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Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74
(JTA) — Robert Crumb put the “x” in comix by setting to paper his basest sexual longings, including strong-legged Jewish women who were cowgirls and who went by the name Honeybunch Kaminski.
So when an actual strong-legged Jewish cowgirl named Aline Kominsky walked into his life, it was love at first sight, and never wavered.
Aline Kominsky-Crumb, who died Wednesday at 74 in France of pancreatic cancer, was late to the revolution her husband launched in comics a few years before they met, with his Zap Comix. The “x” was a signifier of what was then known as “underground” comics and referred to the unfiltered treatment of humanity that censorious publishers, politicians and public figures had all but washed out of the art.
She soon fully embraced the art form and then helped transform it.
Working with her husband and then on her own, Kominsky-Crumb brought to comics raw self-lacerating accountability and subverted crude stereotypes about Jewish women — including those peddled by her husband — by taking possession of them.
She started out as a self-acknowledged sex object reviled by second-wave feminists and became a hero of younger feminists for modeling unfettered sexual expression. She was the brassy Jewish stereotype who became the muse who guided her husband to a deeper consideration of Judaism.
Kominsky-Crumb, born Aline Ricky Goldsmith in 1948 in the Five Towns, a Jewish enclave on Long Island, had a Jewish upbringing that was in many ways conventional, horrifying and both at the same time. She wrote about the warmth of her grandparents’ home and how she sought in it succor and about the pressures her materialistic parents placed on her. She said she was named for a Five Towns clothing store, Aline Ricky, that sold French fashion knockoffs. She resisted her mother’s pressure to get a nose job.
In one autobiographical comic, she recalls seeing one Jewish girl after another coming into school after plastic surgery. “Me ‘n’ my friends developed a ‘big nose pride,’” she writes, and one of the characters says, “I could not stand to look like a carbon copy!”
She told fellow Jewish cartoonist Sarah Lightman about the ordeal. “Like, I kept my nose, but it was really a close call, because my mother had me in Doctor Diamond’s office and he measured my nose. I remember that. They took an instrument and measured your nose. And then he took a piece of paper and he said,’ look, we can make it look like this.’ And I said, ‘Oh my God.’ My mother said, ‘Oh, it’s gorgeous, gorgeous.’”
In her teens, Kominsky-Crumb fled the suburbs for Manhattan. She studied at Cooper Union, an art school, and lived on the Lower East Side, earning plaudits from her instructors for her painting, but getting bored. She had a baby and gave it up for adoption to a Jewish agency, an experience that scarred her, and later led her to become outspoken in advocating for abortion rights.
After she married Carl Kominsky, they moved to Tucson, Arizona, which she called “hippie heaven.” There, she left her husband for a cowboy who lived with two brothers and his father in what she said was “the middle of nowhere” where she helped out on horseback, albeit under the influence of hallucinogens. (She said her beau was killed in a shootout with a romantic rival after she left.)
In Tucson, she met two pioneers of underground comics, Kim Deitch and Spain Rodriguez. They encouraged her to move to San Francisco, which was the scene of the burgeoning movement.
She did and met Crumb at a party in 1971, within three years of his having created “Honeybunch Kaminski, the drug-crazed runaway” (1968) and “Dale Steinberger, the Jewish Cowgirl.” Kominsky-Crumb, who had kept her first husband’s last name because it sounded more “ethnic” than Goldsmith, was so taken with the her husband’s lustful Jewish imaginings, and how closely she physically resembled them, that when she started creating her own, she named her avatar “Bunch,” a shortened version of the character whose name most closely matched her own.
It was kismet, except it wasn’t at first. Crumb and Kominsky-Crumb got together, but maintained open relationships. Crumb endured Kominsky-Crumb’s dalliances with other men for decades, but Kominsky-Crumb was not as able (or willing) to reciprocate. When one of Crumb’s exes arrived at their commune in Mendocino, she told The Comics Journal in 1990, she was furious. “I had a total s— fit,” she said, “I was wearing these giant platform shoes. I ran out the door and I fell and broke my foot in six places.”
