with mixed media, 2001 WIRE ELEMENT 11, 19.5"x 23"x 1.5", wire with mixed media, 2001

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Elaborated Wire Works

ELABORATED WIRE: FIRST PART, 31"x 63"x 4", wire with clay and mixed media, 1998

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Plumbs

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PLUMB 1 (left), 23"x 18" diam., glazed ceramic, cord, 1996 PLUMB 2 (right), 23�x 18� diam., glazed ceramic, cord, 1996

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Courtship Tableaux

LITTLE OCHRE BALL, 14.25"x 14.25"x 12", glazed ceramic, epoxy, wood dowels, paint, 1986

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CONQUEST, 14.75"x 25.25"x 12.25", glazed ceramic, epoxy, wood dowels, paint, 1986

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Stained Porcelain Tableaux

STAINED PORCELAIN TABLEAU 1, 4.25"x 5.5"x 4", stained porcelain, glaze, epoxy, 1991

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STAINED PORCELAIN TABLEAU 2 (above), 5"x 6.25"x 5.5", stained porcelain, glaze, epoxy, 1991 STAINED PORCELAIN TABLEAU 3 (below), 3.5"x 8"x 6.25", stained porcelain, glaze, epoxy, 1991

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Cortona Bronzes

CORTONA BRONZE 1 (above), 3.75" x 8.75" x 3", cast bronze with patina, 1989 CORTONA BRONZE 2 (below), 3.25" x 5.4" x 3.9", cast bronze with patina, 1989

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CORTONA BRONZE 5 (above), 7.1" x 10.25" x7.9", cast bronze with patina, 1989 CORTONA BRONZE 6 (below), 5.4"x 9.9" x 4.9", cast bronze with patina, 1989

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Porsgrund Porcelains

PORSGRUND PORCELAIN 1 (above), 4"x 4.25" x 3.25", porcelain with gold and silver dust, 1995 PORSGRUND PORCELAIN 9 (opposite page, top), 3.25" x 7.25" x 6", porcelain with gold and silver dust, 1995 PORSGRUND PORCELAIN 13 (middle), 2.6" x 6.25" x 2.25", porcelain with gold and silver dust, 1995 PORSGRUND PORCELAIN 3 (bottom), 3.25"x 4.25" x 3.25", porcelain with gold and silver dust, 1995

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Kathleen Whitney Steve Reynolds: The flux, visualized

In Latin, ‘flux’ means flow; it always implies a kind of watery movement, a quantity that changes as it passes through a surface. It’s a movement, transfer of engery and destabilizing force. Perceptions and meanings also fall under its influence causing them to change, shift, be thrown into a state of conceptual motion.

Flux is a commodious term when used to describe Steve Reynolds. As noun, adjective and verb, flux traverses the wide territory of his work, referring to its substance, description and action. It’s useful as a metaphor for Reynolds’ method of operation.

constellation of elements in his work the more transient they become. Details that seem specific suddenly move into a different array, context and relationship, shifting emphasis, location and relevance. In a blink of an eye, you glimpse some thing in an atmosphere of perpetual flux.

Reynolds’ method of operation focused on creating multiple parts which were placed and replaced, consumed and regenerated throughout his different bodies of work.

None of these elements mirror another; they are parts of the engine driving the imagery forward, visual plot lines with multiple inferences. Reynolds puts them into service as mnemonic devices that preserve and evoke certain units of memory held in mind by him and his viewers. This cycle of use and reuse resounds throughout his body of work.

Reynolds fabricated his various objects in a serial fashion.

Each piece was singular but related, made obsessively and worked until it satisfied his needs or curiosity. For him, working in series meant dipping into a singular gene pool of mediums and appearances. It represented more than a specialized technique; it was part of his philosophy of life. Sequencing variations, shifts and iterations was a technique for situating his ideas in the

• Reynolds, the wordsmith, would know the word for flux in Magyar, áramlás, in Italian, fluviale and in Norske, inductivet.

• Reynolds, the ceramist, also knew flux as a substance that promotes fusion. Using it as a glaze chemical, he knew it as an additive that creates a glassy, reflective surface and promotes the vitrification of clay.

• Reynolds, the sculptor, knew flux as a device that determined the directions of his work. Flux is a metaphor for his patterns of thought and fabrication: a characteristic.

Reynolds’ work is open-ended and changeable, an index of meanings and variables. Aspects of a single work that might be seen as ‘permanent’ and ‘defined’ come into focus only to flicker out of view. The longer you stare at the 30

ALEPH: Obituary (detail), 42" x 50" x 3" mixed media, 2001-2005

Other scaffolds, such as the Wire Elements series, were made from heavy twisted wire that resemble calligraphic drawings in space. They represent a variety of natural forms: tree branches, swamp grasses or vines. Each is integral to the flow, direction and meaning of the work. Other wire pieces in this series were welded into geometric shapes, arrangements related to platonic solids and architectural constructions.

None of the wire forms were used the same way twice.

Reynolds varied their function and importance; some were used like distorted arrows pointing to text or some object, some enclose a number of smaller pieces, some are starkly stripped-down and others as accoutred as mannequins.

The variations he produced with them demonstrate his protean impulse to alter and reconfigure.

One way to comprehend Reynolds’ work is to think of it as a singular, continuously evolving entity rather than a series of discrete ‘pieces.’ The concentrated thrust of his ideas acts like a rock thrown in the water; his work is the impact, concentric rings of thought and image. One exception to this metaphysical body of work is a group he larger context of the world. This allowed him to come to a temporary conclusion while working through his complex ideas. His use of clay lent him the flexibility he needed, offering spontaneity and range of options that matched his sensibility, working method and ideas. The way he exploited the plasticity of the clay allowed a twist of his fingers to render the gesture of a bird in flight or the tension of a running figure. This unconstrained, informal approach extended to every kind of material he used: fragments of chairs, wood, shattered glass, urethane foam.

Reynolds organized and arranged some elements, like Black Stacks, by using a scaffold or armature that simultaneously supported and displayed them. This scaffold is more than a means of presentation; it’s a visual pivot, a framework and environment for the components of a piece. It’s a skeleton fleshed out by additional connective tissue. Scaffold or skeleton, these devices accommodate and cohere Reynolds’ great constellations of objects.

FUSION (above), 66" x 98" x 36", multimedia, 2005 BOLE (bottom), 69" x 88" x 32" multimedia, 2000

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entitled Kettle Pots. These sculptures behave more like a conventional series, a clear case of theme and variation.

In their variety of color, size and detail, they comprise a bravura demonstration of ceramic techniques. There was little Reynolds did not know about clay: the making of glazes, firing techniques, choices of clay bodies, surface textures and color. All this information was basic to his entire repertoire but is particularly concentrated in this group of objects.

With his polymath’s interest in the history of his craft, he thought of the vessel form as part of a continuum stretching from pre-historic times to the present. His Kettle Pots retrace this lineage, encompassing any form that captures space or concentrates heat, regardless of functionality. They resemble miniature volcanic craters, wind-formed holes, cooking pits, caves and the oval depressions in rock created by grinding corn. They are fired inside a kiln or rakufired, look both raw and cooked, sooty and clean-surfaced.

All have numerous textures impressed into their surfaces.

There are some with a glazed vitrified surface, others with the textures of stones like shale and granite. They can resemble pieces of ore, pocked and veined, matte or glinting. The exteriors are as rough as something pulled from the ground and carved with blunt tools. The interiors are as open as a crater or as complex and hidden as the entry of a shell. Regardless of size, all are substantial in appearance, rugged and primitive with an overt sensuality that invites touch.

Throughout his life, Reynolds made hundreds of relatively small gestural pieces that look like birds. These were never colored or glazed; they are the color of the clay body itself: 32

porcelain, stoneware or black basaltic clay. Although he was a passionate bird watcher who could identify numerous species, his birds never replicate individual types. They are barely detailed, bird-like, capturing the body language of a motionless bird or one in flight. They are not meant to be specific; like many other pieces he made, his intention was that they be associative, symbolic and metaphorical. What concrete meaning they have is acquired through association and proximity. He rarely used them singly; they had meaning as a flock, a group, a pair. Animated in appearance and varied in pose, they are purely descriptive, bluntly un-decorative, starkly what they are. I think they are about what cannot be controlled; they are about impulse.

