creighton hill jesse lenz jon bishop

associate editor / designer associate editor / designer associate editor / designer

nick name: no, i’m not prince nick name: drips n’ splatters nick name: jon goodman’s
son
fatality: pushing opponents tech specs: 3mb of internal
down a grassy hill memory blood type: gravy

Right off the bat, I’d like to sincerely

thank you for reading this right now…
whoever you are. I’m incredibly happy
to present you with the first issue of
West Liberty University’s revamped
campus arts magazine, “the itch.” And,
yes, it’s always lowercase.

I cannot even begin to describe how

proud I am of my team and all the
tribulations we’ve worked through to
get this baby published under such a
tight deadline. I know personally that
we all had at least four other projects
for classes that we had to work on
while making “the itch.” We were
stressed beyond belief. Tensions ran
high and, believe it or not, I only saw
Jon cry once…

With the first issue finally out, I can’t

adam blazak
editor in chief / art director / designer
nick name: that skinny guy
mutant power: can squeeze through tight spaces
help but be torn over the outcome. One
the one hand, this issue has exceeded
my expectations ten-fold. My staff did
an amazing job of stepping up to the
challenge and getting out a great piece
of work. On the other hand, working
at break-neck speed meant we had to
scrap a lot of our ideas. As pleased as
I am with what we’ve done, I know that
we can do better.
I’m really excited for what we’ve got
lined up, so please keep your eyes out
for us in the very near future.

I hope you enjoy the read.

Adam Blazak
Editor in Chief
CONTENTS
THE BIRTH OF PROPAGANDA 4
WARTOONS 6
WE NEED A HERO 8
PROPAGANDA OR PUBLICITY 10
THE SHEPARD FAIREY DEBATE 12
NUTTING GALLERY: THE ONE SHOW 14
UPCOMING ART EVENTS 15
HELP! 15

4
Propaganda has been around as long as persuasion.
In ancient times it generally followed this model:
Leader is born.
Leader claims to be a God/ a God incarnate/
the offspring of a God/ the prophet of a God.
This model was radically changed in early
20th century, however. The invention of the
radio, cinema, and advances in large-scale
printing (posters/newspapers) kick-started
a new age of propaganda: the Modern Age.
In this majestic time, several echelons of
persuasive print were reborn and countries
around the world were midwives for these
slanderous, subliminal images. Propa-
ganda, although a constant in countries
like Germany, was most noticeable during
World War I and World War II. Tactics such
as slogans, repeated imagery, and, most
importantly, caricature (both positive and
negative) shined their brightest in the early-
to mid-1900’s. Refer to Figure 2.
THE BIRTH OF
PROPAGANDA
People make monuments attesting to the
leader’s greatness.
Leader’s praises are sang around the kingdom.
Slogans saw a lot of action in the 20th cen-
tury. They were extremely versatile, albeit
annoyingly repetitive. But hey, that’s the
point, right? It was common to see slogans
pinned up all over a war-time city, hear
slogans babbled across the airwaves, and
even see them at your local theatre (switch-
ing the “r” and “e” makes it fancy) for the
price of an admission ticket and your date’s
Charleston Chews. Every nation utilized
slogans for the following reasons: buying
war bonds, supporting rations, joining the
military, and, if you were in Europe, dodging
bombs! Britain had an especially tight lock-
down on these fun statements.
BY JON BISHOP
Fig. 2
Raise your hand if you’ve ever played
Bioshock or Fallout 3. Those videogames
are riddled with advertisements and posters
based on century-old propaganda.
You know the “Uncle Sam wants YOU”
recruitment poster? That falls into the
category of “Repeated Imagery.” James
Montgomery Flagg, the illustrator, wasn’t
the first to use the national-mascot-giving-
you-a-guilt-trip ploy. Germany and Britain
beat him to the punch. Lord Kitchener, Brit-
ain’s Secretary of War, struck an identical
pose way ahead of the fictional Uncle Sam
(although Lord K’s face didn’t pick up as
much popularity). Germany’s anonymous
soldier, always depicted with a heroic, up-
turned gaze, beat Uncle Sam hands down
in the repetition department. Whether it was
standing in front of the German flag, dodg-
ing bullets in the trenches, or even donning
skis to fight the Norwegians, the illustrated
German was always looking to the horizon,
ready for action.

