“Reading and drawing and painting were the things that saved me from a very difficult childhood,” she said in 2019, “with somewhat harsh parents.” And it’s a liberated and liberating way of looking at oneself.” “They are just trying to live and breathe as women with all their contradictions. “She has something in common with Lena Dunham, Amy Poehler, Amy Schumer, Sarah Silverman, women who are trying to grapple with their identities in a way that is not prettified,” Spiegelman, author of “Maus,” said in 2018. Much more recently, she said she also admired Lena Dunham and her HBO show “Girls,” and was thrilled to learn that Dunham had said she was influenced by Kominsky-Crumb’s artwork.Īuthor Art Spiegelman made a similar connection. Kominsky-Crumb said her creative influences included both German Expressionist art and the late comic Joan Rivers, whose standup routines she admired partly for their self-deprecating nature.

Self-portraits that illustrate life stages of the iconic drawer. Originally published as a book in 1990, this new expanded edition follows her to the present, including an afterword penned by the noted comics scholar Hillary Chute.California R. Love That Bunch will be Kominsky-Crumb's only solo-authored book in print. One of the most famous and idiosyncratic cartoonists of our time, Kominsky-Crumb traces her steps from a Beatles-loving fangirl, an East Village groupie, an adult grappling with her childhood, and a 1980s housewife and mother, to a new thirty-page story, 'Dream House,' that looks back on her childhood forty years later. Most important, she does so without apology. Kominsky-Crumb was ahead of her time in juxtaposing the contradictory nature of female sexuality with a proud, complicated feminism. Collecting comics from the 1970s through today, Love That Bunch is shockingly prescient while still being an authentic story of its era. Her exaggerated comix alter ego, Bunch, is self-destructive and grotesque but crackles with the self-deprecating humor and honesty of a cartoonist confident in the story she wants to tell. In fact, her darkest secrets and deepest insecurities were all the more fodder for groundbreaking stories. Kominsky-Crumb didn't worry about self-flattery. Aline Kominsky-Crumb immediately made her mark in the Bay Area's underground comix scene with unabashedly raw, dirty, unfiltered comics chronicling the thoughts and desires of a woman coming of age in the 1960s.

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