Deeply theatrical, Steve Reynolds’ work is populated by a strange cast of players: mythical animalities, odd vegetations, masks, figures, hydras, growths and shapes floating in shadow.

These fabrications drift alongside things he had seen and not imagined: stars, eclipses, birds, wild grasses, definitions of words. Reynolds never made anything without taking a risk; he was a man who could tolerate more than a little randomness in his life. The great variety of his work and the breadth of ideas that characterized it can be ascribed to his profoundly inquisitive, deeply intellectual nature. Always a work-in-progress, each individual element of his work is set within its own constellation, spinning inside the expanding universe of Reynolds’ ideas and their amplifications.

KETTLE POT 15 (above), 7.5” x 12.25” diam., glazed ceramic, 2000s

BLACK BIRD 5 (left), 4.75” x 2” x 1.5”, cassius basaltic clay, 2002 INSTALLATION (below), Steve Reynolds: Selections: 1985 - 2005, Southwest School of Art & Craft, San Antonio, Texas, 2005

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“N

egative Capability, that is when man is capable of being in uncertainties, mysteries, doubts without any irritable reaching after fact & reason ... being incapable of remaining content with half knowledge.

”

John Keats, Letter to George and Tom Keats, 21 December 1817

Kathleen Whitney Steve Reynolds: His Professional Life

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Steve Reynolds always maintained his passionate desire for innovation. He was a tireless experimenter and master of many ceramic processes. He believed in the “serendipity” created by the combination of clay, oxides and firing but retained a strong respect for the tools, skills, techniques and traditions of his craft.

He received both BFA and MFA from Colorado University and had an MA in Ceramics and Art History from the University of Denver. His deep knowledge of art history was an important influence, profoundly affecting his work and teaching. Important to his career were his studies at the San Francisco Art Institute and his life-long friendships with both artists and non-artists alike.

Reynolds spread his professional net far beyond the usual parameters. Although he taught throughout his career, his interests, concerns and activities spread beyond the confines of academia. His work attracted wide critical attention and is represented in many public and private collections. A true globetrotter, he traveled extensively, speaking on panels or creating his own work during the course of his travels. The topics of his lectures ranged as

widely as the locations where he presented them: from the US to China and many places in between. His lectures were frequently accompanied by exhibitions of his work.

Although he primarily worked in his own studio in Boerne, Texas, he was frequently invited to be artist-in-residence in many diverse locations, nationally and internationally.

Reynolds was always engaged with and supportive of the work of his contemporaries, often writing reviews of their exhibitions. He also wrote catalog essays for exhibitions he curated, including the UTSA exhibition, “Texans Past and Present�.

academic honors for the contributions he made as artist and educator, including being honored as Professor Emeritus.

Reynolds was an unusually generous individual, becoming a lifelong mentor to many of his students, and his legacy is perpetuated in their work and in the many ways he affected the lives of friends, students and colleagues.

As a footnote, it is apropos to mention he was an avid birdwatcher and an ambitious gardener. Traveler and polymath that he was, these interests were essential to his work.

Early in his career, Reynolds was the recipient of a Fulbright Award, only one of the numerous honors and awards he received throughout his professional life. He was elected to the International Academy of Ceramics in Geneva, Switzerland and also served as President of the National Council on Education for the Ceramic Arts between 19982004.

During the 28 years he taught at UTSA, he received many

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Black Birds BLACK BIRD 1, 4.75"x2.5"x1.25", cassius basaltic clay, 2002

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BLACK BIRD 2 (top, left), 4"x 3.5"x 2", cassius basaltic clay, 2002 BLACK BIRD 3 (top, right), 4"x 2.5"x 1.25", cassius basaltic clay, 2002 BLACK BIRD 8 (bottom, left), 5.5"x 3"x 2.25", cassius basaltic clay, 2002 BLACK BIRD 9 (bottom, right), 5.25"x 3.25"x 1", cassius basaltic clay, 2002

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White Birds WHITE BIRD 1 (above), 3.25"x 11.25"x 4.25", stained porcelain, 2005 WHITE BIRD 3 (opposite page, top), 4"x 10"x 3.75", stained porcelain, 2005 WHITE BIRD 4 (middle), 4.25"x 11"x 4.5", stained porcelain, 2005 WHITE BIRD 5 (bottom), 3.5"x 9.25"x 4", stained porcelain, 2005

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Kettle Pots

KETTLE POT 6, 3”x 16.5” diam., glazed ceramic, 1990s

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KETTLE POT 29, 5" x 19� diam., glazed ceramic, raku, gold leaf, 1975

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KETTLE POT 4, 7"x 14.75" diam., glazed ceramic, 1990s

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KETTLE POT 5, 4"x 20" diam., glazed ceramic, 2000s

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Porcelain Gestures

PORCELAIN GESTURE 1, 3.5" x 7.5" x 5.5", porcelain, 1998

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PORCELAIN GESTURE 2 (top), 2.75" x 7.25" x 3.25", porcelain, 1998 PORCELAIN GESTURE 3 (bottom), 4.1" x 7" x 6.75", porcelain, 1998

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Ochre Notations OCHRE NOTATION 4 (opposite page) 13” x 5” x 2”, glazed porcelain, 2005 OCHRE NOTATION 16 (top, left) 7.5” x 5.5” x 3”, glazed porcelain, 2005 OCHRE NOTATION 18 (top, right) 10.5" x 3.5" x 1.5", glazed porcelain, 2005 OCHRE NOTATION 20 (bottom) 8.75" x 3.75" x 3", glazed porcelain, 2005

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Etudes

ETUDE 9, 2.75"x 1.6"x .9", porcelain, 2000

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ETUDE 12 (top, left), 2.75"x 2.25"x 1", porcelain, 2000 ETUDE 22 (top, right), 2.25"x 1.25"x 1", porcelain, 2000

ETUDE 23 (bottom, left), 3.5"x 1.25"x 1", porcelain, 2000 ETUDE 29 (bottom, right), 2.5"x 2.5"x 1", porcelain, 2000

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Cups & Saucers

EARLY CUP & SAUCER C, 5.75" x 6.5" x 7", salt fired porcelain, glazed with lustre, 1993

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CUP & SAUCER 1 (detail, below), 12" x 14.75" x 9.75", glazed ceramic, wood, epoxy, 1995

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On the occasion of this 2011 exhibit and catalog of his work, I am both humbled and deeply pleased to be invited to provide a few words honoring the extraordinary artist, outstanding teacher and delightful friend who we knew Steve Reynolds to be. The primary function of this catalog may be that documenting and discussing his extraordinary work will encourage our consideration of his many achievements, both during and beyond the exhibition period. It is my intention that these remarks be short and sweet.

James A. Broderick Homage to Steve Reynolds

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Having known Steve Reynolds since our first meeting in spring of 1976, I fondly remember his welcoming demeanor and clearly recall that engaging aspects of his imposing, complex persona were directly evident. I was immediately taken by his terrific conversations, which adroitly involved wide provinces of the intellectual spectrum. Among his amazing traits, Steve was inherently a thoroughly observant person. His acutely perceptive manner of approaching, understanding and assimilating experiences was enjoyable to behold. In our last two academic appointments, Steve and I were faculty colleagues at both Texas Tech and UTSA. I was frequently wonderstruck while listening to Steve converse with students. He was able to make a positive impact on students from all visual arts inclinations but appeared to be a magnet for the most dedicated and erudite. His teaching was clearly the source of many introspective explorations.

Steve’s role as artist-teacher was usually focused on providing instruction and inspiration through offering a variety of ceramic classes spanning introductory through graduate levels. Key aspects of Steve’s extraordinary technical facilities for the forming, firing and presenting of ceramic objects were presented to his students. His practiced and successful skills in employing clay forms with other drawing, painting and sculpture media were also taught whenever specific teaching opportunities materialized. In all courses, he provided an extravagant encyclopedic mix of information including insightful probes of humankind’s cultures. He frequently presented graduate level studio/seminar classes for visual arts students from all studio disciplines. Such sessions included

Steve’s expected trenchant critiques of students’ current works and some of the most challenging readings and rigorous discourse found in their academic pursuits.

During class critiques and discussions, he frequently presented alternative wordings, challenging students’ stated descriptions of their own art works and motivations.

In doing so he emphasized that, among the many useful properties of words that he wanted to pass on, the power of explicit specificity offers the greatest potential for improved understanding of said concepts, procedures and materials.

