{"title":"CRUMB AGONISTES","authors":"Paul Sheehan","doi":"10.2307/j.ctv1kbgs2k.6","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.6","url":null,"abstract":"In this chapter, Paul Sheehan argues that Crumb’s unrestrained “working-through” of bizarre, grotesque, often obscene sexual imagery and situations—supposedly a way of articulating his darkest fantasies and desires—is not the touchstone or bedrock of his political awareness. Appearances to the contrary, the disturbing sexual politics implicit in the work is a symptom, rather than a cause, which conceals a more deep-seated concern. Crumb’s most extreme and confronting images and subject matter are attempts to reconcile his anarchist suspicion and skepticism of all forms of authority, and his despairing recognition that any challenge to these forms is doomed to fail—to be crushed, co-opted, watered down or deviously ‘absorbed’. In this reading Crumb is, then, a kind of disenchanted political utopian. His work is fired by the tension between a radical anti-authoritarianism that accords with the counter-cultural desire to find a space outside or beyond the reach of state power; and a resigned awareness that such a space cannot be established in the corrupt and corrupting world of capitalist modernity.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124034452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Comics of R. CrumbPub Date : 2021-04-22DOI: 10.14325/mississippi/9781496833754.003.0012
Kim A. Munson
{"title":"Viewing R. Crumb","authors":"Kim A. Munson","doi":"10.14325/mississippi/9781496833754.003.0012","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833754.003.0012","url":null,"abstract":"In this chapter, Kim A. Munson explores how Robert Crumb and his work has been represented in a series of museum exhibitions. In the 2009-2010 exhibition “Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection” at the Museum of Modern Art (NY), for example, one gallery focused on drawings inspired by underground comix by Crumb and S. Clay Wilson. Other exhibits of Crumb’s work place him within more traditional art historical contexts. R. Crumb’s “Book of Genesis” was a tour de force exhibition shown in the US and internationally in several formats, and placed Crumb in an immediately recognizable artistic tradition. “Graphic Masters,” on display at the Seattle Museum of Art in 2016, also put Crumb’s work in an art historical context, showing the complete \"Genesis\" along with drawings and engravings by masters like Rembrandt, Dürer, Hogarth, and Picasso. “Masters of American Comics,” the popular and controversial 2005-2006 group exhibit in Los Angeles (Hammer Museum), positioned Crumb as one of the 15 chosen “masters,” placing him within the show’s canon of comics artists alongside Will Eisner, Harvey Kurtzman, Art Spiegelman, and Chris Ware. By looking at these exhibitions, we can see not only Crumb's influence on fine art, but also the evolving relationship between comics art and the art museum, as well as his influence on other artists.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"358 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113996075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"THE TORTURED ARTIST","authors":"L. M. Kutch","doi":"10.2307/j.ctv1kbgs2k.13","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.13","url":null,"abstract":"In this chapter, Lynn Marie Kutch demonstrates why Crumb’s artistic style is supremely adept at telling Kafka’s story and visually interpreting his fiction stories. The chapter argues that Crumb’s distinct style of seeing and drawing substantially supplements the plethora of existing work on Kafka by providing concretely provocative and aggressive graphic renditions of the abstract elements—such as abuse, torment, monstrousness, self-doubt, and absurdity—that characterized Kafka’s life and shaped his oeuvre. The book weaves biographical elements from Franz Kafka’s tortured life story with brief summaries of his main works such as “In the Penal Colony,” “The Hunger Artist,” and “The Metamorphosis.” Just as he did in Self-Loathing, Crumb confrontationally provokes the reader with images of revulsion and the “iconic ugliness” with which Kafka also viewed himself. Crumb and Mairowitz borrow yet also significantly modify the catalogue of themes and terms that characterize Crumb’s body of work. They centralize Kafka’s monstrous and creepy self-portraits, while also consistently threading throughout the text episodes of Kafka’s revulsion and documented distaste for sexual encounters. Similar to Crumb, it was not the female form that disgusted Kafka, but rather his grotesque view of himself fumbling awkwardly in her presence.