Crumbs Worlds HC

R. Crumb's obsessions--from sex to the Bible, music, politics, and the vicissitudes and obscenities of daily life--are chronicled in this comprehensive book of work by the illustrious American comic artist.

Instrumental in the formation of the underground comics scene in San Francisco during the 1960s and 1970s, Crumb has ruptured and expanded the boundaries of the graphic arts, redefining comics and cartoons as countercultural art forms. Presenting a slice of Crumb's unique universe, this book features a wide array of printed matter culled from the artist's five-decade career--tear sheets of drawings and comics taken directly from the publications where the works first appeared, comic book covers, broadsides from the 1960s and 1970s, and tabloids from Haight-Ashbury, Oakland, the Lower East Side, and other counterculture enclaves, as well as exhibition ephemera. Complementing this volume are historical works from the eighteenth and nineteenth centuries that have inspired Crumb and pages from his rarely seen sketchbooks from the 1970s and 1980s that reveal his exemplary skill as a draftsman.

Documenting the critically acclaimed exhibition Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb at David Zwirner, New York, in 2019, curated by Robert Storr, this publication offers an opportunity to immerse oneself in Crumb's singular mind. In the accompanying text, Storr explores the challenging nature of some of Crumb's work and the importance of artists who take on the status quo.

"Savagely satirizing the culture and values of contemporary America, often with a psychedelic twist, R Crumb's art directly addressed political disillusionment."--Elena Martinique "Widewalls"

"The color scheme of the R. Crumb exhibition that Robert Storr curated for David Zwirner deserves an award."--Jackson Arn "Art in America"

"The cartoons of Robert Crumb, aka R. Crumb, have ignored the lines between comics and fine art, so-called good taste and bad, and countless other binaries."--Annie Armstrong "ArtNews"