Kevin C. Pyle attended the the University of Kansas where he received a B.F.A. in illustration, studying under illustrator Thomas B. Allen. He moved to Brooklyn N.Y. in 1988 to pursue a career as an illustrator. He has done illustrations for The New York Times Op-Ed page, The New York Times Book Review, The New Yorker, The Wall Street Journal, The Village Voice, The National Law Journal, The Progressive, Adbusters and numerous other publications. From 1990-1991 he was the director of the non-profit Minor Injury Gallery in Williamsburg, Brooklyn and was involved in the nascent art scene there. He produced puppet shows, played in a band, and was a core member of Organism, a 1994 proto rave/art installation staged in an abandoned warehouse on Brooklyn’s waterfront.
In the early 90s he co-founded and edited the willfully obscure and unwieldy comic compendium “Hodags and Hodaddies.” Shortly therafter, Kevin began contributing and co-editing World War 3 illustrated, America’s longest-running radical comics anthology. Much of the work done for WW3 illustrated was collected in his 2001 docu-comic, Lab U.S.A.:illuminated documents. A non-fiction comic investigation of clandestine racist and authoritarian science, Lab U.S.A. won the Silver Medal for Sequential Art from the Society of Illustrators. He has done performance and installations based on the text that have been exhibited in the Brooklyn Museum of Art, Mass MOCA, and numerous gallery settings. His first graphic novel Blindspot, was published in 2007 by Henry Holt for Young Readers. It was included in the Best American Comics 2008, edited by Lynda Barry. Katman, also with Henry Holt, was published in 2009 and named a YALSA (Young Adult Library Services Association) Great Graphic Novel for 2010. His third graphic novel Take What You Can Carry was published in March 2012. Bad For You, a non-fiction docu-comic history of kid-centric moral panics in America, was co-written with Scott Cunningham and published in 2014.
Kevin began teaching in 2005 with a workshop for sons and daughters of incarcerated adults. He has since taught comics, illustration and the cultural history of monsters in a variety of school environments and grade levels. He currently teaches regularly with Young Audiences and a variety of arts organizations. In the spring of 2016 he co-taught a Princeton Atelier resulting in the immersive theater piece The Last Boat. He lives with his wife and son in a creaky house somewhere just past the swamps of Jersey.