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124787144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"CRUMB AND ABSTRACTION","authors":"Paul Fisher Davies","doi":"10.2307/j.ctv1kbgs2k.17","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.17","url":null,"abstract":"In an interview published in The R. Crumb Handbook, Crumb notes his disinterest in abstraction in postwar art: “You lose me with post-war abstract expressionism. The “fine” art after World War II doesn’t do it for me.… I don’t get what it’s about. You’re supposed to express yourself, but you’re not supposed to say anything?” On the surface, Crumb’s claim makes sense, since his work is representational. Yet, building on Andrei Molotiu’s interest in defining “abstract comics” as a distinct variety of experimental comics, this chapter analyzes how abstraction functions in Crumb’s work, in a way that is distinct from abstract expressionism but that is abstract in other ways. In this chapter, Paul Fisher Davies focuses on Crumb’s deliberate explorations, and scornful pastiches, of abstraction and cubism in his comics and sketchbooks, as well as those formal aspects of Crumb’s work that attract readers and fans: his crosshatching work, the expressiveness of his line, and other elements of design. In so doing, the chapter offers a reflection on what it is to be abstract, what abstraction is opposed to, and how non-representational, non-diegetic, non-specific, and non-narrative devices play important roles in Crumb’s work.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"2010 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121670652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"TOWARD A RECONCILIATION OF SATIRE AND HOSTILITY IN CRUMB","authors":"J. Polley","doi":"10.2307/j.ctv1kbgs2k.5","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.5","url":null,"abstract":"Drawing from recent controversies around Robert Crumb and his legacy in contemporary comics culture, chapter contributor Jason S. Polley reflects on the complex discourse that circulates around Crumb in comics studies and in comics culture more broadly. Crumb’s so-called uncompromising art—which, again, includes his arguably affected public persona, the one we encounter in Terry Zwigoff’s documentary Crumb—fosters serious caution and self-qualification. Analyzing his collaborative work with Aline Kominsky-Crumb, the 1994 documentary film Crumb, and his rejected 2009 New Yorker cover, the chapter argues that from his collaborative comics in the 1970s to recent controversies, Crumb at once connotes and invokes contradictory critical perspectives.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117235573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"HOW MANY TREES HAD TO BE CUT DOWN FOR THIS ESSAY?","authors":"José Alaniz","doi":"10.2307/j.ctv1kbgs2k.8","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.8","url":null,"abstract":"Despite a reputation for unsentimental, sardonic, sex-based satire, Robert Crumb has consistently voiced distress over the state of the natural world over the course of his career, and especially the role of modern consumerism in its destruction. As he told an interviewer in 2015, “all that stuff, the whole ecological crisis and all that. That worries me.” Part of an under-studied environmentalist strain in US underground comix, reflected in the work of, among others, Ron Cobb and Ron Turner’s series Slow Death Funnies (1970), Crumb’s “ecological angst” appears throughout his oeuvre, in both explicit and figurative forms. In this chapter, José Alaniz explores how Robert Crumb can be viewed as an ironic elegist for nature’s collapse in the Anthropocene.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132629167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"COMPETING MASCULINITIES IN THE WORK OF R. CRUMB","authors":"Ian Blechschmidt","doi":"10.2307/j.ctv1kbgs2k.12","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.12","url":null,"abstract":"Using critical tools drawn from visual rhetoric, gender studies, and comics studies, chapter contributor Ian Blechschmidt examines how Robert Crumb’s comics during the underground comix boom constructed a normative ideal of masculine agency through their images, narratives, and gags. The chapter argues that the comics’ appeals to “authenticity” were shaped by broadly shared anxieties about disappearing opportunities for performing “manly,” individual agency. Unlike much previous scholarship on Crumb’s work, this chapter seeks to take a more critical approach to the way that Crumb’s work imagines the performance and stakes of authenticity by underscoring how that imagining is rooted in deep, very old, and in many ways very current understandings of what it means to perform masculinity in the United States. Though it does not attempt to “debunk” claims to Crumb’s subversiveness, this paper takes seriously Stuart Hall’s reminder that no text is wholly, inherently, or permanently subversive. And while Crumb’s underground comix may have spoken back against some aspects of mainstream American masculinity, one ought not forget the ways in which they thoroughly reinscribed others.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114611260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Comics of R. CrumbPub Date : 2021-04-22DOI: 10.14325/mississippi/9781496833754.003.0013