Steve challenged himself to both experiment with new ideas and constantly probe his own artistic impulses.

Although his delicate gestural touch created delicate diminutive clay forms and is a part of what we may recognize in his genius, it should be noted that he also worked for a considerable period on the thickest and heaviest of ceramic pieces. The powerful, hefty presence of his substantial clay pieces aesthetically bolsters their overall persuasive success, while also clearly providing evidence of surpassing known technical limitations for working, drying and firing massive clay forms. Steve produced his art through purposefully utilizing the highest levels of concept, form and finish. He expected that his colleagues should maintain noteworthy levels of professional validity and integrity. His high standards have influenced the collective conscience of the professoriate in the search for others to teach among us. Throughout his forty-one years of distinguished teaching, research and service in faculty appointments at ten different universities and colleges Steve also enjoyed the varied roles of visiting professor, researcher, lecturer, award recipient and artistin-residence at prestigious institutions worldwide. His many contributions provided extensive artistic and educational benefits to all concerned. I believe that his colleagues and students benefited equally. Through his energetic example, as well as through his friendly, generous and cajoling ways, Steve gave extensive time to teaching interested UTSA faculty colleagues and visiting artists new methods for expanding the scope of their creative productivity through utilizing clay materials and processes.

The inborn limits of my own perceptions and comprehension prohibit a full understanding and appreciation of the full richness of Steve’s mind and his many talents. Despite the inescapable limits of one understanding another, I was always pleased that the close friendship and delightful collegiality we enjoyed for twenty-nine years was thoroughly valued and consistently cultivated by the two of us.

Steve was an amazing information gatherer who read widely, sought out writings, discussions, and presentations from our time’s recognized thinkers. While staying on top of the world of art, his passions also included keeping abreast of, among other things, politics, cosmology and science. Steve’s thoughtful choice and use of words added to any discussion by providing marvelous humor, import, gravitas, value, insights, challenges and enlightenment.

Among those who were close to him, it is our recurring pleasure to recall how his always articulate, frequently lofty, and always invigorating conversations provided us with extraordinary insights, great laughs and terrific enjoyment. Steve, you were clearly your own finest work.

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Kecskemét Porcelains

KECSKEMÉT PORCELAIN 1, 4"x 8.5" x 5", porcelain, 1990-1991

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KECSKEMÉT PORCELAIN 2, 6" x 8" x 5.75", porcelain, 1990-1991

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Tiles

SMALL TILE 1, 16.75" x 16.75" x 2.1" ceramic tile with glaze, paint, glass, 2004

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ALESUND, 21"x 21"x 2.1", ceramic tile with glaze, paint, glass, 2004

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Gifts for Daphne

DAPHNE 18 (above), 1.25”x 4.5”x3”, earthenware, stained, glazed, lustre, 1980s DAPHNE 36 (opposite, top), 2.25”x 4” diam., salt fired porcelain, 1984 DAPHNE 8 (center), 6.5"x 9.5"x 4.5", stained porcelain, glaze, epoxy, 1991 DAPHNE 20 (bottom), 4.75"x 4.25"x 3.5", wood fired porcelain, Ringebu 1993

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Equinox Porcelains

EQUINOX PORCELAIN 1 (left), 13.75" x 9.5" x 2", glazed porcelain EQUINOX PORCELAIN 14 (right), 13” x 8.5” x 1”, glazed porcelain

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EQUINOX PORCELAIN 8 (left), 11.5” x 9.75” x 2”, glazed porcelain EQUINOX PORCELAIN 9 (right), 13.5" x 9.75" x 2", glazed porcelain

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Black Stacks

BLACK STACK 2, 41"x 21" diam., glazed earthenware, mixed media, 1997-1998

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BLACK STACK 3, 49.5" x 21" diam., glazed earthenware, mixed media, 1997-1998

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Daphne Reynolds Notes on the Series

ALEPH Steve made the serial elements of Aleph over a period of several years. Throughout his career, he made many pairs of Adam and Eve, but the first large group of Male/Female Gestures was made in Adelaide, South Australia in 2000.

Once he was back in his Boerne studio, he continued making Hunters, Gods and Black Birds. He also completed several additional large groups of Male/Female Gestures: some were simply white porcelain, some earthenware with glazes, and some were porcelains that were painted. He finished the last part of Aleph (Aleph: Obituary) in early 2005, made up of small white birds - I think of them as bird angels - and a specimen box of bird heads. Many, but not all, of the Male/Female Gestures made it into the finished Aleph that was shown at the Southwest School of Art and Craft, San Antonio in 2005.

VINCI Vinci is from the series Elaborated Prints, originally shown at the Blue Star Contemporary Art Center in summer 2005. Vinci contains many elements of Steve’s serial repertoire - Tiles, Wire Elements, Words, Ochre Notations, etc. - as well as some personal elements: a picture of his grandparents at their wedding in Hungary and the footprints of Katharine, our niece, at her birth. His rubbed on vinyl lettering is a prime example of how he used serial elements within his larger works: the word “I” plus a flattened Campbell’s soup can as a reference to Warhol to convey “I can,” and for the opposite meaning, the words “I Kant” functions as a tongue-in-cheek reference to Immanuel Kant.

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WIRE ELEMENTS Steve used wire to create line drawings in space, sometimes flat on the wall as a simple line gesture, but more often as a 3-dimensional drawing. Both flat and spatial uses can be seen in Vinci. The group of Wire Elements in this exhibition was made in 2001 and shown at the Center for Spirituality and Art in San Antonio, as 3-dimensional elements incorporated into his works on paper. The only part of that show that has survived are these Wire Elements. Because he kept them, Steve no doubt intended to use this series in a new way later on.

ELABORATED WIRE WORKS The wire in Elaborated Wire Works was used both as drawing elements and as components of more complex works of art, by adding other elements to the wire, such as clay objects, words, wood, foam or foam rubber to complete his vision. He very much liked the idea of being able to reuse and rearrange elements of his work to address an exhibition space and to express a complex concept.

PLUMBS and COURTSHIP TALBLEAUX Made at his Boerne studio in 1986, only a few of this very large group of works survive. In addition to their narrative nature, they were an exploration in color for Steve, with new glazes he was developing. The Plumbs were intended to be elements of larger works, but the Courtship Tableaux were complete sculptures. Two of the Tableaux are included in this exhibition and two are in the permanent collection of Del Mar College in Corpus Christi.

STAINED PORCELAIN TABLEAUX Steve used the tableaux motif throughout his career. Each tableaux series was different in size, materials and form.

Within this particular group, my favorite is found in the group of works he made for me, that come together here as Gifts for Daphne. This small sculpture includes a stone I found on a trip we made to Pebble Beach, California in 1975, while he was teaching at Scripps College in Claremont, along with a Tree of Life form and a chalice that was endemic to this series, the Stained Porcelain Tableaux.

CORTONA BRONZES Steve cast these small bronzes in Cortona, Italy in 1989 while he was teaching fall semester classes in sculpture and ceramics under the auspices of the University of Georgia in Athens. Steve’s bronze castings started when he was a graduate student in Colorado. He was building a foundry at his studio in Boerne, toward the promise of completing other bronzes, at the time of his death.

PORSGRUND PORCELAIN In 1985, Steve was invited to the renowned Porsgrund Porcelain Factory in Norway where he made these sculptures. While most of the guest artists make functional ware, Steve did not. The workers there were a bit bemused by the nature of his ideas, but in the end, everyone wanted to have a piece of Steve’s work - and he gave away many of these amazing and unique pieces. Steve was generous with his work wherever he traveled, always giving away something of himself.

BLACK BIRDS These tiny bird sculptures were made in Boerne, of unglazed cassius basltic clay. This was during the time he was working on the final Aleph, but only three of these Black Birds found a place in the finished group called Aleph: Hunters. The rest were kept aside.

WHITE BIRDS Steve used birds off and on in his work since he was a graduate student, starting in the sixties. Steve once remarked that his birds were probably his most poetic and tender expression as an artist. Made in his Boerne studio late in his life, these birds have never been shown. I found them stored in a box, ready for use, but that use is now unknown. Steve had such a touch with clay, a twist here, a pinch there and he had a bird.

KETTLE POTS The Kettle Pots were a constant throughout his career.

