Jewish artist: Aline Kominsky-Crumb a free woman

Aline Kominsky-Crumb a free woman

The American comic strip artist Aline Kominsky-Crumb, was born in 1948 in the New York Jewish community. Her parents didn’t like her to dwell on comics “those things you read about in the toilet” and she started painting in oil at the age of 8. But her grandmother introduces her to the shows of Jewish comedians from Brooklyn like Jackie Mason or Joey Bischop. The comic strip will become the synthesis between stage and painting.

Considered “the grandmother of the comic book of effusion. ” She invented what is considered the first autobiographical women’s comic book with “Goldie : A Neurotic Woman”.

She has conceived her own graphic language made of marked strokes that underline her observation of reality in works that are most often autobiographical. These include “Love That Bunch”, “The Complete Dirty Laundry Comics” (in collaboration with her husband Robert Crumb and daughter Sophie) and “Need More Love: A Graphic Memoir” (her masterpiece).

The jewish princess of Long Island has been working nonstop. With Crumb returning to the East Coast, he created strips for the New Yorker and settled for a while in France in the Cévennes. Aline Kominsky then became one of the feminists who love men and arrogated to herself the right to draw male genitals, all in self-denigration in fidelity to Jewish humour:

Jackie Mason, Kafka. This is my tradition. I can’t think of humor any other way. I think it’s very funny. And because it’s hurtful to do it to someone else, I do it to myself,” writes the sometimes villified creator of these radical feminist sisters.
But the daughter “of a failed criminal and a real alligator mother, a monster, but I like her, she’s great” is careful to add: “It’s nice to hate your mother,
 but it has to stop one day“. But that doesn’t prevent him (on the contrary) from living as a free woman alongside Crumb “who’s always been a young old man. Now he’s an old young man,” she says. As for him, the sex in his wife’s drawings is not pornographic but grotesque and in no way erotic.  “I do this because it’s important for all women,” she adds, who never ceases to transform her angry cry into a big visual laugh, but always by representing her hair with particular attention to detail. This is her only self-coquetry…

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