I'm arts worker in Chicago by day. The rest of the time I write about artists and comics, I facilitate friendships and collaborations, I create and promote equitable systems of arts organizing. I live with my partner Matt Hodapp and our two cats Zadie and Wallace. I love karaoke, board games, talking to my house plants, and being a contrarian.
I recently became fascinated by the impact comics have on the cultural landscape and its potential to complicate our relationship with the world around us. Comics rigorously, yet accessibly, present challenging concepts and conditions, examine the depth of human emotion, and give marginalized voices and stories agency. This new shift into comics comes after ten years of working exclusively in the visual art realm and I'm trying to find my new comics community. Say hello on twitter at @comicsfemme or shoot me an email.
✉ lynnette [at] lynnettemiranda.com
Lynnette Miranda experiments with models of artistic, curatorial, and pedagogical strategies that challenge power structures and hierarchies through risk, collaboration, and trust.
Originally from Miami, Lynnette has worked at leading arts institutions including Creative Time, ART21, and the Art Institute of Chicago. In 2015, she coordinated three art conferences, including The Creative Time Summit: The Curriculum at both the Venice Biennale and at Brooklyn’s Boys and Girls High School, as well as ART21’s Creative Chemistries: Radical Practices for Art + Education at the Park Avenue Armory. In 2016, she was one of twelve participants in Independent Curators International’s Curatorial Intensive program in New Orleans and served as the 2016-2017 Curator in Residence at Charlotte Street Foundation in Kansas City. Currently, she is the Program Manager at United States Artists in Chicago.
Lynnette approaches her practice from the perspective of an artist, questioning and challenging established conventions, and an educator, opening up avenues for dialogue and collective knowledge building. Her ongoing research focuses on the social and political role of contemporary art, critically examining social practice, contemporary craft, performance, and new media work. She is passionate about centering artists and practitioners of color, not only through representation, but through building support systems and redistribution of resources. She actively co-curates with the nomadic curatorial collective Present Futures and is a Features Writer for Sixty Inches From Center.
She holds an MA in Visual Arts Administration from New York University and a BFA in Studio Art with an emphasis in Fiber and Material Studies from the School of the Art Institute of Chicago.