Matter by Emily Zilber – Episode 3 – SEE SAW Comics, Webcomics from the Sequential Artists Workshop

Matter by Emily Zilber – Episode 3

1. â€œFreeman Tilden is considered the father of interpretation, a word that describes how museums share ideas, stories, & their collections with visitors. / In his 1957 book â€˜Interpreting Our Heritage,â€™ he shares six principles of interpretation. One states that â€˜the chief aim of interpretation is not instruction, but provocation.â€™â€ In the center of the panel, sandwiched between two blocks of text, is a portrait of Tilden, a man with light skin wearing a fedora, suit, and bolo tie. He has prominent ears and eye bags. He smiles for the camera. He appears to be outside, tree branches lightly rendered in the background. 2. â€œI like the goal of sharing the past being to provoke rather than relay facts.â€ A bed is cordoned off by a museum fence with a placard containing information that we as readers cannot make out. The pillows look decorative and there is a piece of artwork with an ornate frame hanging on the wall behind the bed. 3. Six people, again with different hair styles, clothing, ages, skin tones, and ethnic features, all say, â€œInclusive interpretation relies on community involvement. What is possible when history is constructed by people with stakes in the stories told?â€ 4. Emily continues, â€œMy favorite historic houses now are ones where an artist lived. These spaces claim to illuminate a creative mind, rather than show â€˜how people lived.â€™ Stepping into Edward Goreyâ€™s home on Cape Cod was about as close as I could imagine to being inside his mind. I trusted that his home told truths about who he was & how he saw the world.â€ The interior of Edward Goreyâ€™s home - apparently his office, fitted with a book shelf, a storage desk topped with art supplies, a working desk topped with papers and supplies, a window behind it, and artworks displayed in a vertical line like a newsstand.

1. â€œFor three years in my 20s, I lived in the unrestored portion of a historic architect & artistâ€™s home. When I tell people, it often strikes them as glamorous. It was mostly to offset a well below living wage for my work at the adjacent art museum.â€ A large ball ornament is held by two gloved hands. 2. â€œMy office was visible from my bedroom. Nothing separated life & work, which is just what the architect intended.â€ A window with wrought iron geometric decorations forming the frame sits above a utilitarian-looking bare-bones bed. 3. A closet with a built-in shelf, each section only a few inches tall and holding one garment. Off to the side, a wall or door is decorated with a floral flourish design. The following narration is designed to look built into the closet as well: â€œEven though my place wasnâ€™t restored to its original 1930s splendor, its structure & material impacted my day-to-day life. My drawers were just deep enough to hold a single garment so that everything would stay orderly, the architect controlling my actions from beyond the grave.â€ 4. A metal countertop with slats for steam to be released; a window in the back showing leafy branches hanging directly outside. The leaves resemble magnolias in shape, but are not identified. Emily writes, â€œI prepared meals on countertops made from thin flat sheets of monel, a metal alloy that was very au courant in the 1920s & 1930s.â€ 5. A person with a shaved head, t-shirt, and jeans stands outside under a full moon, smoking a cigarette and looking off to the distance. They stand with one hand on their hip. Emily continues, â€œMy friend who lived in the house before me sneaked midnight cigarettes in the courtyard. Smoking was a guilty pleasure now that the space was a museum, but a regular occurrence for the original occupants.â€

Published On: March 7, 2024

"Disabled activists fought for an elevator down to light rail but it was shuttered due to misuse. Foot traffic brings the challenges of humanity. For building owners, isolation saves money."

“The Way Above by Adrean Clark My librarian aunt has a cabin in the Blue Ridge Mountains. As a kid, I climbed the loft high above my hearing family. A row of National Geographic’s formed a tunnel behind her bookshelves. My mind traveled the world without worrying about my Deafness." 3 panels who altogether depict a cityscape view of St. Paul, Minnesota.

A human figure is crouched down on the ground, back against a tree trunk. They are backed away from a pond, from which a huge splash of water rises with a “PLIIP!” The figure is frowning, looking a bit taken aback.

An extreme close up of a human eye. The pupil and iris are completely reflecting a scene of frogs in the mud.

A view from below of wintry trees encircling a ball of light, perhaps the moon on a cloudy night. The title is contained in this orb, lettered in a curveless style in all caps. There are lots of crow-like bird silhouettes perched in the branches of the tree, and it is raining. The scene is rendered in layers of purple, blue, and brown watercolors/gouache, lined with a black brush pen.

A close-up of Maia's face with a neutral expression, looking directly at the reader. She has a brown bob and green eyes.

In three different strips of paper and different color markers, the title: “Max, Foster Dog.” In another, with hand-drawn serif lettering: “Excerpt of the graphic novel in progress.” “Pieces of Me” “by Maia Iotzova (same name, in Cyrillic alphabet)”

Emily is crouched down, bearing on her back the weight of a giant ball ornament twice her size. She is grimacing from pain or exertion.

Two people dressed in casual contemporary clothing are walking by in the background; in the foreground is a woman dressed in 18th century-style clothing. They are outside, tree branches hanging overhead.

First-grader Emily, wearing her skirt and hat, stands in the doorway of a museum room. To the left is a grandfather clock; to the right is a large piece of decorative pottery. The floor is a black and white checkered tile.

Jim sits up in his hospital bed. There is a book open in his lap, and a tray of food slightly raised above him. He is smiling.

Early Bird Episode 4 Thumbnail

A close-up of young Emil's face drawn with vampire fangs and a ravenous expression: mouth open, eyes wide, brows bent in a scowl.

A baby with glasses, smoking a pipe, wearing a violet bathrobe, and reading a Playboy magazine with an unimpressed expression. The background is pink.

A facebook post shows a picture of three people - Aman and two other men - standing at the Frew booth at a comics convention. They are all smiling with their arms crossed. Aman stands to the left and wears a blue sweater. The man in the middle is dressed up in full Phantom cosplay: purple cap, black eye mask, purple body suit, black striped underwear, and a belt with a skull in the center. The man on the right has curly red/brown hair and wears a blue and orange short-sleeve button-down. Above the picture is text that is slightly cut off: "Phans from across the country make an annual pilgrimage to the Frew comic publisher booth." Below the picture are the Facebook buttons, "Like Comment Share."

Four line drawings of the Phantom in different styles, over a brown watercolor wash. Each is labeled by the artist who drew him this way and the dates they were active: Wilson McCoy, 1943-1961; Bill Lignante, 1961-1969; Joan Boix, 1994-present; and Paul Ryan, 2001-2016.

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