Some author of old said something to the effect that, being a young man with a strong sex drive was like being chained to a mad man. I certainly do! When I look at that old libido-driven work of mine now, from the perspective of age 75, I can barely relate to that person. Do you have a different relationship to the work inside of it now than you did back then? The first edition of Bible of Filth came out in 1986. What do you think the line is between satire that’s offensive or not? Is it easy to draw? All I can do is hang my head and shrug my shoulders. As I said, I can’t explain myself or defend myself from their anger, their outrage. I heard what Storr said to the people who find the work offensive, but what do you have to say to them? Crumb, Sketchbook, 1979–1981© Robert Crumb, 1979–1981.ĬOURTESY THE ARTIST, PAUL MORRIS, AND DAVID ZWIRNER Instead, I have alienated most of them with my vulgar, gross drawings. I feel very bad when I encounter this reaction because you know, I want everybody to love me, especially the women. I do believe that such people have an entirely mistaken notion as to what my comics are about. Of course, it “bothers” me that people perceive my work as racist and sexist, that they might be assuming that I’m advocating racism or sexism. I thought he explained it as well as it can be explained, and certainly far better than I could explain it myself. Crumb: I was very happy to listen to Robert Storr explain why my work was not, in fact, racist or misogynistic or sexist or anti-Semitic and should not be taken as such, because I have never drawn a single line meant to foster or encourage any of those attitudes. This interview has been edited and condensed for clarity.ĪRTnews: I was at the preview for the Zwirner show, and Robert Storr seemed keen on emphasizing that your work shouldn’t be seen as offensive. Now 75, Crumb spoke to ARTnews by email about political cartoons, his love for the ukulele, and his 1986 classic, Book of Filth. Crumb,” it was curated by curator and critic Robert Storr. Beginning March 12, Zwirner will also present an online exhibition of pages from the artist’s sketchbooks of the ’60s, offering a rare glimpse into the development of some of his signature ideas and early characters, like Fritz the Cat and Mr. Titled “Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Through April 13, an exhibition at David Zwirner on West 19th Street in New York attempts to showcase the full breadth of his formidable career. Crumb, have ignored the lines between comics and fine art, so-called good taste and bad, and countless other binaries for more than half a century, his lurid, distinctive pen-and-ink style interpreting everything from the Book of Genesis to Franz Kafka’s Metamorphosis to the likeness of Stormy Daniels.
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