Crumb sent the ex on her way and entertained the recovering Kominsky with a pastime he and his brother worked out as children: They would co-create a comic.
That process drew the couple closer, and also became a decades-long unflinching chronicle of a relationship. A culmination, “Drawn Together,” was critically acclaimed when it came out in 2012.
In one passage in the 2012 book, she gently chides her husband for resorting to antisemitic tropes — although it was tropes about loud, slightly unhinged, sexually voracious Jewish women that drew them together.
One page depicts the couple in bed. Crumb is stung by an accusation of antisemitism from Art Spiegelman. (Spiegelman joined with Crumb to launch the underground comics scene in the 1960s, but they grew apart as Spiegelman, who would author the Holocaust chronicle “Maus,” sought to attach an overarching philosophy to the genre, while Crumb continued to crave crude authenticity.)
Crumb says that Spiegelman “seems to be taking my ruminations about the Jews as antisemitism … I certainly didn’t mean it as such.” Kominsky-Crumb draws herself into the panel, listening to her husband, as a little girl wearing tefillin, a T-shirt with “kosher” in Hebrew and a Star of David pendant. In the next panel, once again appearing as a grown woman in a negligee, she makes clear to Crumb why she feels vulnerable as a Jew in the marriage.
“Dahling, you do call the Jewish religion ‘Brand X’,” she says.. “Now I might even think that’s true in some ways … and I’m one o’ them … I’m allowed to say that!”
Crumb draws himself as wounded but also awakened. “Oh, I see … ulp.” Crumb dedicated his masterwork, “The Book of Genesis,” a searing illustrated narrative of the Bible’s first book, to Aline.
The Crumbs’ collaborative work was celebrated among aficionados, but it wasn’t until 1994’s “Crumb,” a documentary directed by Crumb’s close Jewish friend, Terry Zwigoff, that she emerged into the broader culture. A vibrant, peripatetic Kominsky-Crumb cares for their daughter, Sophie, and revels in their life in a small French village, where they had moved a few years earlier, while Crumb continues to hold back, playing the wounded, misunderstood artist.
It was an arrival of sorts for Kominsky-Crumb. She had for a time been marginalized even on the underground scene, her deceptively simple art derided as sloppy. She helped found the Wimmen’s Comix collective in 1972, and wrote about her Jewish upbringing in the first issue, a piece entitled “Goldie: A Neurotic Woman.” But she was soon frozen out because some of her colleagues thought her musings about longing to be dominated (and her tendency to dress that way to please Crumb) were denigrating to women. “The Yoko Ono of Comics,” is how the New York Times described her early years.
She left the collective and joined another Jewish woman artist, Diane Noomin, in launching “Twisted Sisters” in 1976. Its cover depicts hers seated on a toilet wondering “How many calories in a cheese enchilada.” The message to her erstwhile colleagues, who depicted women heroically, was clear: Kominsky-Crumb would indulge her full unvarnished self.
It would take decades, but a later generation of feminists would come to understand her autobiographical “Bunch” not as a self-loathing caricature but as a means of understanding ones whole self. In 2020, Lightman launched an interview with Kominsky-Crumb by reviewing a 1975 cartoon, “Bunch plays with herself” that shocked even the underground scene at the time with its graphic depictions of a woman exploring every corner of her body.
“I didn’t do it to be disgusting but it’s, like, about every horrible and fun thing you can do with your body,” Kominsky-Crumb told Lightman. “I think it’s an amazing piece of feminist art,” Lightman said in the interview, “because women are drawn to be gazed at, and [here we see] their bodily juices, and everything. … The last panel is the best. ‘My body is an endless source of entertainment’.”
In 2007, she and Crumb created a cover for the Jewish counterculture magazine Heeb, where she is cradling him in her arms. “”I feel so safe in the arms of this powerful Jewish woman!” Crumb says.