They are a reference to Native American bedrock mortars, intrinsic to the earth, that Steve came across while hiking in West Texas. His Kettle Pots are vessels in a sculptural, not a functional sense. They reflect whatever colors, clays and glazes he was working with at the time. When he had been away to teach or travel, he would often make these kettle pots as catalysts, and to center himself in his studio.

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PORCELAIN GESTURES These were produced in Boerne, after Steve’s stay at the Porsgrund Porcelain Factory in Norway. Of the original 16 or so objects, only these four remain.

OCHRE NOTATIONS, ETUDES and EQUINOX PORCELAINS Although these three series were produced at different times, all were made with the ultimate purpose of being used as elements in larger works. For example, there are five Ochre Notations that are used in Vinci in this exhibition, and some from the Equinox Porcelains are contained in the Elaborated Wire Works. Additionally, some Etudes are used as elements in Elaborated Tiles, which are not included in this exhibition.

CUPS & SAUCERS Cups appeared in early works of Steve’s without saucers.

The cup in these early works was used to suggest the debate “Can clay work find a place in the world of high art?” He later made Cups & Saucers as pure sculptures. I think he answered that question.

Kecskemét Porcelains Steve made these porcelains in Hungary in 1990-91 at the Nemzetközi Kerámia Stúdió, on a Fulbright Research Grant. Among other works made during this residency, there were eight sculptures in this particular series. These eight were all sent to a Russian porcelain factory for their final firing at a very high temperature in order to achieve a really fine finish. As ceramic artists understand, porcelain shrinks radically when fired. The Kecskemét Porcelains returned from Russia one half their original size.

TILES In 2001, Steve experimented with changing one of his favorite working methods. Instead of spreading many objects over a large wall area, he layered ideas into a 66

small square space, trying to put as much information on a 21” x 21” Tile as was on a 21’ wall. He wrote in 2005, “…these pieces take the same complex constellation of references and try to stack and compact them into a very deep front to back space.” These tile works were begun after spending that summer at the Art Academy in Oslo, Norway.

GIFTS FOR DAPHNE Through all Steve’s travels and all the different works he made, there was always a small object just for me.

BLACK STACKS The Black Stacks were first shown at the UTSA Satellite Space in the Blue Star Complex in 1998. At that exhibition, they had totally different bases than they now have and so were very different works. The most recent time he showed permutations of these Black Stacks was in 2005 at the Southwest School of Art and Craft in San Antonio, where he presented three of them as Bole, Stack & Blue Stocking, with new bases. In his words, “All of them make specific references to the development and strategies that have now come to be known as the ‘vessel-oriented object’.

They are both an homage to this Voulkos-Autio tradition and my critique on how this aesthetic can additionally embrace materials and ideas which extend this milieu.”

In this exhibition we elected to show them as clay stacks only, without the new wooden sculptural bases, in order to demonstrate their seriality.

Photo, Artist in his Boerne, Texas studio, 2004.

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CURRICULUM VITAE : STEVE REYNOLDS 1940-2007 EDUCATION MA, Ceramics and Art History, Denver University, 1967 Additional Study, Ceramics and Sculpture, San Francisco Art Institute, 1966

MFA, Sculpture and Drawing, Colorado University, 1965 BFA, Creative Arts, Colorado University, 1963 TEACHING EXPERIENCE Professor, Ceramics/Sculpture, The University of Texas at San Antonio, 1978-2005 Visiting Professor, Sculpture & Ceramics, University of Georgia, Cortona, Italy, Fall 1989 Selected to teach at University of London, for Seven University Consortium, Spring 1987 Visiting Associate Professor, Virginia Commonwealth University, Richmond, Summer 1979 Visiting Associate Professor, Ceramics, The University of Texas at San Antonio, 1977-78 Visiting Professor of Ceramics, University of Wisconsin, Madison, Wisconsin, Spring 1977 Visiting Artist, Center for the Arts and Humanities, Sun Valley, Idaho, Summers 1975, 1977, 1980, 1982 and 1985 Visiting Professor of Ceramics, Scripps College, Claremont, California, Fall 1975 Associate Professor, Texas Tech University, Lubbock, Texas, 1971-76 Assistant Professor, Ceramics and Sculpture, Odessa College, Texas, 1967-70 Teaching Assistant, Ceramics, Denver University, Colorado, 1966-67 Teaching Associate, Sculpture, Colorado University, Colorado, 1964-65 HONORS AND PROFESSIONAL ACHIEVEMENTS Professor Emeritus, The University of Texas at San Antonio, 2007 Awarded the title of Fellow of the Council for Outstanding Contributions to the National Council on Education

for the Ceramic Arts, March 2006 President’s Distinguished Achievement Award for Creative Work, The University of Texas at San Antonio,

Texas, 2004 Elected to International Academy of Ceramics, Geneva, Switzerland, 2003 Faculty Development Creative Research Grant, The University of Texas at San Antonio, Texas, 2002 Exhibitor and Lecturer, Foshan Ceramic Exposition 2002, Guangdong, China, and work in permanent collection of Shiwan Ceramic Museum, 2002 UTSA Faculty Research Grant to Art Academy, Oslo, Norway, July-August 2001 International Ceramic Symposium, Panel Moderator, 1st World Ceramic Biennale, Icheon, Korea, September 2001 Artist’s Residency, University of South Australia, Adelaide, August 2000 President, National Council on Education for the Ceramic Arts, 2000-02; served as President-Elect

1998-2000; Past-President 2002-04

Artist’s Residency, Art Academy, Oslo, Norway, November 1997 Artist’s Residency, Jam Art Center, Adelaide, Australia, with Australian Crafts Council Funding, 1996 Elected to Advisory Board & Programs Chairperson, National Council on Education for the Ceramic Arts,

1996-1999 Artist-in-Residence, Porsgrund Porcelain Factory, Porsgrund, Norway, June 1995 UTSA Research Grant, International Ceramics Academy meeting, Prague, Czech Republic, October 1994 Named in Who’s Who Among America’s Teachers, 1994, 1998 UTSA President’s Outstanding Creative Achievement Award, 1993 Invited participant to International Ceramic Symposium, Ringebu, Norway, June-July 1993 Coordinator Ceramic Symposium between American and Russian artists in St. Petersburg, Russia, August 1993 Invited participant to International Ceramic Symposium, Dzmjari, Latvia, November 1992 Artist’s Residency, Lakeside Studios, Lakeside, Michigan, Summer 1991 68

Fulbright Research Grant, Hungary, 1990-91 Scholarship to work at International Ceramics Studio, Kecskemét, Hungary, 1990 Bemis Foundation Grant, Omaha, Nebraska, Summer 1990 Artist’s Residency, Lakeside Studios, Lakeside, Michigan, Summer 1984 Conference Chairperson, National Council on Education for the Ceramic Arts, 1984-86 The University of Texas at San Antonio Faculty Research Grant, 1985 Nominee for the Piper Professor Award, UTSA, 1980 The University of Texas at San Antonio Amoco Outstanding Teacher Award, 1980 BIBLIOGRAPHY Writings

“Anecdotal Starting Points for a Conversation: A Screed,” Voices of Art, Vol. 11, Issue 2, 2003 “Six Visions: Contemporary Ceramics,” Voices of Art, Vol. 12, Issue 1, 2004 “Origins in Clay,” a review of ceramics exhibition in Voices of Art, Vol. 9, No. 2, September 2001 “The Uses of Reverie/ The Necessity of Daydreaming,” paper presented at Texas Association of Schools of Art

Annual meeting, McAllen, Texas, April 2000 “Six Signatures in Clay,” a review of a ceramics exhibition for the March/April issue of Voices of Art,

San Antonio, Texas “Not Just Another Kat and Pony Show,” Voices of Art, Vol. 3, No. 3, May/June 1995 “Current MFA Art in Texas,” Voices of Art, Vol. 2, No. 9, January 1995 ‘’Uses of Reverie,” Voices of Art Vol. 2, No. 1, February 1994 “Some Notions on Public Art and the Art Public,” Voices ol Art, Vol. 2, No. 5, June/July 1994 “Avoiding Any Critical Art Jargon,” Voices of Art, Vol. 2, No. 7, September 1994 “Current MFA Art in Texas,” Voices of Art, Vol. 2, No. 9, January 1995 “Artists Working in Europe,” NCECA Journal, p. 54, 1992 Texans Past and Present, curator’s statement, UTSA Art Gallery catalog, The University of Texas at San Antonio,

