Monday, March 01, 2021

Meet a Lunatic: A Chat with Graphic Novelist Dan Mazur

by Mike Rhode

Out of nowhere last fall, Dan Mazur sent me an advance copy of his excellent wordless fantasy graphic novel, Lunatic. Lunatic is the story of a late-Victorian woman obsessed with the Moon, or perhaps more correctly, the man in the Moon. I recommend it highly. In fact, I liked it so much I bought a copy for myself when he did a book talk, and sent the first one to Michigan State University's Comic Art Collection. I also reached out to thank Dan, and asked him to do an interview.

 First, here's the official description of Lunatic

The moonstruck Lunatic is an unusual and striking graphic novel in the tradition of wordless books by the likes of Frans Masereel, Lynd Ward and William Gropper. Part fable, part classic adventure in the tradition of Jules Verne, H. G. Wells and Méliès, the tale is told in nearly 200 full-page, wordless images in a variety of media from pencil, pen and ink, ink wash and paint that lovingly evoke the artistic styles of its period setting, and classic illustrators from Charles Dana Gibson and Toulouse Lautrec to Edward Gorey.

The word “lunatic” derives from Latin, meaning “of the moon”, or “moonstruck” and in this sense it describes the protagonist of this story: from infancy she develops a magical, almost intimate relationship with the moon itself, a celestial being who acts as her friend, lover, mentor. Our heroine is a dreamer, an outsider, never feeling like she quite belongs to this world. We follow her through the stages of life, infancy, childhood, youth and adulthood, at each point guided by the moon toward a fateful journey and an unexpected destiny. A timeless and charming story of longing, loneliness and the pursuit of dreams.

What type of comic work or cartooning do you do?

Different kinds, but all of it independent. For my own creative work, I work almost completely independently, and mostly self-published.  So I write and draw, whatever I feel like doing.  I’ve done some historically-based comics, and some fantasy, some super-hero, but with an ironic take on the genre.  Most recently I did my first long-form graphic novel, “Lunatic,” which was published by Fanfare.  It’s black and white, a “wordless book,” with one image per page, so pretty much on the arty side of things. But totally accessible, I hope!  It has a children’s book feel, but it’s not a children’s story really – at least not by contemporary standards.  It’s really a sort of fantasy/fable about life, dreams, disappointments…

cover art by Kurt Ankeny

I also work within the Boston Comics Roundtable, which is a collective of cartoonists here in Boston (like what you all do in DC), and I have edited quite a few anthologies within that group, currently working on Boston Powers,which is an all ages superhero anthology, all set in and around Boston.  Recommended even for kids not from Boston, though!  I’ve also edited and published some themed anthologies through Ninth Art Press, which is my own micropress. 

And lastly I do some historical or scholarly comics writing, such as co-writing with Alexander Danner, a few years back, a book called “Comics: a Global History, 1968 to the Present,” and last year an article on The Comics Journal, “Ibrahim Njoya: a comics artist in Colonial-era Cameroon.” 

How do you do it? Traditional pen and ink, computer or a combination?

Mostly traditional, pen, brush, ink, ink washes etc., though I make liberal use of Photoshop for touchups, corrections, sometimes combining images.  But pretty much I always start with as fully finished a traditional drawing as I can.

In your new book, Lunatic, you used multiple sets of techniques - how come?

It’s partly a conceptual thing: since the book is divided into chapters about different ages in the character’s life, from infancy to middle age, it seemed to make sense to change up something stylistically in each phase of the story. So the changing styles hopefully reflects the changing way the character sees life at different stages. 


Also, it was the longest project I’d ever taken on, so I think that I decided to change things up from chapter to chapter to keep my own interest fresh.  It was more like doing 8 or 9 short projects in that way.

Is Lunatic an homage to silent movies?

Partly – I couldn’t help but think about Melies’ Voyage to the Moon, and the innocence of early science fiction movies…just building a big rocket and flying to the moon, walking around on the moon as though you could breathe there.  The face in the moon of course.  And my chapter heading pages are modeled on silent movie caption cards, with the ornate border.  It was probably more just a love of the past and the Victorian aesthetic in general, but wordless story-telling in comics relates to silent movies, the purity of it.  I had a friend once who was really into silent movies, and she was about my age, so grew up with talkies like everyone else alive today, but she used to say “sound ruined the movies.”  Joking, but I like the purist approach.  Not that I prefer silent movies myself, or have any scruples about words in comics.  MOST of the comics I do have words.

