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A collection of cartoonist Crumb's work, ranging from his earliest comics published in the mid sixties, to work completed in the nineties with his comentaries interspersed thoughout the book.
The early work of the pioneering feminist cartoonist plus her acclaimed new story “Dream House" Aline Kominsky-Crumb immediately made her mark in the Bay Area’s underground comix scene with unabashedly raw, dirty, unfiltered comics chronicling the thoughts and desires of a woman coming of age in the 1960s. Kominsky-Crumb didn’t worry about self-flattery. In fact, her darkest secrets and deepest insecurities were all the more fodder for groundbreaking stories. Her exaggerated comix alter ego, Bunch, is self-destructive and grotesque but crackles with the self-deprecating humor and honesty of a cartoonist confident in the story she wants to tell. Collecting comics from the 1970s through today, Love That Bunch is shockingly prescient while still being an authentic story of its era. Kominsky-Crumb was ahead of her time in juxtaposing the contradictory nature of female sexuality with a proud, complicated feminism. Most important, she does so without apology. One of the most famous and idiosyncratic cartoonists of our time, Kominsky-Crumb traces her steps from a Beatles-loving fangirl, an East Village groupie, an adult grappling with her childhood, and a 1980s housewife and mother, to a new thirty-page story, “Dream House,” that looks back on her childhood forty years later. Love That Bunch will be Kominsky-Crumb’s only solo-authored book in print. Originally published as a book in 1990, this new expanded edition follows her to the present, including an afterword penned by the noted comics scholar Hillary Chute.
Presents comics, writings, and artwork by the Crumb family, especially Robert, Charles, Jesse, and Maxon, depicting their struggles with a disturbing family life, tragedies, and successes in the world of art. Contains adult content.
The R.Crumb Handbook tells the story of how a loser-schmuck became a culturalcon, and is more than just another celebrity tell-all sexploitation. Thisrand new hardback collection of original cartoons with never beforeublished work, takes the reader on a unique journey through the life andimes of one of the 20th century's most notorious and influential counterulture artists.;"Crumbs material comes out of a deep sense of the absurdityf human life." - Robert Hughes, Art Critic;The only underground cartoonisto be accepted by the fine art world, the R.Crumb Handbook is divided intohe four enemies of man: FEAR; CLARITY; POWER; OLD AGE;Working with his oldrinking buddy and co-author Pete Poplasky, the four chapters are easilyigested. With over 400 pages of cartoons and photographs, Crumb's oftenontroversially-regarded views toward Disneyland, growing up in America,ippie love, art galleries, and turning 60 are revealed.;By tracing hisevelopment as a cartoonist from his tormented childhood in the 1940s througho his coming of age as an artist in the psychedelic revolution of the 1960s,
A retrospective of the legendary underground artist's work features his characters Fritz the Cat, Devil Girl, and Mr. Natural, as well as unpublished rarities and personal reflections from the artist himself
Robert Crumb (b. 1943) read widely and deeply a long roster of authors including Robert Louis Stevenson, Charles Dickens, J. D. Salinger, Jack Kerouac, William S. Burroughs, and Allen Ginsberg, as well as religious classics including biblical, Buddhist, Hindu, and Gnostic texts. Crumb’s genius, according to author David Stephen Calonne, lies in his ability to absorb a variety of literary, artistic, and spiritual traditions and incorporate them within an original, American mode of discourse that seeks to reveal his personal search for the meaning of life. R. Crumb: Literature, Autobiography, and the Quest for Self contains six chapters that chart Crumb’s intellectual trajectory and explore the recurring philosophical themes that permeate his depictions of literary and biographical works and the ways he responds to them through innovative, dazzling compositional techniques. Calonne explores the ways Crumb develops concepts of solitude, despair, desire, and conflict as aspects of the quest for self in his engagement with the book of Genesis and works by Franz Kafka, Jean-Paul Sartre, the Beats, Charles Bukowski, and Philip K. Dick, as well as Crumb’s illustrations of biographies of musicians Jelly Roll Morton and Charley Patton. Calonne demonstrates how Crumb’s love for literature led him to attempt an extremely faithful rendering of the texts he admired while at the same time highlighting for his readers the particular hidden philosophical meanings he found most significant in his own autobiographical quest for identity and his authentic self.