Steve Reynolds, 1986 “Ceramic Criticism,” Ceramics Monthly, December 1985 “Artist’s Statement,” Artists’ Alliance Review, pages 5 and 6, October 1981 Books

Speight, Charlotte, Hands in Clay, Alfred Publishing Company, Sherman Oaks, California, 1983 Nigrosh, Leon, Low Fire, Other Ways to Work in Clay, p.28. Davis Publication Inc., Worcester,

Massachusetts, 1980 Kriwnnek, Frank, Keramos: The Teaching of Pottery, p.49, Kendall Hunt Publishing Company, Dubuque, Iowa, 1975

Periodical Reviews & Articles

Whitney, Kathleen, “Steve Reynolds: Off the Wall,” Ceramics Monthly, March 2010, pp. 46-49 Hansen, Mark, “Steve Reynolds and the Southwest School of Art & Craft,” Voices of Art Vol. 14 Issue 1, 2006 Goddard, Dan R., “Seasoned Artist Keeps Ceramics in the Spotlight,” San Antonio Express-News,

September 25, 2005 Foster, Nancy, “People,” San Antonio Magazine, March 1982, p.82 Park, Glenna, “One-Man Exhibition,” Texas Art Review #8, Spring 1982, p. 20 Review, “One-Man Exhibition,” Ceramics Monthly, April 1982, p. 41 McCloud, Mac, “Clay Alternatives,” Artweek, January 1981 Greenberg, Mike, “One-Man Exhibition,” San Antonio Express-News, October 18, 1981 Review, “NCECA Invitational Exhibition,” National Council on Education for the Ceramic Arts Newsletter,

Vol. 2, January 1979 Review, “One Man Exhibition,” Ceramics Monthly, September 1979, p. 105 Review, “National Invitational Ceramics Show,” Ceramics Monthly, January 1977, pp. 48-50

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Museum and Gallery Publications

“Standing Room Only, 2004,” Scripps 60th Ceramic Annual, Ruth Chandler Williamson Gallery, Scripps College,

Claremont, California

“Clay Masterworks - 1982,” Meredith Contemporary Arts, Baltimore, MD “Texas Artists: Clay,” Glassell School of Art of the Museum of Fine Arts, Houston, Texas, 1981 “Clay Alternatives,” University Art Galleries, University of Southern California, Los Angeles, California, 1981 “Viewpoint: Ceramics, 1980,” Grossmont College Art Gallery, Grossmont College, El Cajon, California, 1980 “Clay: The Painted Object,” Kohler Art Center, Sheboygan, Wisconsin, 1980 SELECTED LECTURES, PANELS, WORKSHOPS, SEMINARS AND JURIES

“Foshan Ceramic Exposition 2002,” Guangdong, China, lecturer Sixteenth Annual San Angelo Ceramic Symposium: Panel Moderator. Topic: “Different Directions: Contemporary

Ceramics,” San Angelo Museum of Art, San Angelo, Texas, April 2001 Co-curated (November 2000) an invitational exhibition of American ceramics created by members of

the National Council on Education for the Ceramic Arts. This exhibition was part of the International

Symposium of Ceramics Arts held in Seoul, Korea, August-October 2001 Organized a six-person ceramic exhibition at the Foster-Freeman Gallery, San Antonio, Texas, October 2000 Organized a panel for Women’s History Week 2001. Panel topic: “Feminism, The Personal Object, and the

Transformation of the Art World.” Panelists were Paula Owen, Director of the Southwest School of Art

and Craft, Suzan Ramljak, former editor of Sculpture Magazine, and Michel Conroy, Professor

of Ceramics at Southwest Texas State University, September 2000.

“A Personal Aesthetic,” Lecture at Jam Art Center, Adelaide, Australia, August 2000 Gallery lecture in conjunction with exhibition, University of South Australia, Adelaide, Australia, August 2000 “A Personal Aesthetic,” lecture to the San Antonio Potter’s Guild, Southwest Craft Center: San Antonio, Texas,

January 2000 Attended “Ceramic Millennium: Leadership Symposium on the Ceramic Arts,” Amsterdam.

Chaired focus group for delegates involved in education, July 1999 “Lecture, Demonstration & Critique,” Stephen F. Austin University, Nacogdoches, Texas, October 1998 Lecture and critiques, Texas A&M University at Commerce, Commerce, Texas, May 1998 Lecture on “Personal Aesthetics,” Del Mar College, Corpus Christi, Texas, October 1998 Four lectures: “Contemporary American Art” and “A Personal Aesthetic” Art Academies in Oslo and Bergen,

Norway, 1997 “American Ceramics” lecture, University of South Australia, Adelaide, Australia, June 1996 “American Ceramics” lecture, Crafts Council of Australia, Adelaide, Australia, June 1996 “A Personal Aesthetic” lecture, University of Dallas, Irving, Texas, 1996 “Crossover Ceramics,” Snite Museum, Notre Dame University, South Bend, Indiana, October 1995 “Contemporary Ceramic Issues,” Herron School of Art, Indianapolis, Indiana, October 1995 “Crossover Ceramics,” Panel Chairperson, Mid-America Art Conference, Indianapolis, Indiana, October 1995 “Texas Art,” University of California at Berkeley, Berkeley, California, April 1995 “Trends in American Ceramics,” Panel Participant, San Angelo Museum of Fine Arts, San Angelo, Texas,

April 1995 “Thirty Years Later,” moderated panel on contemporary ceramics: (Peter Voulkos, Paul Soldner, Don Reitz,

Rudy Autio and Ken Price) Anderson Ranch Art Center, Snowmass, Colorado, June 1994 Curated ceramic exhibition for Kirkland Art Center, Seattle, Washington, September 1993 “20 Years of Teaching Ceramics,” lecture, Mid-America Art Conference, Birmingham, Alabama, October 1992 “Why Humans Create: Lessons from Change,” UTSA lecture series, San Antonio, 1992 Chaired Panel “American Arts in Europe,” NCECA Conference, Philadelphia, Pennsylvania, 1992 Lecture/workshop “Contemporary Ceramics,” Midland College, Midland, Texas, 1991 Lecture workshop “Contemporary Ceramics,” San Antonio College, San Antonio, Texas, October 1991 Lecture on “Contemporary Ceramics,” University of Cincinnati Art Department, Cincinnati, Ohio, March 22, 1990 Lecture of the “Uses of Reverie,” at the National Council for Education in the Ceramic Arts Annual Conference,

Cincinnati, Ohio, March 1990 Lecture on “Personal Aesthetic Concerns,” Department of Art, Ohio State University, Columbus, Ohio,

March 1990 70

Lecture on “Raku Ceramics,” Art Department, Youngstown State University, Youngstown, Ohio, March 1990 Symposia on Contemporary American Art, Butler Institute of American Art, Youngstown, Ohio, Topic:

“Texas Art,” March 1990 Visiting artist/lecture and conducted midterm critiques, Rhode Island School of Design, Providence,

Rhode Island, November 1988 Honors Presentation for Paul Soldner National Council on Education for the Ceramic Arts Conference,

Kansas City, Missouri, March 1989 Visiting artist/lecture, University of Georgia, Athens, Georgia, May 1989 Visiting artist/lecture, Anderson Ranch Art Center, Aspen, Colorado, August 1989 Juried student exhibition and gave public lectures - Hardin-Simmons University, Abilene, Texas, April 1989 Panel participants “Coping with Burnout,” Texas Association of Schools of Art Conference, Austin, Texas,