Fig. 3
British slogan urging the citizenry to
kindly ignore the 8-month Blitzkreig.
...What bombs?
The best (and most ridiculous) category of
propaganda was the caricature. Granted,
some were of leaders in heroic stances,
with symbols of their nation and victory gar-
nishing every inch of them. Hitler, a prime
example, favored depictions of himself as a
glorious and brave leader. But let’s not talk
about that. That’s not interesting. Because,
although there were some very serious
caricatures, there were several thousand
more goofy ones, and the leaders got it the
worst. The Germans for instance, often de-
picted Winston Churchill, Britain’s ingenious
and resilient leader, as an impotent old
man or as a dim-witted pit bull (an image
he rather liked and kept). Hitler caught the
rap of being a temperamental and greedy
child. A lot of play came from his former and
failed quest to be an artist as well.
5
cover stories
Fig. 4 Fig. 5
Looking good. Looking damn good.
Caricatures also encompassed nations–
usually chock-full of racial, ethnic, and
cultural slurs that represented the enemy
in an extremely negative light. Additionally,
national wills were embodied in posters.
The German “Huns” of World War I were
shown as a brutish primate in American
propaganda. The Germans depicted the
British Empire as a spider, spinning its web
around the world and looking at the Father
Land with a drooling grin. Anti-American
propaganda usually twisted the identities of
Lady Liberty or Uncle Sam.
6
Wartoons
Some of America’s favorite cartoon characters including Donald
Duck spent time on the front line during World War 2.
By Creighton Hill
I
magine for a moment that you’re
enjoying an episode of the popu-
lar children’s series Spongebob
Squarepants. The episode starts out
like any other with an average sunny
day in Bikini Bottom. Spongebob is on his
way to work at the Krusty Krab but instead
decides to join Patrick, Squidward, Sandy, and
the other characters of the show in the war
against terrorism. That’s right, Spongebob and
the rest of his nautical friends are heading to
Iraq to fight Al Qaeda and help hunt the ter-
rorists. The terrorists of course are depicted as
dirty, turbin-wearing monsters more evil than
Plankton and more vicious than the Flying
Dutchman. Armed to his big toothy smile, the
friendly yellow Sponge prepares for war and
sets an example for all young impressionable
American viewers. He lets them know that
terrorism must be destroyed and they have to
do their part.
Sounds just a little crazy huh? You might
even be a little offended. Maybe you’re
downright outraged. Of course, maybe you
have no idea what I’m talking about because
you wouldn’t suffer through an episode of
Spongebob Squarepants even if someone paid
you. Regardless of how you might feel about
this scenario, I think we could all agree that
its fairly unlikely that Nickelodeon would be
real keen on producing this episode. In the
past though, many wartime animations were
produced by some of the most well-known
animation giants including Disney and Warner
Brothers.
Animation didn’t really gain popularity in the
United States until Disney’s first feature Snow
White and the Seven Dwarfs in 1937. Seeing
as how Germany invaded Poland just two
years later (thus effectively starting the second
World War) it only makes sense that Mickey
Mouse and Donald Duck should have been
ready to do their part to defeat the evil Third
Reich. Add to that the fact that the war put a
pretty big strain on old Walt’s overseas market
and you’ll start to get an idea of how Walt
Disney, his employees, and the characters he
created entered the war.
Disney’s Secret
Defensive Tactics
Disney’s cartoons for the department of
defense weren’t entirely focused on cre-
ating anti-axis sentiments. Many of the
cartoons produced were instruc tional
animations intended for soldiers. Soldiers
were more attentive to the cartoons than
poorly filmed instructional videos or
confusing illustrations and diagrams.
Title’s including “Defense Against Inva-
sion” which warned of the dangers of
disease from foreign lands and promoted
immunization for soldiers and “Victory
Through Air Power” which shared strate-
gic bombing theories, were among a few
of the cartoons produced for instructional
purposes.
The work that Disney did to promote
the war efforts was so important that
when Disney employees were drafted
they actually were given uniforms and
sent right back to work instead of over
seas. That’s how influential and helpful
these cartoons became to the Department
of Defense. Popular Disney characters
were even used as insignias on fighter
planes to make them distinguishable in
harsh weather. These insignias would
later become morale boosters for the
soldiers as well.
The work that Disney did to promote
the war efforts was so important that
when Disney employees were drafted
they actually were given uniforms and
sent right back to work instead of over
seas. That’s how influential and helpful
these cartoons became to the Department
of Defense. Popular Disney characters
were even used as insignias on fighter
planes to make them distinguishable in
harsh weather. These insignias would
later become morale boosters for the
soldiers as well.
 7
Legion of Disney

In “Education for Death: The Making of a Nazi” we are introduced to a German boy who is named Hanz. We
witness his education in the Nazi school system. He is converted from an average innocent child to a blood-
thirsty Nazi.This cartoon was an effective representation of how the German youth was trained. Not only did
it give a pretty accurate insight into the way Nazi soldiers were essentially created, but more importantly it
increased the notion that American soldiers were fortunate to be in a better country and to be fighting on the
winning team.