Contributions by José Alaniz, Ian Blechschmidt, Paul Fisher Davies, Zanne Domoney-Lyttle, David Huxley, Lynn Marie Kutch, Julian Lawrence, Liliana Milkova, Stiliana Milkova, Kim A. Munson, Jason S. Polley, Paul Sheehan, Clarence Burton Sheffield Jr., and Daniel Worden From his work on underground comix like Zap and Weirdo, to his cultural prominence, R. Crumb is one of the most renowned comics artists in the medium’s history. His work, beginning in the 1960s, ranges provocatively and controversially over major moments, tensions, and ideas in the late twentieth and early twenty-first centuries, from the counterculture and the emergence of the modern environmentalist movement, to racial politics and sexual liberation. While Crumb’s early work refined the parodic, over-the-top, and sexually explicit styles we associate with underground comix, he also pioneered the comics memoir, through his own autobiographical and confessional comics, as well as in his collaborations. More recently, Crumb has turned to long-form, book-length works, such as his acclaimed Book of Genesis and Kafka. Over the long arc of his career, Crumb has shaped the conventions of underground and alternative comics, autobiographical comics, and the “graphic novel.” And, through his involvement in music, animation, and documentary film projects, Crumb is a widely recognized persona, an artist who has defined the vocation of the cartoonist in a widely influential way. The Comics of R. Crumb: Underground in the Art Museum is a groundbreaking collection on the work of a pioneer of underground comix and a fixture of comics culture. Ranging from art history and literary studies, to environmental studies and religious history, the essays included in this volume cast Crumb's work as formally sophisticated and complex in its representations of gender, sexuality, race, politics, and history, while also charting Crumb’s role in underground comix and the ways in which his work has circulated in the art museum.
In this collection of interviews that spans from the late 1960s to the beginning of the twenty-first century, the comic artist proves to be iconoclastic, opinionated, and impervious to the commercial moods of the public
A complete narrative history of the weird and wonderful world of Underground Comix! In the 1950s, comics meant POW! BAM! superheroes, family-friendly gags, and Sunday funnies, but in the 1960s, inspired by these strips and the satire of MAD magazine, a new generation of creators set out to subvert the medium, and with it, American culture. Their “comix,” spelled that way to distinguish the work from their dime-store contemporaries, presented tales of taboo sex, casual drug use, and a transgressive view of society. Embraced by hippies and legions of future creatives, this subgenre of comic books and strips often ran afoul of the law, but that would not stop them from casting cultural ripples for decades to come, eventually moving the entire comics form beyond the gutter and into fine-art galleries. Author Brian Doherty weaves together the stories of R. Crumb, Art Spiegelman, Trina Robbins, Spain Rodriguez, Harvey Pekar, and Howard Cruse, among many others, detailing the complete narrative history of this movement. Through dozens of new interviews and archival research, Doherty chronicles the scenes that sprang up around the country in the 1960s and ’70s, beginning with the artists’ origin stories and following them through success and strife, and concluding with an examination of these creators’ legacies, Dirty Pictures is the essential exploration of a truly American art form that recontextualized the way people thought about war, race, sex, gender, and expression.
At a time when the expanded projection of US political, military, economic and cultural power draws intensified global concern, understanding how that country understands itself seems more important than ever. This collection of new critical essays tackles this old problem in a new way, by examining some of the hundreds of US films that announce themselves as titularly 'American'. From early travelogues to contemporary comedies, national nomination has been an abiding characteristic of American motion pictures, heading the work of Porter, Guy-Blaché, DeMille, Capra, Sternberg, Vidor, Minnelli and Mankiewicz. More recently, George Lucas, Paul Schrader, John Landis and Edward James Olmos have made their own contributions to Hollywood’s Americana. What does this national branding signify? Which versions of Americanism are valorized, and which marginalized or excluded? Out of which social and historical contexts do they emerge, and for and by whom are they constructed? Edited by Mandy Merck, the collection contains detailed analyses of such films as The Vanishing American, American Madness, An American in Paris, American Graffiti, American Gigolo, American Pie and many more.