April 1989 Lecture and critiques, Rhode Island School of Design, Providence, Rhode Island, April 1987 Society of Professional Educators, panel member, Teaching as a Creative Endeavor, Washington, D.C., April 1987 Banff Center, School of Fine Arts, Banff, Calgary, Canada, June 1986 “Contemporary Ceramics,” Ecole des Beaux Arts, Aix-en-Provence, France, June 1984 “A Personal Aesthetic,” Banff School of Fine Arts, Calgary, Canada, November 1984 “Contemporary Ceramics,” Montana State University, Bozeman, Montana, November 1984 Panel member, “New Figuration,” Texas Sculpture Symposium, The University of Texas at Austin, April 1983 “3-day Workshop/Seminar,” Art Department, University of Washington, Seattle, Washington, May 1983 “Lecture on Texas Clay,” UTSA Gallery, San Antonio, Texas, June 1983 “Personal Visions,” lecture at Art Gallery, SWTSU, San Marcos, Texas, April 1983 “Good Morning San Antonio,” TV appearance discussing “Texas Clay” at UTSA Gallery, June 1983 “Figuration in Contemporary Ceramics,” Sun Valley Center for the Arts and Humanities, Sun Valley, Idaho, 1982 “Contemporary Ceramics,” Art Department, New Mexico Junior College, Hobbs, New Mexico, 1982 “Art/Object/Ritual/Farce,” Panel, San Antonio Art Institute, San Antonio, Texas, 1981 “Contemporary Ceramics,” San Antonio Artists’ Alliance, San Antonio, Texas, 1981 “Three Day Seminar/Workshop,” Louisiana Crafts Council, Tulane University, New Orleans, Louisiana, 1981 “Contemporary Ceramics,” San Antonio Art Institute, San Antonio, Texas, 1981 “A Personal Aesthetic in Clay,” Art Department University of Chicago, Chicago, Illinois, 1981 “Contemporary Ceramics,” Art Department, University of Indiana, Bloomington, Indiana, 1981 “Objects and Art Forum, San Antonio Art Institute, San Antonio, Texas, 1980 “Image and Meaning in Contemporary Art,” Panel, University of Texas at San Antonio, San Antonio, Texas, 1980 Juror, New Mexico State Fair, “Crafts,” Albuquerque, New Mexico, 1981 Juror, “Llano Estacado National Exhibition,” Hobbs, New Mexico, 1981 Juror, “Student Exhibition,” San Antonio Art Institute, San Antonio, Texas, 1981 Juror, “Society of American Registered Architects,” San Antonio, Texas, 1981 Two-day Ceramic Workshop, Midland College, Midland, Texas, 1980 “Aesthetic Attitudes,” symposium member, McNay Art Institute, San Antonio, Texas, 1980 Lecture on Contemporary Ceramics, Witte Memorial Museum, San Antonio, Texas, 1979 Lecture on Contemporary Ceramics, Miami-Dade College, Miami, Florida, 1979 “Art of the 80’s” symposium member, The University of Texas at San Antonio, San Antonio, Texas, 1979 Ceramic Workshop and lecture, Beeville College, Beeville, Texas, 1979 “Four Texas Artists,” lecture to Texas Association of Schools of Art, Galveston, Texas, 1978 One-week workshop, Pottery Northwest, Seattle, Washington, 1978 Four-day workshop at Mudflat Pottery, Boston, Massachusetts, 1978 Ceramic workshop and lecture, El Central College, Dallas, Texas, November 1977 Ceramic workshop and lecture, Scripps College, Claremont, California, 1975 Ceramic workshop and lecture, Texas Christian University, Fort Worth, Texas, 1975 Ceramic and bronze casting workshop, Center for the Hand, Aspen, Colorado, July 1975 Ceramic workshop and lecture for Fine Arts Week, Cincinnati University, Spring 1974 Ceramic Raku workshop, Texas Tech University, Junction, Texas, July 1973- 1976 Three-week ceramic workshop, Taos, New Mexico, Summers 1973-1974 71

SELECTED EXHIBITIONS Invitational

“International Academy of Ceramics Members’ Exhibition,” Riga, Latvia, August 2006

“International Academy of Ceramics – USA Members’ Exhibition,” George Broderick Gallery, Portland, Oregon,

March 2006

“The Blue Star 20 Invitational,” Blue Star Contemporary Arts Space, San Antonio, Texas, July 2005 “The National Council on the Education for the Ceramic Arts Invitational Exhibition,” Yinnge Ceramics Museum, Taipei County, Taiwan, July 2005

“The XII Biennial Art Faculty Exhibition,” The University of Texas at San Antonio Art Gallery, San Antonio, Texas,

December 2004 “International Academy of Ceramics Members’ Exhibition,” Icheon World Ceramics Center, Icheon, Korea, September 2004 “Scripps 60th Annual Invitational Exhibition,” Ruth Williamson Gallery, Scripps College, Claremont,

California, 2004 “Texas & Beyond,” Group Invitational Exhibition, Clark Gallery, University of Texas-Pan American,

Edinburg, Texas, 2004 “Texas Clay III Invitational Exhibition,” Texas State University, San Marcos, Texas, 2004 “International Tea Bowl Exhibition,” Northern Arizona University Art Museum, Northern Arizona University,

Flagstaff, Arizona, 2003 “Foshan Ceramic Exposition 2002,” Guangdong, China “Made in Texas,” Invitational exhibition, New Braunfels Museum of Art, New Braunfels, Texas, May 2001 Two-Person Invitational exhibition, Center for Spirituality and Art, San Antonio, Texas, April 2001 “Collaborations,” John Dyer Gallery, San Antonio, Texas, July 2001 International Juried Gold Coast Ceramics Exhibition, Gold Coast Art Center, Binder, Australia, October 2000

(work selected for permanent collection for Binder University) One-Person Exhibition, University of South Australia, Adelaide, Australia, August 2000 Invitational Three-Person Exhibition, Laredo Community College, Laredo, Texas, February 2000 “Points in Time,” The Center for Spirituality and the Arts, San Antonio, Texas, July 1999 “Visual Virus,” Freeman-Foster Gallery, San Antonio, Texas, July 1999 “Retrospective 15,” Buddy Holly Art Center, Lubbock, Texas, September 1999 “Art works 99,” Outdoor Sculptural Exhibition, Southwest Texas State University, San Marcos, Texas,

June-August 1999 “Lighten Up,” Ohio Craft Museum, Columbus, Ohio, March 1999 “Artworks 98,” Outdoor Sculpture Exhibition, Southwest Texas State University, San Marcos, Texas, April 1998 “Fireworks: On and Off the Wall,” Dallas Visual Art Center, Dallas, Texas, April 1998 “Raised, Assembled, Constructed: Texas Artists and Ceramic Sculpture,” Center for Research in Contemporary

Art, University of Texas at Arlington, Arlington, Texas, March 1998 “Texas Clay Educators and their Teachers,” Dallas Museum of Fine Arts, Dallas, Texas, March 1998 “To Have and to Hold: Ceramic Vessel-Making in Texas,” Irving Arts Center, Irving, Texas, March 1998 “Blue Star on Houston St. 2,” Blue Star Art Space, San Antonio, Texas, 1996 “100 Years of Porsgrund Porcelain,” Porsgrund Municipal Museum, Porsgrund, Norway, July-August 1995 “Then and Now: 100 Years Later,” Blue Star Art Space, San Antonio, Texas, 1995 “UTSA Drawings in Peru,” Lima, Peru, November 1995 Tenth Annual National Ceramics Competition (invited), San Angelo Museum of Fine Arts, San Angelo, Texas,

April 1995 Invitational Paoli Clay Show, Art Resources Gallery, St. Paul, Minnesota, March 1995 Invitational Texas Clay Survey, UTSA Gallery, February 1994 (traveling exhibition) Red Dot Sale, Blue Star Art Space, San Antonio, Texas, November 1994 “The Exquisite Corpse Revived Print Project,” Hare & Hound Press, San Antonio, Texas, October 1994 Paoli Clay Show, Paoli Clay Co., Madison, Wisconsin, October 1994 Biennial Faculty Exhibition, UTSA Gallery, San Antonio, Texas, September 1994 One-Person Exhibition, Albertson College of Idaho, Caldwell, Idaho, April 1993 Alumni Exhibition, University of Denver, Denver, Colorado, March 1993 Texas Clay Survey Show, Southwest Texas State University, San Marcos, Texas, February-March 1993 72

“Visions of Unity,” invitational drawing exhibition, Salt Lake City Art Center, Salt Lake City, Utah and Tel Aviv,

