Through April 21 at David Zwirner Gallery, a life-spanning exhibition: The drawings of R. Crumb.

I’ve been fascinated with Robert Crumb’s illustrations and the off-center mind that created them for decades. I discovered Crumb’s work when I was about 16 years old.

In a barber shop in Wichita, Kansas waiting for a cut, I started looking through a “gent’s magazine” called Cavalier. (In those days, barber shop reading options were few and well worn: Popular Mechanics, Look, Boxing Illustrated, GUNsport, Sports Afield, Life, Parade, Man-to-Man—you get the idea—it was slim pickin’s for a gay teen living in the mid-west.)

Flipping through Cavalier, I was first stunned and then wooed by Crumb’s cartoon strip, Fritz the Cat.

For a cartoon cat, Fritz was wildly suggestive, a little nasty, and I felt wonderfully sleazy reading the captions.

Over the years, Crumb’s cast of rubes and corpulent yokels has made me uneasy—even as I laughed at them.

Enter the David Zwirner Gallery in New York and their current exhibition.

Drawing for Print: Mind Fucks, Kultur Klashes,
Pulp Fiction & Pulp Fact by the Illustrious R. Crumb

Running now through April 13, 2019.

From their press release:

“David Zwirner is pleased to present an exhibition organized by Robert Storr that examines the mind and career of R. Crumb. The  exhibition will feature a wide array of printed matter culled from the artist’s archive: tear sheets of drawings  and comics, taken directly from the publications where the works first appeared, as well as related ephemera. These often fragile works on paper will be installed across the walls of the gallery’s 519 West 19th Street space in New York. Further illuminating Crumb’s practice, the show will also feature a selection of rare sketchbooks and original drawings by the artist.” [Read the entire release.]

There’s a nice visual overview of the exhibit on David Zwirner’s website. Now then, back to some Crumb fun with MEATBALL.

Whatever you do, keep on truckin’…













By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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