Why did you make it wordless?

It wasn’t a decision I thought through.  I like wordless comics, and have done a few before.  Sometimes I just naturally think of a story, and it’s purely visual.  Other times the idea couldn’t be done wordlessly. 

How long have you been working on it?

I started Lunatic in mid-2016 and finished in early 2020.  It was a long time, a lot longer than I thought it would take.

How did you hook up with Fanfare, a publisher that more typically translates work from Europe into America? Is your book for sale by them overseas?

I’ve always liked the kind of books that Fanfare puts out… I happened upon a book of theirs called “A Patch of Dreams” by Hideji Oda, which was the first “alternative manga” type thing I ever saw, and I loved it.  Years later, I met Stephen Vrattos, who is Fanfare’s US person… I met him at SPX in fact, and bought some stuff from him, and we hung out a bit… then I think I met Stephen Robson, who runs the company in the UK, also at SPX.  I really liked the production quality of their books and their taste.  I hadn’t actually submitted a comic to a publisher before ever (except for anthology submissions), so when it came time to “shop” Lunatic I chose a few publishers where I personally knew someone there.  Fanfare was top of my list, so Stephen V. helped me get it to Stephen R., and luckily he liked it. 

They’re selling it in the UK.  So far not in any other countries as far as I know.

So, returning to our standard biographical questions, when (within a decade is fine) and where were you born?

December 19, 1959.

Where do you live now?

Cambridge, Massachusetts

What is your training and/or education in cartooning?

I was a fine arts major in college, but as far as cartooning it’s all self-education and training… I took a few classes years ago at a school called “Associates in Art” which were actually quite helpful.  And of course, the input and examples of other cartoonists, especially the ones I know through Boston Comics Roundtable.

Who are your influences?

I think like most people I have hundreds of influences from a lifetime of comics reading and other input. 

Childhood influences: DC comics (Neal Adams & Kirby’s Fourth World especially) and MAD of the 60s and 70s and Peanuts, as well as lots of different children’s book illustrators.

Youth: R. Crumb and other underground cartoonists – but especially Crumb. Not his sexist/ racist stuff as much though… there IS a lot of Crumb work which is neither.  The French artists introduced to the US by Heavy Metal, especially Moebius and Nicole Claveloux.

Later on, it was a real revelation to discover Love & Rockets, which brought a lot of the threads I liked in comics together – mature and smart, but also playful and fantastic, and amazingly well-crafted and expressive artwork.  I also really got into Scott Pilgrim when that came out, for its playfulness and zaniness and energy, and incorporation of manga ideas. 

When working on the Comics: A Global History book, I discovered lots and lots of artists I never really knew about who’ve had a big influence. Shojo manga of the 70s, the “Year 24 group,” for their formal innovations and emotionalism.  Yumiko Oshima is a favorite, though her work has never been officially translated. She is less “over the top” than some of them like Moto Hagio or Ryuko Ikeda (who I also love), but has a “quieter” softer approach… makes great use of negative space on the page, her comics are sad & moody and wistful.

Alberto Breccia, the Argentinian artist – just one of the greatest artists who ever worked in comics, and he experimented with different styles and media his whole life, never got into a rut.

Oh but also, there are project-specific influences… so on Lunatic I looked at different types of artists – mostly if not exclusively non-comics artists – for some of the different chapters.  I’m working on something new now, and my model is the French artist Fred, and very particularly a comic he did in the early 60s, Le Petit Cirque, which is wonderful and quirky and not like anything else I can think of. To “warm up” for the project I’m doing studies of that comic, just copying panels from it as closely as I can, and hopefully something will rub off on me. 

By the way, maybe that’s a good answer for “cartoonist’s block”: copy something you really like.

If you could, what in your career would you do-over or change?

Well… I guess I would have gotten serious about comics a lot earlier… in the late 70s/early 80s when I was in school, there was little encouragement in the culture for comics as art, and I didn’t have the guts to do it anyway – I have huge respect for the artists of my generation who did.  I think I understood the potential of the medium then, but just didn’t have the independence of mind to follow it as a passion.  But maybe that means I just wasn’t ready, so it’s just as well.   I’m kind of glad to be able to publish my first graphic novel at 60… at least I’m not going to get jaded.  So, the answer to your question is really “nothing.”

What work are you best-known for?

