Friday, March 20, 2015
Kata Kane, Baltimore's Altar Girl
by Mike Rhode
Kata Kane has returned to her Altar Girl webcomic, after a decade away from it. She's moved in the meantime from suburban DC to Baltimore, but was back in town recently for the Smudge Expo in Arlington.
"Ashley Altars is a typical high school student, attending a prestigious Catholic school with a long history. Seth Charming is a boy who died in 1929. They are both the keepers of mysterious key necklaces, and through them Seth has been brought back from death and to Ashley's present day, assisted by the Gemini Twin angels and guardians of the keys, Sera and Cherry. Ashley now has to deal with angels, demons, and bullies... but she just wants her crush Adam Evenine to finally notice her." - Kata Kane
What type of comic work or cartooning do you do?
I draw “shoujo manga-style” comics, and I’m best known for my original comic “Altar Girl.” My art style is really inspired by both American comics and Japanese manga influences. “Shoujo manga” means “girl’s comics” and usually have themes of school life, friendship, and romance. Someone once said my comics are like Archie and anime combined, so I think that’s a pretty good way of putting it.
How do you do it? Traditional pen and ink, computer or a combination?
I do a combination of traditional sketching with finishing done on the computer. I start out with rough pencil sketches, scan them in, and then I ink, color, and use screentones digitally. I use a Wacom tablet, and a combination of programs like Photoshop, Illustrator and Manga Studio.
When (within a decade is fine) and where were you born?
I was born in 1984 in Takoma Park. I grew up in Silver Spring!
Why are you in Baltimore now? What neighborhood or area do you live in?
I really like the vibe of Baltimore. It’s an interesting city with a small town feel, and a great art scene too. When I first moved here in 2009, I lived in Hampden, but I now live in Mt. Washington. All of my family is still in Silver Spring and my siblings are in DC, so I’m there plenty of weekends too!
What is your training and/or education in cartooning?
I didn’t go to art school, but ever since elementary school I took any art classes that I could. I always liked reading the Sunday funnies in the Washington Post while my parents read the newspaper. I tried making my own comics based off of that, and really since then everything I did was mostly self-taught and inspired by my own interest.
I was always drawing at home and writing my own stories, looking at my comic collection for references. Taking classes like Life Drawing & Design in college really helped me learn proportions and refine techniques. I feel like I learned a lot more specifics on-the-job as a graphic designer and illustrator than I did in school.
Who are your influences?
When I first read Sailor Moon by Naoko Takeuchi as a tween, that was a game-changer for me. I already liked comics – but this was my first “manga” and I was totally drawn to the story and art style.
My biggest influence is Rumiko Takahashi. Her manga “Ranma ½” is hands down my favorite of all time, but I love everything she’s done, and especially her one-shot comics in “Rumik World.” I also really admire Chynna Clugston, the creator of “Blue Monday” and “Scooter Girl.” Her style is also an American-manga influence, and reading her published works when I was in high school & college made me feel like someday I could do the same!
If you could, what in your career would you do-over or change?
I would have pursued a full-time career as a freelancer in comics much sooner. I went to school for graphic design, and at the time I felt like comics could only be a hobby: that I couldn’t really be a success at it. But I’ve learned to measure success not by the biggest paycheck but by hard work and happiness. If I can make even one person feel inspired to keep drawing and follow their own dreams by reading my comics, that’s success to me. It sounds corny, but it’s what keeps me motivated!
What work are you best-known for?
Most know me for my webcomic Altar Girl, which I originally ran online while I was in school. I never fully finished the story back then, so in July 2012, exactly 10 years after I had published the first page of Altar Girl online, I decided to start over again, but this time using the skills I’d learned as an illustrator & graphic designer to fully pursue it. Last year I did a Kickstarter to get Book 1 printed, which was successfully funded, and I think helped some new readers discover the comic too. I’m hoping to do a Kickstarter for Book 2 this year, so keep an eye out!
What work are you most proud of?
I’m proud of Altar Girl. The comic is very much ongoing, but it’s already given me so many opportunities to meet comic creators and artists I admire, as well avid comic readers and aspiring young artists. I’m especially proud to meet the young women who come to comic cons and feel a connection with my art and my book. It’s really wonderful and also very humbling.
What would you like to do or work on in the future?
I’m a full time freelancer, so I want to keep working on my own comics and stories, but I also love getting opportunities to work on other comic projects I can lend my skills to - especially pencils and inking. I’d really love to work with all-ages comic publishers, and help get new and exciting titles out there for young women especially.
