Kurt Ankeny is an award-winning cartoonist and painter whose work has appeared in Best American Comics, at the Society of Illustrators, at the Cape Ann Museum, and in Comics Workbook, PEN America’s Illustrated PEN, and Fantagraphics’s NOW Anthology. He lives with his wife and son in Salem, Massachusetts.
2017 Best American Comics 2017, excerpt of In Pieces: Someplace Which I Call Home.
2017 Invited to speak at the New York Comics and Picture-Story Symposium hosted by Ben Katchor at Parsons School of Design.
2017 New England Book Show Award for In Pieces: Someplace Which I Call Home. First Place in Graphic Novels category.
2016 Massachusetts Independent Comics Expo (MICE) Mini-Grant award for Dark Desert Dawn.
2015 New England Book Show Award for Saltwater Snow. First Place in Small and Self Publishers Illustrated category.
2015 Society of Illustrators MOCCA Arts Festival Award of Excellence for Saltwater Snow and A Bomb. Short Form Category.
February 2018 - Pen America (link)
"Kurt Ankeny’s In Pieces: Someplace Which I Call Home (Two Hundred Zoo Press) is a poetic and thoughtfully crafted graphic novel that is centered around the notion of place. Through a series of beautifully drawn interactions, observations, and reflections, Ankeny brings the small Massachusetts town of Ipswich to life. His portrayal of the town’s quirky history, architecture, natural landscape, and people prove that reflecting on one’s home is both achievable and elusive. As a non-native to the area and someone who is part of a multiracial family, Ankeny is keenly aware of what it means to be an outsider. His observational skills are like that of an ethnographer in the sense that he is both detached from his environment and dependent on it. What results is a purposely fragmented tale that highlights the ineffable quality of what makes a place a home."
—Whit Taylor, Guest Editor for Pen America
January 2017 - The Salem News (link)
"In his new graphic novel, Kurt Ankeny compares Ipswich to purgatory. Neither heaven nor hell, the town appears as an intriguing, but puzzling, place in impressions that the artist recorded during the five years that he lived there.
—William Broaddus, The Salem News
November 2016 - The Copacetic Comics Company (link)
"In Pieces: Someplace Which I Call Home is Kurt Ankeny's debut graphic novel. Its 120 pages are filled with crisp, clear, pencil renderings of scenes drawn from life and memory which together weave a hybrid form of graphic novel; part observed, part recalled, part created. In Pieces uses this work to get at the natural rhythms that make up day-to-day life. Parts were serialized up at Comics Workbook, which is worth checking out to get an idea of what this is about, but the work has a very different—colder, harsher—feel online compared to the printed version, which is simultaneously warmer and sharper, while also being much more intimate, and just plain better, all around.”
—Bill Boichel, The Copacetic Comics Company
2 September 2016 - Comicsverse.com (link)
"As someone worn out with the over-coloring and digital conformity of certain mainstream comics, Kurt Ankeny is a sight for sore eyes.”
—Jake Grubman, ComicsVerse
31 August 2016 - Warrior27.net (link)
"'Gulls' by Kurt Ankeny, is one of the most beautiful comics I have read all year. Using watercolors, adding a soft intimacy to the story, Ankeny relates a day in the life of a mother and son in Paris, where they live. In only ten pages, Ankeny offers readers a trio of well-developed characters, roaming through life as they try to make sense of it all, and try to find love—or at least companionship—along this journey. It’s an incredibly touching story that resolves satisfyingly, while also leaving narrative threads for the audience to follow, in their own minds, once they turn that last page. A great read."
—Chris Beckett, Warrior 27
25 August 2016 - Comicsbulletin.com (link)
"Kurt Ankeny’s “Mother Airplane” tackles the narrowing of possibilities with age in another of my favorite entries. [...] Ankeny uses the space on a page to add pauses into his work and carefully guide the reader’s eye, tying the two ends of his metaphor together. [...] The commitment to the very clever metaphor here is quintessentially poetic, and even if the prose here had been slightly more on-the-nose and narrative in its quality, the images and text placement would have still carried a great deal of this comic’s emotional impact and meaning.”
—Austin Lanari, Comics Bulletin