Ha ha ha.  I don’t know.  I have the same name as a major mountain climber.

What work are you most proud of?

The next one.

Your last book before Lunatic was a history of comics. Can you tell us about it?

Alexander Danner and I co-wrote it, as I said.  I had this idea that comics history, as opposed to history of any other art, tends to be very nationalist and parochial… separate history of comics in separate countries, and here in the US we don’t know much about comics of other lands, especially if they’ve never had a commercial existence here in the US.  That was much more true 10 years ago when the book was conceived than it is now, happily.  This seemed very different than art history, or film history, or the history of literature or music, where if you know the first thing, you’re likely to know quite a bit about European work, and probably some Asian as well.  And the artists along the way in all those fields did too, so there are international trends as well as national “schools” of art, etc.  So we set out to do sort of parallel chronologies of what we deemed to be the three major comics cultures: Japan, U.S. and Europe, and especially looking for moments where there were connections and influences between the cultures. It was going to be the ENTIRE history, starting in the middle ages, or whenever, but the publisher Thames & Hudson decided that was too much for one book, so we split it in two, choosing 1968 as the dividing point, for various reasons.  And they wanted to do that one first because it had more commercial appeal... but so far we’ve never gotten round to doing “volume one,” which is sort of a shame. On the other hand, it was an enormous amount of work, so I’m sort of content with letting it stay one volume.

I have to say now that I think that while we were trying to bring world comics together as a single field, we left too much out… It was probably as much as we could handle, but I feel bad that there is nothing about the Philippines, Africa, India… I’ve learned SINCE finishing the book how much we left out.

What would you like to do or work on in the future?

I have other projects lined up… they continue the completely self-indulgent, whatever-I-feel-like approach.  I just hope for variety, and not to bore myself… so there isn’t another wordless book in the near future.  But experimenting with different styles and formats will always appeal to me.

What do you do when you're in a rut or have writer's block?

I get down on myself and anxious for a while… then I force myself to sit down and just start.  I don’t know any secrets or tricks or rituals, I just find that brute force to get yourself to start is the only way, and then it will work out.  I remind myself that anything Is better than nothing.

What do you think will be the future of your field?

I’m hopeful for the future of the printed comic as cherished object, even with the rise of digital comics.  I think there will be a place for that.  I’m hoping that comics shows will come back after the Pandemic, since that’s an important way for independent comics to find their readership.  Honestly, I just hope that the world and humanity survive in recognizable form.  Telling stories with drawings will survive if it does.


What cons do you attend?  What are your thoughts about SPX? Can you discuss MICE and how you came to found it?


When I started working in independent comics in the aughts, I discovered comics shows like SPX, APE, MOCCA etc., and smaller shows, zine fairs, and loved everything about them.  The variety of work, the interaction with the crowd, the fellow-feeling with other cartoonists.  Shelli Paroline and I were in BCR at the time, and we felt that Boston should have a show like that.  We got involved with the Boston Zine Fair… which in its then-current incarnation was on its last legs, and as it sort of disintegrated, we morphed into MICE (the Massachusetts Independent Comics Expo). I was teaching comics at the Art Institute of Boston, which was then part of Lesley University, and they agreed to host the first one in 2010, and Lesley has been our home for the show ever since (in Cambridge).  Its grown a lot, but I think it retains the qualities we were going for to begin with :  a warm celebration otf independent comics, like a big creative party for cartoonists and readers. 

SPX is the gravitational center of independent comics show, I think.  I’m not sure if it was the first, but it’s outlasted some of the others that I first went to (we’ll see which ones return after Covid --  I hope they all do), and it’s a lot of fun because of being held in the hotel where most of the exhibitors stay… a big comics party!  I hope to be there again soon.

What's your favorite thing about visiting DC?

I’ve visited DC some over the years – my wife lived there before we were married, back in the 80s so I saw it most back then.  When I go to SPX I mostly see the inside of the hotel in Bethesda.  But what I like most about DC are the museums – the Hirschhorn, the Phillips, National Gallery, etc.  Also a great food town…

Least favorite?

the original drawing done in my book ordered from HBS

I guess the whole area is so spread out, so going to SPX I see Bethesda… I have family in McLean, and we go there almost every year for Thanksgiving, and pretty much never get out of McLean, which is a nice place to live, but not much to visit (though we walked past Lyn Cheney’s house, I think).