By 2018, she was scrolling through her phone to show a New York Times reporter pictures of Crumb cavorting with the grandkids. (Daughter Sophie in adulthood also is a comics artist.) The photos then transition to photos of women’s behinds, taken in Miami.
“I’m enabling his big butt fixation,” she said. “Well I don’t have a big butt anymore so I have to offer him something.”
“It was her energy that transformed the American Crumb family into a Southern French one, with her daughter Sophie living, marrying and having three French children there,” the official Crumb website said in announcing her death. “She will be dearly missed within that family, by the international cartooning community, but especially by Robert, who shared the last 50 years of his life with her.”
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Popular Right-Wing YouTuber Under Fire After Supporting Probe to ‘Expose’ Jewish ‘Invasion’ of New Jersey
Nick Shirley speaks during a roundtable on antifa, an anti-fascist movement US President Donald Trump designated a domestic “terrorist organization” via executive order on Sept. 22, at the White House in Washington, DC, US, Oct. 8, 2025. Photo: REUTERS/Evelyn Hockstein
American social media personality Nick Shirley, a 23-year-old YouTuber known for his controversial investigative videos, has drawn scrutiny after endorsing a “documentary” about a supposed “Jewish invasion.”
Shirley reposted a message from fellow content creator Tyler Oliveira promoting a 73-minute video claiming to expose a “Jewish invasion” of New Jersey. Oliveira also included a graphic appearing to show Orthodox Jews causing destruction and threatening non-Jews.
In his repost on the X social media platform, Shirley wrote “EXPOSE IT ALL,” a phrase that drew attention over his apparent call to target New Jersey’s Jewish community.
EXPOSE IT ALL
— Nick shirley (@nickshirleyy) February 25, 2026
The endorsement came one day after Shirley attend the 2026 State of the Union address as the guest of Republican US Rep. Pete Stauber of Minnesota.
The “documentary” itself focuses on a narrative about Orthodox Jewish communities in New Jersey, including local disputes over welfare and land use. In the film, Oliviera depicts the state’s Jewish community as exploiting the legal system to divert funding from public schools to private Jewish schools and using political leverage to exploit the local non-Jewish community.
Oliveria has an extensive video library in which he posts lengthy documentaries characterizing the presence of local minority communities as “invasions.” In January, he posted a 22-minute video detailing the supposed “invasion” of Indian immigrants into Canada.
Shirley, a popular right-wing political commentator and self-described investigative journalist, first gained widespread attention in late 2025 after posting a video alleging widespread fraud at Somali-run childcare centers and similar facilities in Minnesota. The video, which received millions of views on social media, led to national debate and political action including the temporary suspension of certain federal funding.
Upon the release of the investigation, Shirley’s national profile surged dramatically. His video was shared by Elon Musk and US Vice President JD Vance.
“This dude has done far more useful journalism than any of the winners of the 2024 @pulitzercenter prizes,” Vance wrote on X while sharing the video.
Despite the video’s viral success, independent factchecking and state agency records later showed that elements of Shirley’s Minnesota report were either incorrect or lacked sufficient evidence for the claims he made. At least two of the Minnesota facilities featured in his video had been closed for some time, and state officials have not confirmed the specific fraud allegations presented in the video.
Unlike the video focused on Minnesota, the video featuring Jewish families did not uncover any systemic pattern of fraudulent activity, raising questions over the motive of the purported investigation.
Shirley’s call to “expose” the Jewish community of New Jersey comes at a time when, according to recent polling, young Republicans have increasingly embraced antisemitism and conspiracy theories.
Earlier this month, for example, a new survey by Irwin Mansdorf, a fellow at the Jerusalem Center for Security and Foreign Affairs, and Charles Jacobs, president of the Jewish Leadership Project, found that 45 percent of Republicans under the age of 44 said Jews pose a threat to the “American way of life.”
In December, the Manhattan Institute, a prominent US-based think tank, released a major poll showing that younger Republican voters are much less supportive of Israel and more likely to express antisemitic views than their older cohorts.