What do you do when you're in a rut or have writer's block?
I like to watch or read something that inspires me. Sometimes I’ll turn to a classic comic or anime I really like, and other times I’ll try to find something new I’ve heard of or just been meaning to check out.
What do you think will be the future of your field?
I hope to see more independent artists able to create their comics and tell their stories through their own means. I think we see a lot of that in webcomics now. Self publishing can be really rewarding!
What local cons do you attend? The Small Press Expo, Intervention, or others? Any comments about attending them?
I’ll definitely be at SPX this fall, but sooner than that I’ll be doing some library events in DC, Creators Con (which is happening at my old high school – James Hubert Blake!) in April, and AwesomeCon end of May. I’ll also be at Baltimore Comic Con, and I’m always doing Bmore Into Comics shows, which are smaller one day shows happening at cool hang outs in Baltimore. I recently did SmudgeExpo for the first time, and I really enjoyed it!
I love the smaller shows for an all-ages crowd that encourage creativity. It’s really inspiring for me too!
What's your favorite thing about DC?
The museums, the zoo, and eating delicious food in Chinatown.
Least favorite?
Driving. I always end up getting lost and losing track of what street I’m on somehow!
What monument or museum do you like to take visitors to?
I love the Cherry Blossom Festival, and especially the Kite Competitions by the Monument. My first job out of school was illustration and design for a kite company, so there are a few kites out in the world with my art on them! I used to do the Rokaku Battle, where you try to cut your opponent’s kite strings out of the sky using your own strings. It was a lot of fun to do, and fun to watch too when we’d inevitably lose!
I always tell friends if they can only visit one museum, make it the Museum of Natural History! I personally love going to the National Gallery.
How about a favorite local restaurant?
Daikaya Ramen! I also really like brunch at Zengo on the weekends.
Do you have a website or blog?
Altar Girl’s website is www.altar-girl.com, but I post on Twitter @ashleyaltars, Facebook (facebook.com/altargirl), and Tumblr (altar-girl.tumblr.com) too! You can find more of my illustration and design work at www.kata-kane.com as well! I'm usually available for illustration commissions and more.
Wednesday, February 25, 2015
March 2: Steve Brodner in Baltimore
Wednesday, May 07, 2014
Meet a Baltimore Cartoonist: A Chat with Spaghetti Kiss's Michael Bracco
Thursday, December 12, 2013
Milestones: African-Americans in Comics, Pop Culture and Beyond opens at GEM
Wednesday, March 30, 2011
Atlas Returns in Baltimore
The exhibit galleries tell the story of popular culture via characters, beginning in the 19th century with Palmer Cox’s Brownies (although there’s a nod to earlier history in the first one – you can see Ben Franklin’s original newspaper cartoon in it). They jump decade by decade, hitting highlights such as The Yellow Kid, Superman, Disney’s characters, Little Orphan Annie, Popeye and the like before ending with Star Wars in the 1970s. Each room is packed with toys and merchandising.
The galleries begin with one devoted to the history of the comic book which begins with early collections of comic strips from the 1900s through the ‘20s, then moves into pulps and a whole wall of Big Little Books, before showcasing Geppi’s collection of key comic books. Atlas At Last! the current temporary exhibit began in this room. Atlas was a company that barely existed from 1974-1975. It was created by Martin Goodman, the former owner of Marvel Comics (which had used the name Atlas in the 1950s), for his son Chip to run, in an attempt to outstrip his former company. As Diamond’s Scoop site notes, “By paying top rates, the company attracted creators such as Russ Heath, John Severin, Alex Toth, Walter Simonson, Ernie Colon, Neal Adams, Pat Broderick, Mike Ploog, Rich Buckler, Frank Thorne, Tony Isabella, Jeff Jones, Boris Valejo and others. One series, The Destructor, featured longtime Warren, Marvel and DC editor Archie Goodwin as its writer, Spider-Man and Doctor Strange co-creator Steve Ditko on pencils, EC veteran and T.H.U.N.D.E.R. Agents creator Wally Wood on inks, with Marvel veteran Larry Lieber (one of the Atlas editors and Marvel impresario Stan Lee’s brother) providing the cover.” It’s worth noting that talents did not move between the major companies at the time, and one could be blackballed for doing work for a competitor.
