Comic book fans, graphic novel intellectuals, line drawing aficionados, surviving hippies, and other area eccentrics have a marvelous opportunity to see the art of R. Crumb, the so-called father of the underground comic, on glorious display at the Portland Art Museum, a touring show that arrives here under the aegis of Bruce Guenther, PAM's chief curator of modern and contemporary art.
In 2005, Crumb signed a contract with W. W. Norton to illustrate the first five chapters of the Bible. Crumb, a lapsed Catholic, explains in the book's introductory matter that though he is not a believer, he is nevertheless fascinated by spirituality and faith, and proclaims in The R. Crumb Coffee Table Art Book that "I believe in everything ... UFOs, Bigfoot, channeling, ESP ... I believe it all!." As I mention in my review of the The Book of Genesis, there are several other reasons why Crumb may have wanted to tackle the project. One was perhaps the idea of harnessing himself to the restrictions that an adaptation of the Bible would entail. Another motivation might have been to educate readers. The book is also a great technical exercise, and his work may also be a result of his interest in Jewish life. Most of all, though, The Book of Genesis is the end point of a fascination with adaptation that has preoccupied Crumb off and on since the 1980s.
The Museum puts on display all 207 pages of the comic itself, framed under glass and arranged across a series of rooms subdivided with sometimes diagonal hallways that tend to run left to right. Each area is color-coded with strong "comic book" colors, and the patron is first greeted by a black and white stand up cut out of Crumb in his stoop postured and gap-mouthed cartoon persona. From the very first pages, which are not that much bigger than the printed version, the viewer can see the detail and care that Crumb brought to the project. Nary a panel lacks a trace of Liquid Paper, which Crumb used to fix text or rejigger aspects of the frame. Some of the most amazing panels occur in the fiery death of Gomorrah, and one of the most striking panels occurs at the bottom of page 44, Chapter 15, when Abram has a night of sleepless dread. The ghostly faces hovering over Abram's head baffle the viewer wondering how Crumb achieved that effect, which looks much better in person than in the finished book.
A typical comic book page not only has to have well-composed panels within it, but the panels on the page must all work together cohesively and carry the eye. By putting the pages in reverse order, so to speak, the Museum has defeated the two-page spread effect that Crumb labored at, and emphasizes the lines and coordination of single page of panels. For the full effect, the reader is directed to consult the book, where Crumb's seemingly effortless command of layout is in full flower.
In addition to the original pages, much of Crumb's research material is on display beneath transparent boxes. These objects include frame enlargements from de Mille's The 10 Commandments, collected clippings of people, animals, "slaves," and landscapes for reference, and early educational comic book versions of Bible that Crumb drew upon. A display shows a group of images that were the source for Crumb's version of God, including Charleton Heston as Moses from The 10 Commandments. One of the treats of the exhibition is a black and white alternative cover, found in the final room.
Only 60 years ago the vulgarity and violence of comic books was under attack from psychologists and government agents. Today, the work of one of the form's greatest practitioners is on display in a museum as if it were art, which clearly it is. That comics are now published in hard covers is itself a tremendous advance from the poorly printed pulp pages of the past. The marriage of Crumb and the most sacred book in history is a strange meeting of high and low culture in a unique and powerful blend.
Now I wish two things, that someone will buy the film rights, and that will Crumb come to town and talk about the book and his art.
The Bible Illuminated: R. Crumb's Book of Genesis is on display from June 12, 2010 to September 19, 2010, at the Portland Art Museum, 1219 SW Park Avenue, Portland, Oregon 97205, 503.226.2811.
Originally printed in the Vancouver Voice, June 2010.
Comments
You can follow this conversation by subscribing to the comment feed for this post.