A more lighthearted and certainly more satirical cartoon was called “Der Fuerhrers Face.” This one was primarily about Donald Duck
being a Nazi and hating every second of it. Yep, Donald Duck as a Nazi. Throughout this cartoon we get to enjoy a jolly song about
Hitler and the life of his Nazi soldiers. One of my favorite lines from the song went something like “When the Fuerhrers says we never
will be slaves, we heil, we heil, but still we work like slaves! While the Fuerhrer brags, and lies and rants, and raves, we heil, we heil,
and work into our graves!” Now does it get clearer than that? I mean, that message isn’t even hidden slightly. “America good, Nazis
bad” the end.

This cartoon was thought to be so effective in showing the harsh contrast between the pleasant lifestyle of Americans and how unjustly
the Nazi party was treating the German people that translated copies were dropped behind enemy lines. Other important Disney cartoons
produced during World War 2 included “The Spirit of ‘43” and “Donald Gets Drafted” in which Donald Duck returns but this time as
an American soldier in boot camp. The cartoon shows Donald suffering the hardships of army training that many young soldiers could
relate to in a humorous but still meaningful way.

Band of Warner Brothers

Although Disney’s animations might have been the most notable cartoons in the war effort during world war
two, they weren’t the only ones. Porky Pig and Daffy Duck joined Donald Duck on the front line as well.
The Warner Brothers produced its own wartime cartoons. The most notorious of which being a cartoon called
“Tokio Jokio.” The cartoon mocked the Japanese people, their army, and their leaders as well as the other
dictators of the axis powers.

The cartoon goes on to take jabs at General Hideki Tojo and Admiral Isoroku Yamamoto just to name a few.
Along with them, Hitler and Mussolini also are targeted. Despite the cruelty these men were known for, the
cartoon depicts them as silly unthreatening goons. The Japanese dictators are especially embellished with large
buck teeth and small squinty eyes behind large goofy glasses.

Now this might seem awfully racist by today’s standards, but you have to keep in mind that this cartoon was released in 1943, a mere
two years after the tragic attack in Pearl Harbor. When you think about that, its easy to see why such a cartoon was created. In fact,
when you imagine how brutal the war was, the flood of propaganda doesn’t seem entirely crazy. For many angry Americans, the nega-
tive sentiments were probably on their minds already.

Warner Brothers’ popular Looney Tunes also produced a simple little cartoon called “The Ductators” in which Hitler, Mussolini, and
Hirohito are all depicted as ducks who come to rule over a flock of geese. It breifly and humorously summarizes Hitler’s rise to power
along with the other of the axis dictators. In the end the three no-good ducks are beaten up and defeated by the dove of peace. Seems
kind of hypocritical but the message is clear. Axis powers are the enemy of peace. The more important message of the cartoon comes at
the end though, whenever it implores viewers to purchase U.S. savings bonds and stamps. I guess the cartoon worked.

Check out these cartoons for yourself at these youtube links.