According to the data, 25 percent of Republicans under 50 openly express antisemitic views as opposed to just 4 percent over the age of 50.
Startlingly, a substantial amount, 37 percent, of GOP voters indicate belief in Holocaust denialism. These figures are more pronounced among young men under 50, with a majority, 54 percent, agreeing that the Holocaust “was greatly exaggerated or did not happen as historians describe.” Among men over 50, 41 percent agree with the sentiment.
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Jewish Advocacy Groups Sue California Over K-12 Antisemitism
Students from Encinal High School and St. Joseph Notre Dame High School in Alameda, California, participating in anti-Israel demonstration on Jan 26. 2024: Photo: Michael Ho Wai Lee / SOPA Images via Reuters Connect
A coalition of leading Jewish advocacy organizations is suing the state of California for allegedly failing to address “systemic” antisemitic discrimination in K-12 public schools.
Led by the Louis D. Brandeis Center for Human Rights Under Law and StandWithUs, the legal action stems from consecutive years of antisemitic abused perpetrated against Jewish students, parents, and teachers by anti-Zionists at every level of the school system. Court documents shared with The Algemeiner earlier this week revealed new, harrowing accusations of Jews being called “k—kes,” Jewish students being threatened with gang assaults, and K-12 students chanting “F—k the Jews” during anti-Israel demonstrations promoted by faculty.
In one highly disturbing incident described in the legal complaint, fifth graders from the Oakland Unified School District were filmed by the teacher saying “Another major thing that I’ve learned is that the Jews, the people who took over, basically just stole the Palestinians’ land” and “one thing that’s really surprising to me, and that appeals to me is that the US is helping the Jews.” In another incident, the Oakland Education Association confected a curriculum in which the intifada — two prolonged periods of terrorism in which Palestinians murdered Israeli civilians — was taught to third graders as a nursery rhyme.
“The California education system is teaching the state’s children that Jewish Americans and Israelis are racists, white supremacists, oppressors, and baby-killers who should be shunned,” Brandeis Center chairman and former US assistant secretary of education for civil rights Kenneth Marcus said in a statement on Thursday. “The result is not surprising: Jewish children and children perceived as Jewish are bullied and excluded by their peers and harassed by their teachers, who silence, mock, and even segregate them if they speak out. School officials have done little or nothing at all to help these children.”
Litigation related to antisemitic incidents in California K-12 schools surged following Hamas’s Oct. 7, 2023, massacre across southern Israel, which triggered a barrage of antisemitic hate crimes throughout the US and the world. The list of outrages includes a student group chanting “Kill the Jews” during an anti-Israel protest and partisan activists smuggling far-left, anti-Zionist content into classrooms without clearing the content with parents and other stakeholders.
Elsewhere in California, K-12 antisemitism has caused severe psychological trauma to Jewish students as young as eight years old and fostered a hostile learning environment, according to complaints
In the Berkeley United School District (BUSD), teachers have allegedly used their classrooms to promote antisemitic stereotypes about Israel, weaponizing disciplines such as art and history to convince unsuspecting minors that Israel is a “settler-colonial” apartheid state committing a genocide of Palestinians. While this took place, high level BUSD officials were accused of ignoring complaints about discrimination and tacitly approving hateful conduct even as it spread throughout the student body.
At Berkeley High School, for example, a history teacher forced students to explain why Israel is an apartheid state and screened an anti-Zionist documentary, according to a lawsuit filed last year by the Brandeis Center and the Anti-Defamation League (ADL). The teacher allegedly squelched dissent, telling a Jewish student who raised concerns about the content of her lessons that only anti-Zionist narratives matter in her classroom and that any other which argues that Israel isn’t an apartheid state is “laughable.” Elsewhere in the school, an art teacher, whose name is redacted from the complaint for matters of privacy, displayed anti-Israel artworks in his classroom, one of which showed a fist punching through a Star of David.
