![]() Her alter egos’ moods fluctuate, from deep self-loathing to keen self-admiration to an assortment of anxious and unanxious states in between. Kominsky-Crumb’s characters and settings, drawn in an expressive style as willfully intense as the sometimes shocking, often boundary-pushing content of her work, are studies in the contradictions that make up individual inner lives. While Kominsky-Crumb ultimately found her calling in the wildly confessional, wryly self-deprecating, and always entertaining comics that have been collected, in part, in her book Love That Bunch, her fine arts sensibility - and especially her investment in portraiture - is never far outside the picture. Those who have read her stories know that Kominsky-Crumb spent parts of her early life grappling with an artistic interest and ambition that was at times encouraged and at other times stifled by those - family, lovers, handsy male art professors - around her. ![]() ![]() FULL DISCLOSURE: As an adult, I’ve only ever really invested in one piece of non-comics art, a painting (Psychedelic Self-Portrait, 2012) by Aline Kominsky-Crumb, the self-described “grandmother” of autobiographical comics. ![]()
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