Israel, December 1992-January 1993 International Ceramic Symposium, Dzintari, Latvia, December 1992 “Bajas Texas: South Texas Artists,” works on paper, Lima, Peru, 1992 “New Art Forms,” Chicago Pier, Chicago, Illinois, September 1992 “New Art Forms,” Chicago Pier, Chicago, Illinois, September 1991 Contemporary Ceramics, Northern Arizona University, Flagstaff, Arizona, April 1991 Summer Group Show, Lakeside Gallery, Lakeside, Michigan, August 1991 Invitational Mixed-Media Exhibition, Bemis Foundation, Omaha, Nebraska, November 1990 Invitational Ceramics Exhibition, Museum of Permian Basin, Midland, Texas, 1990 “Spaces,” San Antonio Art Institute, San Antonio, Texas, July 1990 Invitational Exhibition, University of Cincinnati, Cincinnati, Ohio, March 1990 Invitational Group Show, Georgia Southern University, March 1990 Invitational Sculpture Now, Eastern Washington University, Cheney, Washington, October 1989 Invitational Ceramics Exhibition, Northern Arizona University, Flagstaff, Arizona, February 1989 “Colors,” San Antonio Museum of Art, San Antonio, Texas, March 1989 Texas Sculpture Symposium, 110 Broadway, San Antonio, Texas, March 1987 Three-Person Exhibition, Locus Gallery, San Antonio, Texas, March 1987 San Antonio Survey, Transco Tower, Houston, Texas, September 1986 Blue Star Exhibition, Contemporary Art for San Antonio, San Antonio, Texas, Summer 1986 Ceramic Sculpture in San Antonio, Bank of San Antonio, Texas, March 1986 Collectors Collection, San Antonio Museum of Art, San Antonio, Texas, Spring 1986 “Images-Words,” San Antonio Art Institute, San Antonio, Texas, September 1984 Ceramics Showcase, San Antonio Art Institute, San Antonio, Texas, Summer 1984 Second Biennial Faculty Exhibition, Teaching Gallery, UTSA, San Antonio, Texas, October 1984 40th Scripps Invitational Exhibition, Lang Gallery, Scripps College, Claremont, California, 1984 Four-Person Invitational Exhibition, Art Gallery, University of Alabama, Tuscaloosa, Alabama, 1983 “New Figurative Drawing in Texas,” San Antonio Art Institute, San Antonio, Texas, 1983 Texas Sculpture Symposium Invitational, University of Texas, Austin, Texas, 1983 Texas Clay Survey, Objects Gallery, San Antonio, Texas, 1983 Texas Clay, Southwest Texas State University, San Marcos, Texas, 1983 Texas Clay Invitational Exhibition, College of Mainland, Texas City, Texas, 1983 One-Man Exhibition, Objects Gallery, San Antonio, Texas, 1983 Fourth Annual Texas Sculptors Exhibition, Laguna Gloria Museum, Austin, Texas, 1983 American Ceramics, Meredith Contemporary Arts, Baltimore, Maryland, 1982 North Texas State Sculpture Invitational, North Texas State University, Denton, Texas, 1982 “Expo San Antonio en Mexico,” Museum of Fine Arts, Mexico City, 1982 “Oso Bay Biennial Exhibition,” Weil Gallery, Corpus Christi State University, Corpus Christi, Texas, 1982 One-Man Show, San Antonio Art Institute, San Antonio, Texas, 1981 “The Earthbound Object,” Lufkin Museum of Art, Lufkin, Texas, 1981 Invitational Paint on Clay Exhibition, Koehler Art Center, Sheboygan, Wisconsin, 1981 “Clay Alternatives,” Fischer Gallery, University of Southern California, Los Angeles, California, 1980 Third Annual Texas Sculptors Exhibition, Southwest Texas State University, San Marcos, Texas, 1980 “Texas Artists: Clay,” School of Art of the Museum of Fine Arts, Houston, Texas, 1980 “Viewpoint: Ceramics, 1980,” Grossmont College, El Cajon, California, 1980 “Sculpture Southwest,” Galveston Art Center, Galveston, Texas, 1980 “Clayworks by Texans,” Weil Gallery, Corpus Christi State University, Corpus Christi, Texas, 1979 NCECA/Supermud Invitational, Penn State University, College Station, Pennsylvania, 1979 Invitational Exhibition, Miami-Dade Junior College, Miami, Florida, 1978 Invitational Ceramics Exhibition, St. Marie’s College, Notre Dame, Indiana, 1976 Invitational: Raku IV, Peters Valley Craftsmen, Layton, New Jersey, 1978 “100 Teapots,” Thiel College, Greenville, Pennsylvania, 1978 The Contemporary American Craftsmen, Cheney Cowles Museum, Spokane, Washington, 1976 Invitational Toys by Artists Exhibition, Northern Arizona University, Flagstaff, Arizona, 1976 73

Teapot Invitational Exhibition, Montana State University, Bozeman, Montana, 1976 Approaches II: Invitational Exhibition, sponsored by National Council on Education for Ceramic Arts, Louisiana

State University, Baton Rouge, Louisiana, 1976 Invitational Three-Man Exhibition, Libra Gallery, Claremont Graduate School, Claremont, California, 1976 Invitational Toys by Artists Exhibition, Southwest Crafts Center, San Antonio, Texas, 1976 Invitational Raku Exhibition, University of South Dakota, Grand Forks, North Dakota, 1975 “Crafts as Art in Texas,” Laguna Gloria Museum, Austin, Texas, 1975 National Craftsman Invitational, University of New Mexico Museum, Albuquerque, New Mexico, 1975 Fur and Feathers Invitational, Southwest Craft Center, San Antonio, Texas, 1975 Eighth Annual Invitational Exhibition, Laguna Gloria Museum, Austin, Texas (work selected for three-state

traveling exhibition), 1975 One and Two-Person Exhibitions

“Steve Reynolds,” MK Gallery, Portland State University, Portland, Oregon, February 2006

Two-person exhibition, Dinnerware Contemporary Arts Gallery, Tucson, Arizona, March 2006

“Steve Reynolds, Selections 1985-2005,” Southwest School of Art and Craft, San Antonio, Texas, August 2005

“Steve Reynolds,” Joan Grona Gallery, San Antonio, Texas, October 2005

“Featured Artist: Steve Reynolds,” Nave Museum, Victoria, Texas, August 2004 Foundation Biennial Winner Exhibition, Art Museum of South Texas, Corpus Christi, Texas, April 2001 “Recent Work,” one-person exhibition, San Antonio College, San Antonio, Texas, September 1999 “What the Body Knows/What the Hand Can Tell You,” one-person exhibition, UTSA Satellite Space,

San Antonio, Texas, June 1998 “Steve Reynolds,” Jam Art Center, Adelaide, Australia, July 1996 “Steve Reynolds,” Georgia Southern University, Statesborough, Georgia, March 1990 “Steve Reynolds,” University of Cincinnati, Cincinnati, Ohio, March 1990 “Steve Reynolds,” Koehler Arts Center, San Antonio College, San Antonio, Texas, April 1989 “Collaborations,” two-person exhibition, Midland Gallery, Midland, Texas, 1985 Two-person exhibition, Lubbock Fine Arts Center, Lubbock. Texas, November 1985 “Steve Reynolds,” San Antonio Museum of Modern Art, San Antonio, Texas, 1978 “Steve Reynolds,” Miami-Dade College, Miami, Florida, 1978 “Steve Reynolds,” Pottery Northwest, Seattle, Washington, 1978 “Steve Reynolds,” Art Gallery, Texas A&I University (now Texas A&M), Kingsville, Texas, 1977 “Steve Reynolds,” Sun Valley Center for the Arts and Humanities, Sun Valley, Idaho, 1977 Two-person exhibition, Wichita Falls Museum and Art Center, Texas, 1975 “Steve Reynolds,” Contemporary Arts Foundation, Oklahoma City, 1975 “Steve Reynolds,” Museum of the Southwest, Midland, Texas, 1975 Two-person exhibition, Southwest Crafts Center, San Antonio, Texas, 1975 “Steve Reynolds,” Texas Christian University, Fort Worth, 1974 “Steve Reynolds,” Angelo State University, San Angelo, Texas, 1973 National Juried Exhibitions

“Craft Houston 2004: Texas,” with accompanying catalog, Houston Center for Contemporary Craft, Houston,

Texas, August 2004 (Juror’s award and purchase) “Origins in Clay II,” National Ceramics Competition Exhibition, UTSA Art Gallery, San Antonio, Texas,

March 2001 13th San Angelo National Ceramic Competition, San Angelo Museum of Fine Arts, San Angelo, Texas, April 2000 34!h Annual National Small Sculpture & Drawing Exhibition, Del Mar College, Corpus Christi, Texas, March 2000