Clarence Burton Sheffield
{"title":"Robert Crumb and Öyvind Fahlström","authors":"Clarence Burton Sheffield","doi":"10.14325/mississippi/9781496833754.003.0013","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833754.003.0013","url":null,"abstract":"In 1969, the Brazilian-born, Scandinavian artist Öyvind Fahlström (1928-1976) created one of his most ambitious and important works, Meatball Curtain for R. Crumb, commissioned for Maurice Tuchman’s famous “Art and Technology” exhibition at the Los Angeles County Museum of Art. A large installation, it consists of an ensemble of flat, silhouetted figures composed of Plexiglas, magnets, plastic and metal cut-outs, spread across the gallery floor, yet standing upright. Its title derives from a story by Crumb first published in Zap Comix #0 (1967) about meatballs that mythically rain down from the sky and give everyone they hit into a sense of ecstatic, bliss. Fahlström described the work as his “homage to Robert Crumb, to a great American artist.” In this chapter, Clarence Burton Sheffield, Jr. analyzes how Robert Crumb was a touchstone for Öyvind Fahlström, and how Crumb provides a key critical lens by which to understand Fahlström’s enigmatic art and the broader relationship between Crumb’s comics and the discourses of contemporary art. Fahlström’s works resist pigeonholing and straightforward categorization in much the same way that Crumb has continuously worked across the borders of different media, celebrating hybridity, experimentation, and subversion.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133983787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“AND ABRAM LISTENED TO THE VOICE OF SARAI”","authors":"Zanne Domoney-Lyttle","doi":"10.2307/j.ctv1kbgs2k.11","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.11","url":null,"abstract":"In 2009, R. Crumb produced a singular work, The Book of Genesis, Illustrated by R. Crumb, which purports to be a faithful, graphic interpretation of the book of Genesis from the Hebrew Bible. Among other sources, Crumb states that he used Robert Alter’s translation and commentary on Genesis to inform his work, along with the King James Version (KJV), the Jewish Publication Society Version (JPS,) and Sarah the Priestess: The First Matriarch of Genesis by Savina J. Teubal. From those sources, he produced his own interpretation together with annotations to explain his interpretive decisions. In this chapter, Zanne Domoney-Lyttle investigates Crumb’s use of various comics tools and resources in his remediation of Genesis, and will argue that his interpretation of the biblical text is presented through careful visual and textual decisions. These decisions in turn present the matriarchs (Sarah, Rebekah, Rachel and Leah) in Genesis, Illustrated as strong, dominant characters who are cast as potential leaders in an otherwise patriarchal world. This is a characterization which subverts both traditional readings of the women of Genesis, as well as expectations of Crumb as an author. Accusations of misogyny and sexism have followed Crumb throughout his career, but do not stand when the reader is presented with his pro-feminist matriarchal remediation of the biblical text.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126382461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ROBERT CRUMB AND THE ART OF COMICS","authors":"David Huxley","doi":"10.2307/j.ctv1kbgs2k.14","DOIUrl":"https://doi.org/10.2307/j.ctv1kbgs2k.14","url":null,"abstract":"A distinctive feature of Robert Crumb’s career has been the early, and continuing, interest in his work from art critics and the art museum. His work features in the journal Art and Artists as early as 1969, and in 1972 art critic Robert Hughes described him as “a kind of American Hogarth.” More recently Bart Beaty has pointed out that Crumb holds a unique position for a comic book artist, that “on the basis of specifically art-world prestige, Crumb is an elite cartoonist.” In this chapter, David Huxley analyzes the way in which Crumb’s drawing style developed, through his early influences from American comic strips artists such as Rube Goldberg, to a series of stylistic changes over a forty-year period. It also examines Crumb’s influence, both in terms of style and content on early underground comix and graphics, and the subsequent rise of autobiographical comics.","PeriodicalId":156308,"journal":{"name":"The Comics of R. Crumb","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127355618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
求助内容：
应助结果提醒方式：