“The Ductators” - http://www.youtube.com/watch?v=t-SBx6D9zho

“Education for Death:The Making of a Nazi” - www.youtube.com/watch?v=eU1LHeim_hA

“Der Fuehrers Face” - www.youtube.com/watch?v=iumEGAUceDg

“Tokio Jokio” - www.youtube.com/watch?v=KvA1zphaeTQ

“The Spirit of ‘43” - www.youtube.com/watch?v=vr9qpeOjmuQ

“Donald Gets Drafted” - www.youtube.com/watch?v=jwjeBL01tz0

8
When thinking about propaganda,
chances are images of large
posters, murals, and films come to
mind. Despite the absolutely large
contribution these mediums made
in effective propaganda, a common
childhood hobby was once served as
an important morale booster in our
country: comic books.
Now, before I go any further, I am in
no way saying that the government
was attempting to brainwash America’s
youth through comic books. The vast
majority of comics at the time were
private companies and writers reacting
to the times, some out of moral
responsibility, and some for some quick
cash. The reason that these comics
are still considered propaganda is that
they’re meant to influence an attitude
towards an issue.
In the beginning, there was but one
superhero, Superman. With “Truth,
justice, and the American way,” as his
mantra, it was easy for an infallible
hero to become immensely popular,
especially when he began fighting
Nazis and sinking German U-boats
with his bare hands.
Other patriotic superheroes jumped
on the Allied bandwagon, most
notably Captain America. Ironically
depicted with blonde hair and blue
eyes, Captain America was created
for the sole purpose of fighting Nazis
and other Axis powers, which is quite
evident considering that his debut
issue depicted him punching Hitler in
face on the front cover.
While these superficial stories of
superheroes may seem childish, the
costumed crusaders came to represent
America in the eyes of the public. We
were undeniably the good guys and
they the unquestionably bad. It was a
rally of patriotism being influenced by
the heroics of the fictional characters.
Think back to 2001and how image
how excited people would seeing if
Wolverine of the X-men upper cutting
Osama bin Laden. There’s no doubt in
my mind that issues would sell
out in hours.
Pop culture buffs may also recall the
controversy surrounding Captain
America being assassinated in 2007.
TV news shows across the country

debated whether the story by Marvel
Comics was morally unjust in our post-
9/11 world. Keep in mind that they’re
discussing a fictional character whose
popularity is nowhere near as high as
back in the 1940’s or even 1970’s.
There’s no way to deny that these
characters came to symbolize the
power and spirit of the American
way. However, the propaganda door
swings both ways, as some of the
most popular comics during the Cold
War influenced the public with a hate
for their enemies rather than a love for
their country.
by adam blazak
During the 1950’s and 60’s, Men’s
Adventure magazines (a variation of
pulp comics) were in increasingly high
demand, with as many as 130 separate
magazines in print at one time. Stories
likely involved our strong, male
antagonist saving the scantily clad
woman from the clutches of evil. With
titles such as: “Swastika Slave Girls in
Argentina’s No-Escape Brothel Camp,”
“The Incredible Escape of Vietnam ’s
Battered Beauties,” and “Sin Captive
of the Red’s Nympho Navy,” one can
obviously see where the appeal is
intended to lie. Not to mention that
Koreans and Vietnamese were often
depicted as savages and animal-like,
even to the extent of being cannibals.
9
The striking difference between the
superhero stories of the past and
these newer adventure stories is that
in one there is a hero symbolizing the
spirit of a country and inspiring good,
while the other negatively stereotypes
another country, instilling a hatred for
a group of people. But regardless of
their intentions, comic books once had
in immense influence on American
morale and opinions.
10

The first thing that one likely thinks of when hearing

the word propaganda is Nazi Germany. It is one of
the premier examples of how propaganda can con-
vince people that a lie is truth. Adolf Hitler once said
“Through clever and constant application of propa-
ganda, people can be made to see paradise as hell,
and as well the other way round, to consider the most
wretched sort of life as paradise”. Joseph Goebbels,
head of Nazi Propaganda, also said, “If you tell a big
enough lie and keep repeating it, people will eventual-
ly come to believe it”. History has shown how powerful
art can be when placed in the wrong hands.

We all know that the way that Nazi Germany used

propaganda was deceitful, but what about the propa-
ganda that we deal with on an everyday basis? What
about the propaganda that tells us how to dress, what
to eat, and what to think? What about propaganda
that is disguised as advertising? Anti-semetic posters
have been replaced by cigarette advertisements; and,
in a way, corporations have become the new Hitlers
and Stalins of our society.

We are bombarded daily with slogans and catch-

phrases that tell us what we should want out of life.
When advertising crosses the line between showing
a product and manipulating us to believe we need the
product, it becomes dangerous. No one likes being
told what to think, especially we Americans, but why
do we let companies flood our lives with their mes-
sages? If a graffiti artist writes a message on a wall it
is called graffiti, but if a company pays to write a mes-
sage on a wall it is called advertising.
 11

Jesse Lenz
Take a look at the advertisements on the street, we are
told that if you smoke cigarettes women will find you at-
tractive, wearing Calvin Kline underwear will make you
look as sexy as the models on the billboards, and that
eating a Big Mac will make you happy. If someone had
walked up and told us these things, we would disregard
it immediately because we know it to be ridiculous. That
is the beauty of propaganda; it makes people come to a
conclusion without saying it. When people feel that they
came to an idea on their own they will believe it one
hundred percent.

Think about this, when was the last time you remember
a company advertising a product itself? Alcohol compa-
nies sell the idea of what could happen when you drink,
not the drink itself. Car companies sell the status of a
car, not what the car itself. Cigarette companies sell
you the image of a cigarette smoker, not the tobacco
itself. There’s a trend here. Subliminally when I think
of alcohol I imagine party, pretty girls, and fun. I never
think, “that drink looks like it has some really amazing
flavor”.

