Instrumental in the formation of the underground comics scene in the 1960s and 1970s, 

(b. 1943) has helped challenge and expand the boundaries of the graphic arts and redefined comics and cartoons as countercultural art forms. Widely circulated, often celebrated, Crumb’s published imagery, such as his comic strips 

, offers a mordant satirical critique of modern society, directly addressing political disillusionment, the never-ending battles between "squares" and bohemians, racial and gender stereotypes, sexual fantasies and fetishes, and the absurdities of social convention and conformity—themes the artist also often explores through disturbing but hilariously abject self-caricature that dramatizes incidents in his own life and surroundings.

Born in Philadelphia, R. Crumb moved to the dynamic Haight-Ashbury neighborhood of San Francisco in 1967, and relocated in 1991 to the south of France, where he currently lives and works. Crumb joined David Zwirner in 2006. In 2016, 

 marked Crumb’s first solo presentation at David Zwirner, London. In 2017, David Zwirner, New York, featured an exhibition of the collaborative work of Aline Kominsky-Crumb and R. Crumb. 

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

, was presented at the gallery’s New York location in 2019. At David Zwirner, Paris, the exhibition 

R. Crumb, Aline Kominsky-Crumb, and Sophie Crumb: Sauve qui peut ! (Run for Your Life)

The artist’s 2010 show at David Zwirner, New York, 

The Bible Illuminated: R. Crumb’s Book of Genesis

, presented 207 individual black-and-white drawings from his now landmark 

The Book of Genesis Illustrated by R. Crumb

. Published by W.W. Norton in October 2009, the book chronicles all fifty chapters of Genesis in a tapestry of detail and storytelling, rendered frame by frame in meticulous comic-book fashion. The momentous project received instant critical acclaim, topping many bestseller lists, including #1 on 

 list. Over 200,000 copies have been printed worldwide, and translation rights have been sold to fifteen countries, with published translations currently in circulation in French, German, and Italian. The exhibition was previously on view at the Hammer Museum, Los Angeles, in 2009, before traveling to the Portland Art Museum, Oregon; Columbus Museum of Art, Ohio; Bowdoin College Museum of Art, Brunswick, Maine; and San Jose Museum of Art, California. In 2013, it was presented as part of the 55th Venice Biennale, curated by Massimiliano Gioni.

Solo exhibitions of Crumb’s work were recently presented at the Contemporary Art Galleries, University of Connecticut, Mansfield (2020), and at the Museum of Contemporary Art Santa Barbara, California (2018). In 2016, the Cartoonmuseum Basel organized 

Aline Kominsky-Crumb & Robert Crumb: Drawn Together

, the first comprehensive museum presentation of the artists’ joint work. A retrospective of Crumb’s work was held in 2012 at the Musée d’Art Moderne de la Ville de Paris. In 2011, his work was the subject of a solo exhibition at the Museum of American Illustration at the Society of Illustrators, New York. A major solo show devoted to Crumb’s work was organized by the Yerba Buena Center for the Arts, San Francisco, in 2007, and traveled from 2008 to 2009 to the Frye Art Museum, Seattle; Institute of Contemporary Art, Philadelphia; Massachusetts College of Art and Design, Boston; and the Grand Central Art Center, Santa Ana, California. Other solo exhibitions of the artist’s work have been organized by the Whitechapel Gallery, London, a show that traveled to the Museum Boijmans Van Beuningen, Rotterdam (both 2005); and Museum Ludwig, Cologne (2004). Terry Zwigoff’s documentary 

 was named the best film of 1994 by the late critic Gene Siskel and won the Grand Jury Prize at the Sundance Film Festival in 1995.

Work by the artist is represented in major museum collections worldwide, including the Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Lucas Museum of Narrative Art, Los Angeles; Musée régional d'art contemporain Occitanie, Sérignan, France; Museum Ludwig, Cologne; and The Museum of Modern Art, New York.

Featuring R. Crumb’s most outrageous sexual comics, Bible of Filth is possibly the dirtiest book around.

One of America’s most celebrated cartoonists, Crumb helped define cartoon and punk subcultures of the 1960s and 1970s with comic strips like 

. The open sexuality of his work, paired with frequent self-deprecation and a free, almost stream-of-consciousness style, has made Crumb into a global voice and a renowned contemporary artist.

Originally published in France in 1986 by Futuropolis, the first edition of 

 was never distributed in the United States because of its graphic sexual content, which included some of Crumb’s most explicit comics from underground magazines such as 

. This revised and expanded English edition, published by David Zwirner Books, contains all the original pieces from the 1986 volume, with over one hundred pages of additional material. Organized chronologically, there are comics from 1968 to 1986 that were omitted from the first edition and an entirely new selection of work from after 1986.

Printed on bible paper and bound in leather, with gold debossing and edging, this volume looks and feels like a traditional bible, with no outward suggestion of what it contains. This revised and expanded 

 is the perfect introduction for newcomers, while retaining its status as an important collector’s item for Crumb enthusiasts around the world.

R. Crumb: Bible of Filth

R. Crumb: Bible of Filth | Books

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.