In September 2023, the Brandeis Center, along with the ADL and the American Jewish Committee (AJC), sued the Santa Clara Unified School District (SCUSD) in California for concealing from the public its adoption of ethnic studies curricula containing antisemitic and anti-Zionist themes. Then last February, the school district paused implementation of the program to settle the lawsuit. One month later, the Brandeis Center, StandWithUs, and the ADL filed a civil rights complaint accusing the Etiwanda School District in San Bernardino County, California, of doing nothing after a 12-year-old Jewish girl was assaulted, having been beaten with stick, on school grounds and teased with jokes about Adolf Hitler.
“Jews consistently are being targeted with hostility because of who they are, including in California and particularly in K-12 public schools. This lawsuit seeks to remedy that,” StandWithUs chief executive officer Roz Rothstein said in Thursday’s press release. “It is imperative that California K-12 schools not be co-opted by those seeking to indoctrinate students into antisemitic hate. However, Jewish students and parents indicate that this is precisely what is happening in California. Shockingly, those tasked with enforcing non-discrimination laws in our schools have failed to intervene effectively to put a stop to this growing problem.”
She added, “This lawsuit was necessitated by that systemic failure and seeks to ensure, going forward, that California’s Jewish students are protected and have access to an education free from discrimination.”
Follow Dion J. Pierre @DionJPierre.
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Jewish Olympic Gold Medalist Jack Hughes Honored by New Jersey Devils as NHL Season Resumes
Jan 23, 2026; Vancouver, British Columbia, CAN; New Jersey Devils forward Jack Hughes (86) handles the puck against the Vancouver Canucks in the first period at Rogers Arena. Mandatory Photo: Bob Frid-Imagn Images via Reuters
Jewish Olympic hockey player Jack Hughes was honored by his team the New Jersey Devils on Wednesday night before their loss to the Buffalo Sabres in Newark.
Ahead of the game, the Devils showed on the Jumbotron a video of Hughes, 24, scoring the overtime goal that secured the United States its 2-1 victory and gold medal over Canada on Sunday in the 2026 Milan Cortina Olympics. Hughes lost a few teeth during the game when he took a high stick to the mouth from Canada’s Sam Bennett during the third period. The win marked the first time a US men’s hockey team had won gold at the Olympics since a 1980 victory against the former Soviet Union.
“I’m so proud and so happy that the men’s and women’s USA hockey teams brought gold medals back to America,” Hughes told the crowd in a pre-game speech on Wednesday given from the ice, while he held back tears. “And I’m so proud to represent the New Jersey Devils organization and to represent the great state of New Jersey. From the bottom of my heart, all of my [Team] USA teammates, we want to thank you for all the love and support. We feel it. Thank you.”
The Devils center — whose mother is Jewish while his father is Catholic — arrived in New Jersey late Tuesday night after US President Donald Trump recognized him and his Olympic teammates in the State of the Union address. Hughes played Wednesday night as Buffalo won for the seventh time in 10 games, 2-1, on goals from US Olympian Tage Thompson and Peyton Krebs. The NHL restarted its season on Wednesday after taking a break due to the Olympic Games in Milan.
On Thursday, before the New Jersey Devils took on the Pittsburgh Penguins at PPG Paints Arena, Hughes received a standing ovation as the Penguins honored athletes who represented their countries at the 2026 Winter Olympics.
Earlier in the week, the popular Hobby’s Delicatessen & Restaurant located blocks away from Newark’s Prudential Center, which is home to the New Jersey Devils, named a sandwich after Hughes. The owners said “Jack’s Golden Goal Sandwich,” which features roast beef and “golden sauteed onions” on a soft roll, is “so tender, you don’t need teeth.”
Trump announced during Tuesday night’s State of the Union that Connor Hellebuyck, the goaltender for the US men’s Olympic hockey team that won gold, will be awarded the Presidential Medal of Freedom. Hellebuyck made 41 saves in the Olympic game against Canada on Sunday and also assisted on the overtime goal by Hughes that led to the team’s gold medal win.