What monument or museum do you like to visit?

I haven’t been to those art museums in a long time… I guess the Phillips was my favorite, it’s sort of like the Gardner here in Boston, in an old house and based on one art collector’s tastes and vision, from a great period, early Modern Art.

How about a favorite restaurant?

It’s been too long to remember the names of them… but DC was where I discovered Ethiopian food… I think there was a place called Red Sea – it was ages ago but it’s a safe bet there was an Ethiopian restaurant called Red Sea. More recently but still a few years back, I went with some fellow cartoonists to a really good Ethiopian place in walking distance from the Marriott after SPX one year… I think it was called Sheba, at least that’s the only Ethiopian restaurant I can find on Google maps near SPX. If it’s a different one, it looks good anyway.

How has the pandemic affected you? 

 I've been fine, personally, and able to work at a reasonable pace on my own comics.  But a bad time to be coming out with Lunatic and Boston Powers -- that one in particular was pretty much designed to sell to kids at comics shows.  I'm looking forward to live events being possible again!

Friday, February 26, 2021

Flugennock's Latest'n'Greatest: "What's In A Name?"

From DC's anarchist cartoonist, Mike Flugennock -


"What's In A Name?"
http://sinkers.org/stage/?p=3154

"Meet the new boss, you'll be amazed at the similarities between him and the old boss."
—Eoin Higgins on Twitter, 02.23.2021

What's in a name? I mean, what really is a "detention facility", anyway? Apparently, anything Gropin' Joe and his flunkies say it is, or isn't.

No matter what the answer, I have to admit that it was deee-lish reading about how White House mouthpiece Jen Psaki faceplanted and Liberals twisted themselves into pretzels trying to convince us that kids in cages are not, in fact, kids in goddamn cages.

"We CaN pUsH hIm LeFt...!"
BWAH HA HA HA HA HA HA HA HA HA HA HA HA HA

-----

"Biden administration claims reopening controversial Texas facility is not the same as putting 'kids in cages'", Al Jazeera 02.24.2021
https://www.aljazeera.com/news/2021/2/24/us-to-allow-migrants-from-mexico-as-critics-slam-kids-in-cages

"It's not 'kids in cages,' Biden White House insists, saying it uses 'facilities' with 'Covid-safe' standards to lock up children", RT.com 
02.23.2021
https://www.rt.com/usa/516404-psaki-defends-migrant-camp-hypocrisy/

"'The containers offer privacy!' Biden under fire for opening child detainment center, but some liberals jump to defend him", RT.com 
02.23.2021
https://www.rt.com/usa/516364-biden-opens-child-immigration-containers/

"Meet the new boss, you'll be amazed at the similarities between him and the old boss."
—Eoin Higgins on Twitter, 02.23.2021
https://twitter.com/EoinHiggins_/status/1364083327020519426



Mike Flugennock, Political Cartoons: http://www.sinkers.org/stage

and follow me on Mastodon at https://mastodon.social/@flugennock

G.E. Gallas to launch Kickstarter on March 9th

G. E. Gallas

My plague doctor graphic novel "The Plague and Doctor Caim" is finally coming to Kickstarter March 9th!!

It will be published by the amazing Lizzie Kaye and her new publishing company Cast Iron Books. Please check out The Plague and Doctor Caim's Kickstarter pre-launch page and click the green button to be notified when we launch the Kickstarter campaign: https://www.kickstarter.com/projects/castironbooks/the-plague-and-doctor-caim.

I hope you'll check it out!

Thank you so much,

G. E.

G. E. Gallas
gegallas@hotmail.com
Twitter: @gegallas

Al Goodwyn's editorial cartoon newsletter for the week

EDITORIAL CARTOONS

Wednesday, February 24, 2021

Catching up with The Lily's webcomics

9 steps to becoming the love of your own life

This Valentine's Day, all you need is you

9 steps to becoming the love of your own life

Tuesday, February 23, 2021

March 4: The White Rose: Join our online event


Join us for a conversation to launch Freiheit!: The White Rose Graphic Novel
Plough Publishing's logo

Yesterday marked the 78th anniversary of the deaths of Nazi resisters Hans and Sophie Scholl and Christoph Probst, executed by the Third Reich in 1943. Next week, join us online to remember them and celebrate the launch of a new graphic novel telling their story.