(Joseph Cain Memorial purchase prize) 12th Annual Juried National Art Competition, Truman State University, Kirksville, Missouri, March 2000 13th Annual “Materials: Hard and Soft,” national juried competition, Center for the Visual Arts, Denton, Texas,

January 2000 “Viewpoint: Ceramics 2000,” national juried exhibition, Hyde Gallery, Grossmont College, El Cajon, California,

January 2000 “Origins in Clay,” Hill Country Art Foundation, Ingram, Texas, July 1999 74

“Aesthetics 98,” Birger Sandozen Memorial, Lindsborg, Kansas, September 1998 32nd Annual National Exhibition, Del Mar College Gallery (Joseph Cain Memorial Purchase Award),

Corpus Christi, Texas, March 1998 1997 Monarch National Ceramic Competition, Kennedy-Douglas Center for the Arts, Florence, Alabama 52na Annual Competition (juried), Museum of Abilene, Texas, 1997 “Ceramics USA: 1995,” North Texas State University, Denton Texas, March 1995 24th National Juried Exhibition Counterpoint 92, Hill Country Arts Foundation, Kerrville, Texas, 1992

(Received Edith McAshan Award) Exhibition of work done at International Ceramic Symposium, Dzintari, Latvia, December 1992 Bajas Tejas: South Texas Artists, work on paper, Lima, Peru, 1992 “New Art Forms,” Navy Pier, Chicago, Illinois, 1992 19th Annual Small Sculpture and Drawing Exhibition, Del Mar College, Corpus Christi, Texas, March 1986

(purchase prize) NCECA juried member exhibition, Craft Alliance Gallery, St. Louis, Missouri, March 1986 14th Annual Exhibition, El Paso Museum of Art, El Paso, Texas, 1979 “Clayworks,” Wichita Falls Art Center, Wichita Falls, Texas, 1979 National Sculpture 1976, University of Georgia, Athens, Georgia Annual Del Mar Small Sculpture and Drawing Exhibition, Del Mar College, Corpus Christi, Texas, 1976 “RAKU ‘76,” Westwood Ceramics Gallery, City of Industry, California 1976 (first place award) 22nd Annual Small Sculpture and Drawing Exhibition, Ball State University, Muncie, Indiana, 1976 2nd Annual Raku Exhibit, Peters Valley Craftsmen, Layton, New Jersey, 1976 “Ceramic Conjunction,” Long Beach Museum of Art, Long Beach, California, 1976 National Small Sculpture and Drawings Exhibition, San Diego State University, San Diego, California, 1976 “California Design, ‘76,” Pasadena Museum, Pasadena, California 1976 “Cerritos Open, 1976,” Cerritos College, Norwalk, California, 1976 21st International Annual Exhibition, Beaumont Museum, Beaumont, Texas, 1975 (award) Miniature Works Exhibit, Texas Tech Museum, Lubbock, Texas, 1975 10th Monroe National, Masur Museum, Monroe, Louisiana, 1975 American Society of Ceramics Exhibition, Brand Gallery, Glendale, California, 1975 “Frontal Images,” Mississippi Art Center, Jackson, Mississippi, 1974 9th Monroe National, Masur Museum, Monroe, Louisiana, 1974 International Designer/Craftsmen, El Paso Museum of Fine Arts, El Paso, Texas, 1973 (Best of Show Award) 7th Annual National Drawing and Small Sculpture Show,” Del Mar College, Corpus Christi, Texas, 1972 6th National Juried Exhibition, Tyler, Texas 22nd Wichita National, Wichita Falls, Texas Regional Juried Exhibitions “5+7+X,” Texas Fine Arts Association & Dunn and Brown Contemporary Arts, Dallas, Texas, September 2001 Biennial Faculty Exhibition, UTSA Art Gallery, San Antonio, Texas, January 2001 11th Annual Blue Star Red Dot Benefit, Blue Star Art Space, San Antonio, Texas, March 2001 Southern Tier Arts and Crafts Show, Corning Museum of Glass, Elmira, New York “Celebration,” invited regional exhibition, Fine Arts Gallery, Buddy Holly Center, Lubbock, Texas, October 2000 “Attachments 2000,” Texas Clay Art Association Members exhibition, Old San Angelo Museum, Fort Concho,

San Angelo, Texas, April 2000 “2000-Juried Craft as Art Exhibition,” Art Museum of South Texas, Corpus Christi, Texas, June 2000

(Best in show and awarded exhibition at the Museum, spring 2001) “Earth & Fire: Ceramic Sculpture,” San Antonio, Texas, July 2000 “S.A. Clay: A Tradition Continues,” Invitational exhibition at Semmes Gallery, University of Incarnate Word,

San Antonio, Texas, October 2000 “Materials & Form 6,” Houston Art League, Houston, Texas, March 1999 (award) 53rd Annual Competition, The Grace Museum, Abilene, Texas, August 1998 5th Annual San Antonio Potter’s Guild Exhibition, Center for Spirituality and the Arts, (two honorable mention

awards), San Antonio, Texas, June 1998 75

17th Annual “From The Ground Up” Exhibition, Los Paisanos Gallery, El Paso, Texas, March 1998

(Best of show award) “Earthenware: Landscapes in Clay,” Tulsa Ceramic Arts Gallery, Tulsa, Oklahoma, February 1998

(Honorable mention award) Lubbock Fine Arts Exhibition, Lubbock, Texas, April 1992 VI Biennial Faculty Exhibition, UTSA, San Antonio, Texas, 1992 “Ceramics IV,” Art Department, Angelo State University, San Angelo, Texas, Spring 1986 “Texas Clay,” Wichita Falls Museum, Wichita Falls, Texas, April 1986 (award) “Texas Only,” Laguna Gloria Museum, Austin, Texas, 1980 (award) 22nd Delta Annual, Arkansas Art Center, Little Rock, Arkansas, 1979 (award) Corpus Christi Annual Exhibition, Museum of the Southwest, Corpus Christi, Texas, 1978 “Texas Pottery: Caddo Indian to Contemporary,” Star of the Republic Museum, Washington, Texas, 1976 18th Annual Eight-State Exhibition, Oklahoma Art Center, Oklahoma City, Oklahoma, 1976 10th Annual Southwest Art Show, Museum of the Southwest, Midland, Texas, 1976 9th Annual Prints, Crafts and Drawing Exhibition, Arkansas Art Center, Little Rock, Arkansas, 1976 Houston Design/Craftsmen, Blaffer Gallery, University of Houston, Houston, Texas 1976 Tarrant County Annual, Fort Worth Art Center, Fort Worth, Texas, 1976 Texas Painting and Sculpture, Dallas Museum of Fine Arts, Dallas, Texas, 1975 26th Annual Ceramics and Sculpture Exhibition, Butler Institute of American Art, Cooperstown, Ohio, 1974 5th Annual Prints, Crafts and Drawings Exhibition, Arkansas Art Center, Little Rock, Arkansas, 1973 Southwest Fine Arts Biennial, Santa Fe Museum, Santa Fe, New Mexico, 1972 14th Annual Eight-State Exhibition, Oklahoma Art Center, Oklahoma City, Oklahoma, 1972 13th Annual Eight-State Exhibition, Oklahoma Art Center, Oklahoma City, Oklahoma, 1971 Five-State Juried Exhibition, Port Arthur, Texas, 1970 WORKS IN PERMANENT COLLECTIONS Shiwan Ceramic Museum, Guangdong, China Icheon World Ceramics Museum, Icheon, Korea Taipei CountyYingge Ceramics Museum, Taipai, Taiwan Gold Coast Art Center, Binder, Australia Rudy Turk Cup Collection, Arizona State University Art Museum, Tempe, Arizona Siklosi Nemzetközi Kerámia Stúdió, Siklosi, Hungary

Nemzetközi Kerámia Stúdió, Kecskemét, Hungary Péc Museum of Decorative Arts, Péc, Hungary Museum of Northern Arizona, Flagstaff, Arizona Lakeside Studios, Lakeside, Michigan Bemis Foundation, Omaha, Nebraska John Koehler Art Center, Sheboygan, Wisconsin Fred Marer Collection Los Angeles, California Henderson Museum, University of Colorado, Boulder, Colorado Llano Estacado Art Association, Hobbs, New Mexico Permian Basin Art Association, Odessa, Texas Del Mar College Permanent Collection, Corpus Christi, Texas

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