by Comics, Feminist
[Feminism Comics] Archive of six underground and independent feminist comics spanning the 1970s and early 1980s, a critical period for feminist publishing and alternative comics. These works, produced by pioneering women cartoonists, challenged the male-dominated underground comix scene by addressing issues such as reproductive rights, sex work, body autonomy, and gender politics. Many were self-published or distributed by alternative presses such as Last Gasp and Kitchen Sink, reflecting the grassroots nature of second-wave feminist activism.
[1] Lyons, Lisa et al. It Ain't Me, Babe. Berkeley, CA: Last Gasp, 1970. "It Ain't Me, Babe" is credited as the first comic book published entirely by women. The book includes nine distinct comics with individual illustration styles created by different female creators. Vibrant cover art features several famous female cartoon characters including Wonder Woman, Olive Oyl, and Little Lulu among others.
[2] Fountain, Lora. Facts o’ Life Funnies. San Francisco: Rip Off Press, 1972. An educational yet subversive underground comic addressing issues of birth control, sexual health, and bodily autonomy. A product of the era’s sex education and feminist health movements, it uses humor and bold visuals to challenge taboos surrounding reproductive health.
[3] Robbins, Trina. Girl Fight Comics. Berkeley, CA: Print Mint, 1972. A feminist reworking of traditional action comics, this issue incorporates a critique of hyper-masculine narratives, replacing them with women-centered adventure and rebellion. Robbins, a key figure in feminist comix, uses her signature clean-line style to subvert the male gaze while presenting powerful, independent female protagonists.
[4] Steinberg, Flo, ed. Big Apple Comix. New York: Big Apple Productions, 1975. Created by former Marvel secretary Flo Steinberg, Big Apple Comix was an influential bridge between underground and mainstream comics. Featuring contributions from notable mainstream and underground artists, it captures gritty, satirical portrayals of New York City life, with a particular focus on gendered experiences in urban spaces.
[5] Robbins, Trina. Scarlett Pilgrim. Berkeley, CA: Last Gasp, 1977. Inspired by Margo St. James, founder of COYOTE, a sex worker advocacy organization, Scarlett Pilgrim satirizes society’s treatment of women’s labor and sexuality. Robbins challenges stereotypes about sex work while showcasing her signature clear-line style, making this comic a landmark of feminist underground comics.
[4] Kominsky-Crumb, Aline. The Bunch’s Power Pak Comics No. 2. Princeton, WI: Kitchen Sink Comics, 1981. A deeply personal and semi-autobiographical comic from Aline Kominsky-Crumb, one of the first women to publish in the underground comix movement. Power Pak is a raw and often humorous look at family dysfunction, gender expectations, and self-image. Kominsky-Crumb’s expressive, deliberately rough style broke conventions of traditional comic art, paving the way for later feminist autobiographical comics.
Overall very good condition. An archive showcasing the rise of feminist voices in underground and alternative comics, reflecting the broader cultural and political shifts of the 1970s feminist movement. (Inventory #: 21450)
[1] Lyons, Lisa et al. It Ain't Me, Babe. Berkeley, CA: Last Gasp, 1970. "It Ain't Me, Babe" is credited as the first comic book published entirely by women. The book includes nine distinct comics with individual illustration styles created by different female creators. Vibrant cover art features several famous female cartoon characters including Wonder Woman, Olive Oyl, and Little Lulu among others.
[2] Fountain, Lora. Facts o’ Life Funnies. San Francisco: Rip Off Press, 1972. An educational yet subversive underground comic addressing issues of birth control, sexual health, and bodily autonomy. A product of the era’s sex education and feminist health movements, it uses humor and bold visuals to challenge taboos surrounding reproductive health.
[3] Robbins, Trina. Girl Fight Comics. Berkeley, CA: Print Mint, 1972. A feminist reworking of traditional action comics, this issue incorporates a critique of hyper-masculine narratives, replacing them with women-centered adventure and rebellion. Robbins, a key figure in feminist comix, uses her signature clean-line style to subvert the male gaze while presenting powerful, independent female protagonists.
[4] Steinberg, Flo, ed. Big Apple Comix. New York: Big Apple Productions, 1975. Created by former Marvel secretary Flo Steinberg, Big Apple Comix was an influential bridge between underground and mainstream comics. Featuring contributions from notable mainstream and underground artists, it captures gritty, satirical portrayals of New York City life, with a particular focus on gendered experiences in urban spaces.
[5] Robbins, Trina. Scarlett Pilgrim. Berkeley, CA: Last Gasp, 1977. Inspired by Margo St. James, founder of COYOTE, a sex worker advocacy organization, Scarlett Pilgrim satirizes society’s treatment of women’s labor and sexuality. Robbins challenges stereotypes about sex work while showcasing her signature clear-line style, making this comic a landmark of feminist underground comics.
[4] Kominsky-Crumb, Aline. The Bunch’s Power Pak Comics No. 2. Princeton, WI: Kitchen Sink Comics, 1981. A deeply personal and semi-autobiographical comic from Aline Kominsky-Crumb, one of the first women to publish in the underground comix movement. Power Pak is a raw and often humorous look at family dysfunction, gender expectations, and self-image. Kominsky-Crumb’s expressive, deliberately rough style broke conventions of traditional comic art, paving the way for later feminist autobiographical comics.
Overall very good condition. An archive showcasing the rise of feminist voices in underground and alternative comics, reflecting the broader cultural and political shifts of the 1970s feminist movement. (Inventory #: 21450)
(818) 224-4555