As core members of the student group The White Rose, these young people were decidedly antifascist. But their convictions were, in many ways, quite distinct from most who claim the antifa label today. Devout Christians and passionate German patriots, they wrote and distributed a series of leaflets which sought to arouse Germans' cultural memory and conscience, quoting Schiller, Goethe, Aristotle, and Novalis.

On March 4 at 7:30 PM ET, join Maximilian Probst, Christoph's grandson; the philosopher Dr. Jennifer Frey of the University of South Carolina; activist Aimee Murphy of Rehumanize International; and youth educator Lisabeth Button for an online conversation to launch Freiheit!, Plough's new graphic novel about the lives and deaths of the White Rose members. Plough Senior Editor Susannah Black will moderate.

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Our mailing address is:
Plough Publishing House
PO Box 398
151 Bowne Drive
Walden, New York 12586

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Copyright © 2021 Plough Publishing House. All rights reserved.
 

Sunday, February 21, 2021

Cruz cartoons

How cartoonists are roasting Ted Cruz's Texas-to-Cancun getaway

PR: AFI Awards celebrates SOUL as today's AFI Movie Club Selection (Sunday, February 21) with new video content from Tina Fey and Peter Docter


AFI MOVIE CLUB CELEBRATES AFI AWARDS 2020 HONOREE SOUL

WITH NEW CONTENT FEATURING TINA FEY AND PETE DOCTER

 

Bailey Salwey, Cinematography Fellow Named Recipient of the AFI AWARDS Audi Scholarship in the name of AFI AWARDS Honoree SOUL

 

Sunday, February 21, 2021

 

WHAT: AFI AWARDS celebrates SOUL with brand new content featuring actress Tina Fey and director Pete Docter. Fey accepts the AFI AWARDS honor on behalf of the creative ensemble and introduces the film to the AFI Movie Club audience, while Docter takes the audience "Behind the Scene" and talks about the influence of jazz and appreciating both music teachers and performers in the film.

 

"SOULis a modern movie miracle. This ambitiously imaginative burst of life finds the spark of spirituality in American cinema – and delivers it to audiences of all ages in equal parts entertainment and enlightenment. Pete Docter and his talented team at Pixar tackle issues of the highest plane – death, regret, acceptance – and place their answers in the talented voices of Jamie Foxx and Tina Fey. The alchemy that results invites audiences to look to the future without fear – and to find the joy in their soul." -The American Film Institute

 

The AFI AWARDS celebration is sponsored by Audi, a supporter of AFI programs for the past 17 years. To commemorate each of the AFI AWARDS recipients, Audi has created the AFI AWARDS Audi Scholarships initiative providing scholarships in the name of the honorees to women and BIPOC Fellows at the AFI Conservatory – for a total contribution of $250,000. Congratulations to Bailey Salwey, Cinematography Fellow, recipient of the AFI AWARDS Audi Scholarship in the name of AFI AWARDS Honoree SOUL.

 

WHERE:            Tina Fey Intro Video on AFI's YouTube channel

                             Pete Docter's "Behind the Scene" video on AFI's YouTube channel


About the American Film Institute (AFI)

Established in 1967, the American Film Institute is the nation's non-profit organization dedicated to educating and inspiring artists and audiences through initiatives that champion the past, present and future of the moving image. AFI's pioneering programs include filmmaker training at the AFI Conservatory; year-round exhibition at the AFI Silver Theatre and Cultural Center and at AFI Festivals across the nation; workshops aimed at increasing diversity in the storytelling community; honoring today's masters through the AFI Life Achievement Award and AFI AWARDS; and scholarly efforts such as the AFI Catalog of Feature Films that uphold film history for future generations.  Read about all of these programs and more at AFI.com and follow us on social media at Facebook.com/AmericanFilmInstituteYouTube.com/AFITwitter.com/American Film and Instagram.com/AmericanFilmInstitute.

About Audi of America
Audi of America, Inc. and its U.S. dealers offer a full line of German-engineered luxury vehicles. AUDI AG is among the most successful luxury automotive brands, delivering about 1.845 million vehicles globally in 2019. In the U.S., Audi of America sold just over 224,000 vehicles in 2019 and launched the brand's first fully electric vehicle, the Audi e-tron – one of four fully electric models coming to the U.S. market in the next two years. Globally, the brand aims to be CO2 neutral by 2050. Visit audiusa.com or media.audiusa.com for more information regarding Audi vehicles and business topics.

