Born in Philadelphia in 1943, R. Crumb has used the popular medium of the comic book to address the absurdity of social conventions, political disillusionment, irony, racial and gender stereotypes, sexual fantasies, and fetishes. Inspired by Thomas Nast, Honoré Daumier, T.S. Sullivant, James Gillray, amongst others, his drawings offer a satirical critique of modern consumer culture, and often seem to possess an outsider's perspective—a self-conscious stance which Crumb often relates to his personal life.Read More
In 2006, the artist joined David Zwirner, where he has had three solo exhibitions. Art & Beauty marked Crumb's first presentation at David Zwirner, London, on view 15 April–2 June 2016. On occasion of the exhibition, David Zwirner Books published Art & Beauty Magazine: Drawing By R. Crumb. On view 12 January–18 February 2017, David Zwirner, New York presented an exhibition of the collaborative work of Aline Kominsky-Crumb and R. Crumb.
The artist's 2010 gallery show, The Bible Illuminated: R. Crumb's Book of Genesis, presented 207 individual black-and-white drawings from his now landmark The Book of Genesis Illustrated by R. Crumb. Published by W.W. Norton in October 2009, the book chronicles all fifty chapters of Genesis in a tapestry of detail and storytelling, rendered frame by frame in meticulous comic-book fashion. The momentous project received instant critical acclaim, topping many bestseller lists, including #1 on the New York Times Graphic Books list. Over 200,000 copies have been printed worldwide, and translation rights have been sold to fifteen countries, with published translations currently in circulation in French, German, and Italian. The exhibition was previously on view at the Hammer Museum, Los Angeles, in 2009, before travelling to the Portland Art Museum, Oregon; Columbus Museum of Art, Ohio; Bowdoin College Museum of Art, Brunswick, Maine; and the San Jose Museum of Art, California. In 2013, it was presented as part of the 55th Venice Biennale, curated by Massimiliano Gioni.
In 2016, the Cartoonmuseum Basel hosted a major two-person exhibition, Aline und Robert Crumb - Drawn Together. A retrospective of Crumb's work was held in 2012 at the Musée d'Art Moderne de la Ville de Paris. In 2011, his work was the subject of a solo exhibition at the Museum of American Illustration at the Society of Illustrators, New York. A major solo show devoted to Crumb's work was organised by the Yerba Buena Center for the Arts, San Francisco, in 2007, and traveled from 2008 to 2009 to the Frye Art Museum, Seattle; Institute of Contemporary Art, Philadelphia; Massachusetts College of Art and Design, Boston; and the Grand Central Art Center, Santa Ana, California. Other recent one-person exhibitions include the Whitechapel Gallery, London, a show which to travelled the Museum Boijmans Van Beuningen, Rotterdam (both 2005), and the Museum Ludwig, Cologne (2004). The artist was the subject of a critically acclaimed documentary by Terry Zwigoff. Crumb was named the best film of 1994 by the late critic Gene Siskel and won the Grand Jury Prize at the Sundance Film Festival in 1995.
Work by the artist is represented in major museum collections worldwide, including the Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Museum Ludwig, Cologne; and The Museum of Modern Art, New York. The artist currently lives in the south of France.
Text courtesy David Zwirner.
For an exhibition consisting primarily of black-and-white line drawings, Aline Kominsky-Crumb & R. Crumb: Drawn Together is surprisingly colorful. Including more than 30 framed works, in addition to over a dozen comics displayed in rows along the walls of David Zwirner gallery, the sheer volume of text and image can seem overwhelming. But...
ALINE KOMINSKY-CRUMB & R. CRUMB Through Feb. 18. David Zwirner, 525 West 19th Street, Manhattan; 212-727-2070, davidzwirner.com. Cartoon art drawn for reproduction doesn’t gain much from being hung on a wall. It’s fun to spot the occasional daub of correcting fluid or try to unravel the mysteries of R. Crumb’s preternatural...
Last year, even the birds showed up. Under the silent gaze of a few unticketed pigeons in the rafters of CenturyLink Field Event Center, 15,000 people swarmed the inaugural Seattle Art Fair, a network of 60 booths of paintings, sculptures, photographs, videos, and at least one virtual reality trip.
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