Mark Huesman, JC Vaughn, Mike Wilbur, Philip Zolli & Mark Wheatley
The exhibit features most, if not all, of the comics, that Atlas published and some striking original art down for the books. These are drawn from the collection of Philip Zolli, the enthusiast behind The Atlas Archives website (which he started in 2003). Zolli bought the comics he could fine when they appeared originally, and has continued completing and filling out his collection over the intervening thirty-five years. Mike Wilbur (employee of Diamond International Galleries) was one of the show’s curators and provided some of the comic books on display. The other of exhibit’s two curators, J.C. Vaughn (of Gemstone Publishing), invited me to the opening of the show. Of Atlas’ enduring appeal, he told me, “I’ve worked in comics for sixteen years next month, and I freelanced for a year before that, so I’m not a novice, I’m not your average fanboy, but I was totally a geeked-out kid. I got two of the comics in a trade when I was a kid, like 1976, a year after they died, and I got so into them -- that’s the seed of the exhibit being here now.”
The Atlas line has just been relaunched by Ardden Entertainment and grandson Jason Goodman, and Vaughn says, “I think there’s a better understanding of the company now … we’re talking 72, 73 publications in 1975, and the fact that we’re still talking about them in any sense is amazing, and the fact that anyone’s bringing them back is even more amazing.”
Phil Zolli was attempting to collect his comics before there were comic book stores. “I remember there several stationary stores had the spinner racks, and they were there, and Atlas in my area got good coverage, so I was able to buy them right off the newsstand. They just struck a chord with me because all I knew at the time was Marvel and DC, and I got to be at the ground floor of a brand-new company. It was very exciting. A year later, they disappeared.” He didn’t buy all of the line at the time – Archie knock-off Binky, Gothic Romances and other magazines waited for later, as did buying original art. “Once I started the site, and I had searches out because I wanted to accumulate as much information as I could, E-bay was a great source of information and artwork that popped up. I thought, ‘This is great and relatively inexpensive. I’m going to buy it.’ Zolli’s original artwork is interspersed with other artwork, both in the main comic book exhibit room and the museum’s main hall, a weakness in the show’s design that lessens the impact of the art. Very little of the original art exists. Vaughn noted, “When people went up to the Atlas offices, after they ceased publication, there was one secretary that denied that they were ever in comics, Simonson had a whole story missing… some have cast glances at some of the last editorial employees and others have just heard that it got thrown out.” Maryland comic artist Mark Wheatley, who noted that he published the first or second story done by Howard Chaykin, said “During that period, it’s quite likely it just got tossed.” Zolli is continuing to collect the new versions of the comics, and has been buying original art from those series as well.
The second Atlas failed for a couple of reasons. Vaughn points out, “They hired Jeff Rovin from Warren [a black and white comics magazine publisher] and put him in charge of color comics; they brought in Larry Lieber who worked at the core of silver age Marvel, and put him in charge of black and white magazines…” Wheatley said of Atlas, “They looked like Marvel deliberately, and then the distributors forced them to change and not look like Marvel” while Vaughn says that “a lot of the changes were capricious like the Movie Monsters [magazine on display] originally had differently colored lettering that didn’t get lost in the background orange, but the Goodman’s came by and made them change it.” Discussing how much the comics industry has changed, Zolli says “Larry Hama was doing the second issue of Wulf, and his mother was dying, and Martin Goodman refused to push the deadline back. The guy quit right after that. A lot of people were bitter.” Distribution was a problem for the company, as other companies such as Skywald and Charlton were still fighting for space on the racks. Wilbur remembers, “The place I was buying my new comics in the ‘70s was a bookstore / newsstand place. I went in there often enough that they would let me put out the new comics when they came in. They had no say in what they got – they would just get these bundles of comics strapped together and it was just totally random. Maybe this month you might get ten copies of this title, next month you’d get two copies and the next month you’d get twenty of them.”
The failure of this newsstand distribution system is what led Geppi to begin Diamond, his distribution company – so he could get his own comic books to read. If you’re curious about a little company that didn’t matter much, or are interested in cartooning history, the museum is located at 301 W. Camden Street, Baltimore, MD 21201, 410-625-7060, sliding scale entry fee begins at $10 for adults.
[Corrected June 1, 2011 for the misspelling of Mr. Zolli's name as Zullo. I regret the error].
Tuesday, October 19, 2010
Nostalgia rears its head in Baltimore
Superman! Vs. Muhammad Ali!