Friday, February 19, 2021

Christian Cooper in favor of DC Statehood

Christian Cooper, The Central Park Birder Accosted By A White Woman, Has A New Cause: D.C. Statehood

Martin Austermuhle

The DCist Feb 19, 2021

https://dcist.com/story/21/02/19/christian-cooper-the-central-park-birder-accosted-by-a-white-woman-has-a-new-cause-d-c-statehood/

 

Scrap the filibuster and make D.C. a state

Opinion by Christian Cooper

Jan. 29, 2021

https://www.washingtonpost.com/opinions/2021/01/29/dc-statehood-filibuster/

Today: Draw What You Love with Ann Xu

Draw What You Love with Ann Xu

Join artist Ann Xu and The Believer for a free workshop on Drawing What You Love this evening, February 19 at 7 p.m. EDT / 4 p.m. PDT.

This is the latest installment in The Believer's free comics workshop series. Register here.

Thursday, February 18, 2021

Arlington Library recommends Black graphic novels

Black Lives Matter: Graphic Novels

Arlington  Public Library February 2021

Christian Cooper case settled

Charges dismissed against Amy Cooper, who called police on Black birdwatcher in viral Central Park video [in print as Case against White woman who called 911 on Black birdwatcher is dismissed].

March 22: Art+Feminism Special Guest: MariNaomi (Virtual Event)

Art+Feminism Special Guest: MariNaomi (Virtual Event)

March 22, 2021 2:00 PM - 3:00 PM
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Art+Feminism Special Guest: MariNaomi Art+Feminism Special Guest: MariNaomi

Art+Feminism is an international community that strives to close the information gap about gender, feminism, and the arts on the internet. In conjunction with the 2021 Art+Feminism Wikipedia Edit-a-thon, hear from award-winning author, illustrator, and cartoonist MariNaomi. 

As a way to highlight underrepresented cartoonists, MariNaomi founded and maintains the Cartoonists of Color, Queer Cartoonists, and Disabled Cartoonists databases. These databases are used by booksellers, librarians, academics, editors, book publishers, event organizers, readers, and more. This event features a conversation between MariNaomi and Caitlin McGurk,  Associate Curator and Assistant Professor at The Ohio State University's Billy Ireland Cartoon Library & Museum. 

This event is presented by the Wexner Center for the Arts, the Billy Ireland Cartoon Library and Museum, and University Libraries. 

About the Speaker

MariNaomi (she/they) is the award-winning author and illustrator of  Kiss & Tell: A Romantic Resume, Ages 0 to 22 (Harper Perennial, 2011), Dragon's Breath and Other True Stories (2dcloud/Uncivilized Books, 2014), Turning Japanese (2dcloud, 2016),  I Thought YOU Hated ME (Retrofit Comics, 2016), and the Life on Earth trilogy (Graphic Universe, 2018-2020). Her work has appeared in over eighty print publications and has been featured on websites such as The New Yorker's Daily Shouts, The Rumpus, LA Review of Books, Midnight Breakfast and BuzzFeed.

MariNaomi's comics and paintings have been featured by such institutions as the Smithsonian, the De Young Museum, the Cartoon Art Museum, the Asian Art Museum, and the Japanese American Museum. 

In 2011 and 2018, Mari toured with the literary roadshow Sister Spit. She is the founder and administrator of the Cartoonists of Color Database, the Queer Cartoonists Database, and the Disabled Cartoonists Database. She has taught classes for the California College of the Arts Comics MFA program, and was a guest editor for PEN Illustrated. She is a cohost of the Ask Bi Grlz podcast with author Myriam Gurba.

MariNaomi lives in Los Angeles with a husband and a menagerie of cats, dogs, and butterfly babies.

MariNaomi's website

If you require an accommodation such as live captioning or interpretation to participate in this event, please email libevents@osu.edu as soon as possible. Requests made at least one week prior to the event will generally allow us to provide seamless access, but the university will make every effort to meet requests made after this date.

Event Organizers

Photo of Courtney Hunt Courtney Hunt
Art and Design Librarian
hunt.877@osu.edu

Photo of Caitlin McGurk Caitlin McGurk
Assoc. Curator Outreach & Eng.
mcgurk.17@osu.edu

Photo of Kay Clopton Kay Clopton
Assistant Professor - Practice
clopton.1@osu.edu

Photo of Alex Adcock Alex Adcock
Wexner Center for the Arts