Though the contrast between Kominsky-Crumb’s cruder, looser drawings and Crumb’s more refined, realistic style was an intentional facet of Dirty Laundry and other comics on which the couple collaborated, Kominsky-Crumb would for most of her career endure derision for her work’s perceived ugliness, which only came to be critically appreciated in recent years.įollowing the 1981 birth of their daughter, Sophie, Kominsky-Crumb took the editorial reins of Crumb’s Weirdo anthology from Bagge apart from one issue, she would remain the series’ editor through its 1993 conclusion. Kominsky-Crumb drew her own character, which she renamed “the Bunch,” having deemed Crumb’s Honeybunch “a cute, cuddly little victim, dumb and passive and compliant,” as she once told fellow cartoonist Peter Bagge. Kominisky and Crumb were married in 1978, a few years after the couple began cocreating the comic Dirty Laundry, about their life together. In 1975, she departed Wimmen’s Comix and with fellow former contributor Diane Noomin launched Twisted Sisters, a one-shot comic that came out in 1976 and would eventually spawn an anthology and a limited series featuring work by many Wimmen’s Comix contributors. Kominsky-Crumb would later cast her relationship with Crumb, whose work elicited accusations of racism and misogyny, as one of the reasons she had a falling-out with Wimmen’s Comix cofounder and contributor Trina Robbins another was her own issues with feminism. ![]() The pair began dating and would eventually marry in 1978. Around this time, she was introduced to Robert Crumb, already a giant of underground comics, who frequently drew a character named “Honeybunch Kaminski,” who bore a stunning resemblance to Kominsky herself. In 1972, she fell in with the all-female collective that founded Wimmen’s Comix, and contributed stories to the anthology’s inaugural issues. ![]() Having been introduced to underground comics in Tucson by cartoonists Kim Deitch and Spain Rodriguez, she took up the form with alacrity. The family requests privacy in their time of grief.Following her 1971 graduation from the University of Arizona, where she studied painting, she moved to San Francisco. Kominsky-Crumb’s illness was not widely known, and her passing comes as a shock to many in the world of art and comics. She was also a vivacious public presence, in contrast to her more reserved husband, making their joint appearances often quite amusing. She published a well-received memoir, Need More Love (MQ Publications) in 2007, and has exhibited solo and combined shows at high-end galleries worldwide. In the 1980s, she took over as editor of the influential post-underground magazine Weirdo (founded by Robert, later edited by Peter Bagge), another important antecedent to the literary comics and graphic novels that dominate today’s best seller lists.īy the 2000s, Kominsky-Crumb’s contributions to art and comics were being more broadly recognized. ![]() The contrast between their art, their characters and their sensibilities made for an unnerving reading experience, which was part of the point. Never commercially successful and often critically derided in its time, the vast influence of Kominsky-Crumb’s groundbreaking work in this era can be seen in succeeding waves of autobiographical graphic novels, notably Alison Bechdel’s Fun Home, and in the self-deprecating “hot mess” brand of 21 st century feminist humor of comedians like Lena Dunham and Phoebe Waller-Bridge.Įventually, Aline began collaborating with Robert on a sporadically-published series called Aline and Bob’s Dirty Laundry. Art by Aline Kominsky-Crumb, courtesy of Denis Kitchen/Kitchen Sink Publishing Aline Kominiski-Crumb's Power Pak Comics.
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