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Book Details

The Pocket Essential Robert Crumb

The Pocket Essential Robert Crumb

By: Holm, D.K.
Published By: Pocket Essentials
Edition: 2
ePub for Digital Editions Price: $7.99
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The "Godfather" of the underground comics movement begun in the '60s, Robert Crumb is also one of the most important figures in twentieth century art. Born in Philadelphia in 1943, Crumb, like Mark Twain and the later Beat writers, has lived all over America, giving him a unique perspective from which to satirize his home country. In San Francisco in 1967, at the height of the hippie movement, Crumb began producing independent black and white comic books drawn in a style that seemed both old fashioned and up-to-date at the same time, a dense, thick-lined style presented in comic strip panels often packed with activity, a style that harked back to the work of E. C. Segar, Walt Kelly, Gene Ahern, and others. In these books he created characters such as Mr. Natural and Fritz the Cat, and introduced such phrases as "Keep on Truckin'" into the vernacular. In later years Crumb edited his own magazine (Weirdo), and turned to confessional stories, which he wrote alone and in collaboration with his wife Aline Kominsky He moved to France in the early '90s, his art began to make appearances in galleries and magazines like the New Yorker, and he was the subject of Crumb, Terry Zwigoff's popular documentary. But Crumb isn't just a great cartoonist. He is a great writer as well. His sardonic view of the world is literary and sophisticated, and in his introductions to books and anthologies, as well as in his letters and other writings, Crumb is revealed as a writer with a style as distinctive as his cartoons and with a comic timing just as finely honed. To answer the question, the people who read Crumb include anyone who values biting satire, good writing, and great art.

Excerpt

Yes, who actually reads R. Crumb? At first thought, you’d think that everyone would read the internationally famous cartoonist who created characters such as Mr Natural and Fritz the Cat and popularized phrases such as ‘Keep on truckin’.’You’d think that everyone would respect the ‘godfather’ of the underground comics revolution of the Sixties, when his psychedelic and confessional content expanded the limitations of a medium that traditionally favoured superheroes or funny animals. Crumb’s Head Comix in 1970 and The R. Crumb Coffee Table Art Book in 1997 bookmark an era of profound change in the nature of a medium once viewed as kids’ stuff. Both books were bestsellers, and Crumb is also the recipient of the weird honour of having his complete oeuvre published in more or less chronological order in his lifetime. His letters and sketchbooks have seen print, the sort of honour usually reserved for grand old men of the arts community. Popular movies have been made of his work, an awardwinning documentary has been made about him, galleries and museums have exhibited his work, and merchandising – everything from calendars to statuettes – helps to keep his imagery and worldview in the public eye. But who actually reads Crumb? Hardcore feminists certainly don’t. Crumb’s rise to prominence coincided with the hippie movement but also the rise of feminism. Just as the cartoonist was enjoying a new-found freedom of expression, feminists were coming down on him for just the sort of fantasies he expressed. Cartoonist Trina Robbins, interviewed in Crumb, is characteristic of feminist reaction to Crumb: ‘I was used to what he had been doing which was really quite sweet.Then he did this one that was just incredibly hostile to women, very sexually hostile, and I wasn’t expecting it. I was really shocked. It’s hard for me to believe that he can’t just channel himself into doing better work.’ And he was certainly spurned by art critics. Except for a few, including Robert Hughes, Time magazine’s wide-ranging art critic, and Kirk Varnadoe, who included Crumb in his Metropolitan Museum of Modern Art show, ‘High and Low,’ Crumb has been as much ignored by the critics as were Will Eisner,Walt Kelly, and a host of other comic artists before them. Critical silence has greeted most of Crumb’s publications. No New York Times review, no Art In America profiles, despite the fact that Crumb, after a brief slowdown in the early Seventies, has been producing interesting, varied, and controversial work without interruption. Only recently has a change occurred in Crumb’s critical reception.



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Price $7.99
ISBN 1433702479
Published Date 10/5/2006
File Size 257K
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Minimum Software Version Adobe Digital Editions 1.7
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