Is the use of propaganda in our everyday lives just as

wrong as it was when the Nazi’s used it to control Ger-
many? No, of course not. But is it just as effective?

You bet your ads it is.

12

DEBATE
Shepard Fairey.
Artist? Thief? Sell-out? Genius?

All this and more as our writers

wage war with words over
Fairey’s work.

When I first saw Shepard Fairey’s work I was

dumbfounded. Being a line-based, Adobe Illus-
trator-loving, pen tool junkie, I admired the man’s
precision and technique. I adored how witty his
work was and reveled in his generally ironic, anti-
government message. Then I read up on Fairey,
and discovered something that brought the purist
in me to his knees: Shepard Fairey uses other
peoples imagery.

Although you can’t deny the power of Fairey’s

repetition (look for OBEY, the Andre Pentagram,
and past works as key elements and background
textures), Fairey’s redundancies go even deeper.
I was aware of his “borrowing” of slogans but
after seeing my fair share of old anti-war art, I
noticed that Fairy recycled other peoples work
into his. Almost to the T. For instance, Fairey’s
bayonet imagery was stolen from the WWI British
propaganda “Back the bayonets with war bonds.”
He also hawked an Old Faithful postcard to make
his “Welcome to Iraq” piece. The list goes on.
That being stated, as a pair of skilled hands, the
man is a super genius. And, as an entrepreneur,
the man is uncontested. He managed to sprout
out of the underground in the span of a year and
become one of the most successful, sought-
after artists in the nation. Merchandise, clothing
line, books, galleries, even graffiti tags all over
cities; the man’s interest in propaganda isn’t just
reflected in his artwork, but in his business plan.
For that, I tip my hat to Shepard Fairy.
For the most part, I’m a fervent artistic purist. Ba-
sically, my standpoint is this: Do your own god-
damn work, especially if you are being paid for
it. Unfortunately, this puts me at odds with every
pop artist ever. Andy Warhol, for instance, is the opinion, is just a collection of other peoples work.
epitome of what I stand against. He even admits, I think that principle is at the heart of my disdain
“Art is what you get away with.” Don’t get me for Fairey. The man tricked me into thinking he
wrong, I respect successful pop artists to no end, was an artistic super genius when, in actuality,
they get away with a lot, but their work, in my he is just a glorified knock-off artist.

Check out Shepard Fairey
at obeygiant.com
(show currently at the Warhol museum)
13
Before I begin my criticism of Shepard
Fairey, I must first preface it with saying it
greatly pains me to be able to say the fol-
lowing things about Shepard, being a fol-
lower of his campaign for years. I believe
Shepard Fairey has completely sold out.
His recent choices have tainted his entire
body of work that preceded his Obama
poster. What discredits his work is not the
method in which he creates it, but his con-
tradicting and hypocritical message.
Art is the ability to communicate an ab-
stract thought to a viewer. It is irrelevant
whether or not the artist drafted each work
of art by hand. Many critics say Fairey is
discredited as an artist because he uses
images and icons of old propaganda post-
ers in his work instead of creating the
piece with completely original artwork.
The purpose of Fairey’s posters is to make
us question what we see by using known
iconography and images to stir up certain
emotions. It is not to draw attention to the
artist’s ability, but to something bigger and
less superficial.
Fairey fought against the establishment
by using gorilla warfare to discredit and
expose the mainstream media, corpora-
tions, and government. Bombarding peo-
ple with slogans such as “More Military,
Less Skools” and “OBEY” made people
everything thing they say. He was the
quintessential “anti-artist”, a defender of
the people against the lies of Big Brother.
He was someone that everyone could rally
behind and agree with, but like many art-
ists, Shepard Fairey began to put too much
faith in man.
When Fairey created and pasted his
Obama “Hope” posters all over the US he
became the propaganda machine he had
taught everyone to question. Suddenly
he was telling people who to place their
faith in and who to trust without question.
One cannot build a reputation as the face
of those who question the powers that be
and then turn and support, of all people, a
presidential candidate! That is hypocrisy at
its best, and for an artist whose career is
build on an ideal, this one move shows that
he is merely chasing the money trail.
His career has greatly benefited from his
endorsement of Obama. Both his popu-
larity and artistic status have grown, but
has it compromised his integrity? He is
now nothing more than a common artist
making claims that his ideas are right and
yours wrong. Before this, he was a face-
less objector of an increasingly oppressive
government forced to take his message to
the streets, not because he wanted to be
famous, but because he had to speak the
truth in a time of lies. Has he become part
of the propaganda machine?
 14