By Vincent Williams
Baltimore City Paper October 20, 2010
Friday, October 01, 2010
Groening curates American Visionary Museum of Art exhibit in Baltimore
By Michael Sragow, The Baltimore Sun October 1, 2010
Friday, July 02, 2010
Friday, May 07, 2010
May 22: Windup Comic Fest in Baltimore
Saturday, May 22
2pm - 7pm
The Windup Space
12 West North Avenue
Baltimore, MD 21201-5904
More details here.
Tuesday, March 23, 2010
April 26: Kim Deitch at Johns Hopkins U
CARTOONIST KIM DEITCH TO SPEAK AT JOHNS HOPKINS APRIL 26
The Homewood Art Workshops wraps up its 35th anniversary celebration with a slide talk by legendary cartoonist Kim Deitch on Monday, April 26. Deitch’s talk, “The Search for Smilin’ Ed and Other Tales,” will begin at 5:30 p.m. in Room 101 of the F. Ross Jones Building, Mattin Center, on the Homewood campus at 3400 N. Charles St. in Baltimore.
Along with Robert Crumb, Bill Griffith and Art Spiegelman, Deitch transformed the art of cartooning in the psychedelic late 1960s. Combining a love of early 20th century comic strips and animation with the media-savvy satire of mid-century MAD Magazine, these artists gave a raucously subversive jolt to a nearly moribund medium.
Deitch, 65, began doing comic strips for the New York underground newspaper, the East Village Other, in 1967. Since then, his work has appeared in dozens of publications, including RAW, Pictopia, Details, Nickelodeon Magazine, and Little Lit. Among his groundbreaking comic books and graphic novels are Hollywoodland, The Mishkin Files, A Shroud for Waldo, The Boulevard of Broken Dreams and Alias the Cat! His latest book, The Search for Smilin’ Ed, will be published by Fantagraphics in June. Deitch will sign advance copies of Smilin’ Ed at the Johns Hopkins Barnes & Noble, 3330 St. Paul Street, on Sunday, April 25, from 4 to 6 p.m.
Deitch has been recognized with the comics industry’s highest honors, including an Eisner Award, an Inkpot Award and a retrospective exhibition at the Museum of Comic and Cartoon Art in 2008. He lives in New York City with his wife, Pam.
To download images of Deitch’s work, go to: http://www.jhu.edu/artwork/deitch.html
“The Search for Smilin’ Ed and Other Tales” is co-sponsored by Homewood Art Workshops and Homewood Arts Programs. Visitor parking on campus is available in the South Garage, 3101 Wyman Park Drive, Baltimore, Md. 21211. Admission is free and open to the public. For more information, call 410-516-6705.
Monday, February 08, 2010
Brian Keene signing in Baltimore
Nationwide Signing Event
On February 16th, 2010, the day The New Dead is released, the majority
of the authors who have written stories for the book will be signing in various
locations around the country.
Baltimore, MD: Brian Keene
7 PM
Barnes & Noble, 1819 Reisterstown Rd, Baltimore, MD 21208
(410) 415-5758
Mr. Keene wrote Marvel's Dead of Night Featuring Devil-Slayer. He also edited Cemetery Dance Publications' Grave Tales.
Friday, October 23, 2009
Nov 2: Geppi's Entertainment Museum teacher's night
Wednesday, September 02, 2009
Alliance Comics expands into Baltimore
Sunday, August 09, 2009
GEM Hosts Captain Action Book, Exhibit
From Scoop - Where the Magic of Collecting Comes Alive!:
Geppi’s Entertainment Museum (GEM) in Baltimore’s historic Camden Yards sports complex will host a signing on Saturday, August 15, 2009, from noon to 3:00 PM, to mark the debut of the brand new edition of the critically acclaimed Captain Action: The Original Super-Hero Action Figure by Michael Eury. In addition to the author, Ed Catto and Joe Ahearn, the owners of Captain Action Enterprises, will be in attendance for the signing.
The event will also kick off a special exhibit covering the history of Captain Action, from the first action figures in the 1960s to the latest merchandise (and everything in between). The exhibit will run from August 15 through October 13, 2009.
Published by TwoMorrows Publishing, Captain Action: The Original Super-Hero Action Figure chronicles the history of this quick-changing champion, including photos of virtually every Captain Action product ever released. With spotlights on Captain Action, his allies Action Boy and the Super Queens, and his arch enemy Dr. Evil, an examination of his comic book appearances, and more, nearly every facet of the character’s existence is put under the microscope. From the earliest concept stages to the multiple (and supposedly final) demises of the toy line, and from thriving collectibles market to the modern resurgence, no stone is left unturned. It is due in stores on or about August 10.
“When the first edition of Michael Eury’s superb book Captain Action: The Original Super-Hero Action Figure was released, it was rightly referred to by some as a virtual ‘how to’ guide to doing a character-centric reference book. It reached longtime serious collectors, turned casual Captain Action fans into die-hard enthusiasts, and brought many new fans to the character,” said Melissa Bowersox, the museum’s Executive Vice-President. “This is the sort of project that GEM and our patrons are happy to support, and we’re also extremely happy to have the assistance of such passionate, creative fan-owners as Joe Ahearn and Ed Catto to help us present the history of this unique character.”
“We’re very happy to see Captain Action and Michael’s wonderful book given such a spectacular stage. Like many other collectors, Ed Catto and I really enjoy telling other enthusiasts about our favorite character, and this takes that enjoyment to the proverbial next level,” said Joe Ahearn, Partner of Captain Action Enterprises.
The original superhero action figure first arrived on the scene in 1966 with the ability to change into a fantastic range of other incredible heroes, including Superman, Batman, Captain America, Spider-Man, the Lone Ranger, Buck Rogers, and the Green Hornet. He took on their costumes and personas and fought the forces of evil in their places. Produced by the Ideal Toy Company and developed by Stan Weston, who had been involved in the genesis of Hasbro’s G.I. Joe just two years before, Captain Action enjoyed a fairly brief shelf life. The last of Ideal’s original production runs ended in 1968.
In that short time, though, the 12-inch action figure had also doubled for Aquaman, Flash Gordon, the Phantom, Steve Canyon, Sgt. Fury, and Tonto. He had a sidekick, Action Boy (who became Superboy, Aqualad and Robin the Boy Wonder) and a blue-skinned, bug-eyed alien arch foe named Dr. Evil (obviously years before Austin Powers fought another Dr. Evil). There were playsets, vehicles, a headquarters, flicker rings, playing cards, a Ben Cooper Halloween costume, and a fondly remembered five-issue series from DC Comics that included contributions from such legends as Wally Wood, Jim Shooter, and Gil Kane.
As the years followed, Captain Action became the purview of the collecting community. A thriving secondary market developed and kept interest in the character alive within its ranks. In 1998, thirty years after the original production run ended, Playing Mantis brought Captain Action back to the world of new toys. Although their tenure with the toy line would also end after two years, it greatly fanned the flames of interest in the character and the original collectibles, and led eventually to the formation of Captain Action Enterprises, the present day owners of the intellectual property.
The exhibit will conclude just after the Diamond Comic Distributors – Alliance Game Distributors Retailer Summit, which will be held at the BaltimoreConvention Center, immediately across the street from GEM, October 11-13, 2009.
Monday, August 03, 2009
Baltimore's Tim Kreider in the NY Times and NPR on surviving attempted murder
Reprieve
By Tim Kreider
New York Times' Happy Days blog June 2, 2009
A Note from Tim Kreider
By Tim Kreider
New York Times' Happy Days blog June 4, 2009
Averted Vision
By Tim Kreider
New York Times' Happy Days blog August 2, 2009
And here's Tim on NPR (which ends by noting he's working on a 3rd collection of his cartoons - yay! The first two are available from Fantagraphics):
Conan, Neal. 2009.
Cartoonist Has Happy Year After Eluding Murder.
National Public Radio's Talk of the Nation (June 16).
online at http://www.npr.org/templates/story/story.php?storyId=105481759
Fourteen years ago, cartoonist and author Tim Kreider was stabbed in the throat. He survived, and after his "unsuccessful murder," he wrote in a blog post for the New York Times, he wasn't unhappy for an entire year.
Kreider talks about how getting a second chance has altered his perspective on life.
Saturday, July 18, 2009
Another article on Otakon
by Rachel Bernstein
Baltimore Business Journal July 17 2009
Thursday, July 16, 2009
Otakon starts tomorrow in Baltimore
Ooooh, Bill Plympton in Baltimore tomorrow night
As an aside, these citizen-journalist pieces in the Examiner website are spreading fast. I get various alerts for comic art and a good quarter of them are probably Examiner pieces now.
Thursday, May 07, 2009
May 8, 9: Animated shorts in Baltimore
The official website is a bit confusing, but here's the relevant data and you can click through to buy tickets:
SHORTS: Animated Shorts
Running Time: 79 mins.