The One Show

campus and community events

(Dec. 2-11)

This December we can all look forward to an

event we’ve been patiently awaiting. No, I’m
not referring to Christmas. I’m talking about
West Liberty University’s fall semester Senior
Show in the Nutting Gallery. For anyone who
isn’t familiar with how the Senior Exhibition
works let me explain. West Liberty’s seniors are
given the opportunity to collect up what they
feel is the best of the body of work they have
created. The work is submitted to be judged
by a panel of West Liberty University’s art
professors. Once the best work is selected it
is prepared for display in the Nutting Gallery.
The seniors presenting get the chance to display
their artwork like a “real” artist in a real gallery.
This semester we will only be seeing the work
of one talented senior. Her name is
Stefani Freeman.

Stefani Freeman has had the pleasure of work-

ing in a multitude of different art mediums but
for her senior show she has decided to work en-
tirely in acrylic paint. It’s been quite a challenge
for her since she hasn’t worked with acrylic
paint since before she came to West Liberty
University. Despite the difficulty involved she
claims the results have been quite rewarding
and she is very excited to share her work with
an audience.

Stefani will be showing six pieces in the gallery.

Each one of them is a portrait of one of her fam-
ily members. The pieces range in size and style.
At times Stefani chooses not to blend the paint
in order to achieve a certain effect. In other
instances she employs a degree of blending so
that a serene feeling is brought to the painting.
For her, the best part of painting these portraits
was to capture the facial expressions. It was a
task as well as a joy.

As for the rest of the exhibit, The Nutting Gal-

“Siren” Stefani Freeman Acrylic Paint
lery will be showcasing work from students
in some of the art intro classes. Projects from
classes such as Photography 1, Intro to Graphic
Design, Watercolor 1, Drawing 1, and Ceram-
ics 1 will be seen alongside Stefani’s show. It
promises to be a very unique event. The open-
ing reception will be held December 2 and will
continue until January 11. Don’t miss it!
 15

Upcoming Art Events

Wheeling:
Artworks Around Town
Gallery Hop first Friday of every month
Nov. 6 Lambros Tschulares & Cheryl
Harshman- pottery, clay, monoprints
and quilts
Coffee House 3rd Friday of every
month
Nov. 20 Kristin Wittenbrook
Nov. 20-22 Oils and Acrylics workshop
w/ Mark Fleming
Stifel F A Center
Oct 29- Dec 12 WV Watercolor Society
Dec 22- Jan- 30 Regional Student Art
Exhibition
Feb 11- March 27 Crosscurrents-
mixed media exhibit
Towngate Theater
Dec 9- 13 The House at Pooh Corner And we don’t care who you are, what
Dec 20 and 26 Nutcracker Ballet
Jan 15- 17 21- 23 G-Man
Pittsburgh: or the website.
Warhol
Now- Jan 31: Shepherd Fairey
New Hazlett Theater
Jan 23: Jeremy Wade
As much as we at the itch appreciate
you reading our work, the truth of the
matter is that we need help. In order to
turn this into a true “campus arts maga-
zine” and take this publication to a much
higher level, we want your submissions,
whether it’s an article, fine arts work,
video, music, or anything art related.
Paintings? Interpretive dance? Har-
monica solo? Mud sculptures? We’ll
take it. Just be sure to send us enough
photographs, links, or videos so we can
make a solid decision.
you study, or even if you’re a student or
faculty member; just send us anything.
If it manages to pass inspection we’ll be
happy to publish it in the next issue and/
So, if this sounds at all interesting to
you, email us your submission to
itch.westlib@gmail.com.

Carnegie Otherwise you’re going to constantly be

Now- Jan 31 Palm Springs Modern hearing from the same four graphic de-
Photographs by Julius Schullman
sign majors… And nobody wants that.
Now- Jan 31 Digital to Daguerreotype:
Photographs of People Not even us.

 “Seeing
“Seeing asas how
how Germany
Germany invaded
invaded
Poland Poland
just just
two years two...ityears
later only
later
makes...it only
sense makes
that Mickeysense
Mouse and
that Mickey
Donald Mouse
Duck should and
have Donald
been ready
Duck should
to do their have
part to been
defeat the ready
evil
to doReich”
Third their part to defeat the
evil Third Reich”