Screenings:
May 8, 11:30 AM Charles Theater 3
May 9, 10:00 PM Charles Theater 4
Animated American - James Baker, USA, 15 minutes
The future is about to collide with the past in this live-action/animation hybrid short. While shopping for a new mansion, Eric, a digital-loving studio executive, finds himself crossing swords with his realtor, Max, an out of work toon rabbit. Like it or not, Max will make Eric see things through the eyes of an “Animated American.”
The Cave: An adaptation of Plato's Allegory in Clay - Michael Ramsey, USA, 4 minutes
An excerpt from Plato's Republic, the 'Allegory of the Cave' is a classic commentary on the human condition – here adapted and brought to life using over 4,000 still photographs of John Grigsby's clay animation, lit by candlelight.
Dandelion Will Make You Wise - Jack Ofield, USA, 5 minutes
Life never truly ends, though only creatures and plants experience that unknowing wholeness of perpetual rebirth from season to season. To think holistically presumes the continuity of existence, presumes an appreciation of the 'la grace des grandes choses,' and presumes a child-like faith that the omega will presage a new alpha. This is the great mystery of the natural world. This is why the dandelion can make us wise.
Forestry – Woodpecker, Japan, 4 minutes
A tale of a man and woman who get in trouble with the mischief of smoke blown out of a tree’s hole in the woods.
Fruitless Efforts - Fruit of the Womb - Andrew Chesworth & Aaron Quist, USA, 5 minutes
Apple is trying to lead a normal life, but is being held back by his friends.
Horn Dog – Bill Plympton, USA, 6 minutes
This latest adventure of Plympton's plucky canine hero from Guard Dog, Guide Dog, and Hot Dog finds the beast putting the moves on an Afghan in the park.
I Am So Proud Of You – Don Hertzfeldt, USA, 22 minutes
Dark family secrets cast a shadow over Bill’s recovery in this, the second chapter to the prize-winning short Everything Will Be OK (MFF 2007).
Mexican Standoff – Bill Plympton, USA, 4 minutes
This music video for the Dutch band Parson Brown follows a three-sided love affair that goes absolutely wrong and the hearts that break along the way. Made using pencil on paper, scanned and digitally composited.
The Realm of Possibility - Gerald Guthrie, USA, 7 minutes
A digital animation based at the intersection of absurdity and logic. Deductive reasoning, as found in the syllogistic form (A is B, B is C, therefore A is C), becomes a vehicle to validate concepts that might not necessarily be true. The structure of the narrative is meant to parallel the premise of a syllogism. Many men use libraries; many libraries reference aviation; therefore, many men are pilots. In the end, navigation to another planet becomes a curious byproduct of flawed logic.
Santa: The Fascist Years – Bill Plympton, USA, 3.5 minutes
In this animated newsreel, we learn that jolly ol’ St. Nick has a dark, hidden past rooted in greed and politics. One of three new shorts from Academy Award© nominee Bill Plympton, this one featuring narration by Matthew Modine.
The View from Cleopatra's Knee - Jack Ofield, USA, 4 minutes
Across millennia, the genius of human creativity and freedom is chronically threatened by the ultimate solution to all problems: a standing army.
Friday, April 10, 2009
Geppi's Entertainment Museum spring lecture series
Arnold Blumberg announced a new lecture schedule today in his Scoop column:
GEM “Coffee with the Curator”
GEM relaunches its lecture series with a more casual, conversational mood that invites collectors to join us on the third Wednesday every month at 6pm for coffee and pop culture chat with Curator Dr. Arnold T. Blumberg. In the months ahead, “Coffee with the Curator” will cover the reimagining of the Star Trek universe, the world of L. Frank Baum’s Oz, the magical saga of Harry Potter in books and films, and the many incarnations of G.I. Joe.
All of these meetings will take place on Wednesday evenings at 6-7:30pm.
April 15
Rebirth, Regeneration and Renewal in Pop Culture: The concept of rebirth, so intrinsic a part of many religious faiths, is also an ingrained part of our shared pop culture heritage. Why are we so fascinated by the “hero reborn” myth in the form of Superman, Batman, the Doctor of Doctor Who, and so many more? What aspects of this phenomenon speak to us on such a primal level? As we enter a refreshing new season, take a look at pop culture characters that have also returned again and again.
May 13
Reinventing Star Trek: Boldly Going Where We’ve Been Before
June 17
The Long and Winding Yellow Brick Road: More Than a Century of Oz
July 15
Cinematic Wizardry: A Look at the Harry Potter Films
August 12
Real American Heroes: The Changing Faces of G.I. Joe