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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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Some of Mamdani’s Jewish allies criticize his use of ‘monsters’ to describe AIPAC
(New York Jewish Week) — New York City Mayor Zohran Mamdani on Monday defended his use of the word “monsters” to describe AIPAC at a rally Friday for progressive candidates, as some of his Jewish supporters expressed concern that the term may connote an antisemitic trope.
The war of words came as the American Israel Public Affairs Committee is increasingly a target of the progressive movement — including in acts of attempted violence — and as progressive Jews have accused some Israeli right-wing figures of dehumanizing liberal pro-Israel lobbying groups.
“Calling AIPAC and its backers ‘monsters’ casts them as less than human, rather than as human beings who are one’s political opponents,” Rabbi Jill Jacobs, head of the progressive rabbinic human rights group T’ruah, wrote in a Substack post Monday.
“I was taken aback,” Rabbi Misha Shulman, a Mamdani supporter who leads the progressive Brooklyn synagogue The New Shul, told the Jewish Telegraphic Agency about the mayor’s comments. “I didn’t like those remarks. It was a little bit of a flag for me.”
At a press conference, Mamdani said he had been quoting Italian anti-fascist philosopher Antonio Gramsci, whose quote ending “Now is the time of monsters” the mayor had cited at the top of his speech. The rally was intended to boost the mayor’s preferred progressive candidates, including Jewish congressional candidate Brad Lander, ahead of New York’s closely watched Tuesday primaries.
“I used the term to describe all those who are preventing the birth of a new world,” Mamdani told a reporter who asked about the word. He continued, “My use of the term is a broad use that speaks to the untenable nature of a status quo that is quite literally starving people in this city, all in the name of sustaining something that we simply cannot defend any longer.” He did not explain how he saw AIPAC as connected to poverty in New York.
Mamdani insisted he was referring to “not solely AIPAC,” but he singled out the organization again in his Monday remarks to reporters, saying the lobbying group was backing “a status quo for immorality.”
During the rally last week, Mamdani had stated that Gramsci’s “monsters take many forms today,” including “AIPAC, for whom the only thing more frightening than democracy being allowed to run its course is an end to genocide and [Israeli Prime Minister Benjamin] Netanyahu’s wars.” He added that AIPAC’s “goal” is “to turn us against one another.”
For some of the progressive Jews who have supported the mayor, his comments sounded alarms about the use of dehumanizing or sinister rhetoric to describe Jewish groups.
But Shulman said it was actually Mamdani’s remarks in the same speech painting AIPAC as a “dark money” group that was most alarming to him. AIPAC, a lobbying organization that also operates a political spending arm, does not conceal its donors, unlike the traditional profile of a so-called “dark money” campaign finance operation.
“For me, the question of dark money was the tougher knot,” Shulman said, calling Mamdani’s remarks a “tactical mistake.” In the context of rising antisemitism, he added, “For a left-wing leader to use that phrase, and invite traditional antisemitism into this conversation in that way, was not smart.”
Shulman is a member of Israelis For Peace, a New York-based ad-hoc group of progressive Israelis who broadly back Mamdani. While not speaking on behalf of the group, he told JTA their internal group chat lit up with debates over the appropriateness of Mamdani’s speech.
Jacobs of T’ruah said Mamdani’s remarks were part of what she described as a “disturbing trend” of recent left-wing attacks on the lobbying group, including Maine Democratic U.S. Senate nominee Graham Platner accusing his GOP opponent of being “bought and paid for by Benjamin Netanyahu” because of AIPAC’s donations to her campaign.
Rep. Ro Khanna, a California Democrat who has aspirations of higher office, also recently became the first sitting member of Congress to sign a pledge from Track AIPAC, a purported AIPAC watchdog that also targets donations from more liberal pro-Israel groups, including J Street.
Over the weekend, a cafe posted on Instagram that it had rejected a payment from liberal Jewish New York Rep. Dan Goldman, whom Lander is challenging in the primary, because the money was “probably coming from AIPAC.” (Goldman has been endorsed by both AIPAC and J Street.)
While noting that AIPAC “absolutely deserves to be criticized, sidelined, and rejected for its decades of negative influence on American foreign policy,” Jacobs wrote that such critiques should be done “without dehumanizing language, and without hinting at a grand Jewish conspiracy.”
Such pushback from Jews who have worked with Mamdani is rare. JTA reached out to representatives for several of the mayor’s most visible Jewish allies on Monday, including Lander and Vermont Sen. Bernie Sanders, who spoke at the same rally. Sanders also criticized AIPAC. Neither returned requests for comment by press time. On social media after the rally, Lander celebrated the event, calling it “a tremendous honor” to rally alongside Mamdani.
IfNotNow and Jews For Racial and Economic Justice, two Jewish activist groups that endorsed Mamdani, similarly did not respond to requests for comment by press time. A spokesperson for Rep. Jerry Nadler, the retiring liberal Jewish Democrat who had endorsed Mamdani’s mayoral bid, also did not respond by press time.
J Street, the liberal pro-Israel lobby that positions itself as a foil to AIPAC, declined to comment on Mamdani’s remarks. Last month, hundreds of Jewish leaders criticized Yehuda Leiter, Israel’s ambassador to the United States, after Leiter called J Street a “cancer within the Jewish community.” Nadler was among the signatories of an open letter that said Leiter “dehumanizes fellow Jews.”
Centrist Jewish groups and figures, already no fans of Mamdani, also bashed his AIPAC comments. “Referring to fellow New Yorkers as ‘monsters’ is outrageous and dangerous, and the impact of your words extends far beyond politics,” American Jewish Committee CEO Ted Deutch wrote on X, addressing Mamdani.
Rep. Josh Gottheimer, a Jewish Democrat representing New Jersey, wrote, “Swap ‘AIPAC’ for ‘Jews’ and it’s the oldest antisemitic conspiracy theory in the books.”
Both posts were reposted by AIPAC, which otherwise did not comment.
The post Some of Mamdani’s Jewish allies criticize his use of ‘monsters’ to describe AIPAC appeared first on The Forward.
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U.K. PM Starmer leaves behind mixed record on antisemitism
(JTA) — U.K. Prime Minister Keir Starmer, who resigned the premiership on Monday, leaves behind a mixed record on fighting antisemitism in the Labour Party that Jewish organizations say will help shape their expectations for his successor.
Starmer announced that he was stepping down outside 10 Downing Street in the morning local time. He made the decision in the wake of mounting pressure from Labour members of Parliament and waning political support after the party’s devastating losses in the May 7 local elections and the success of political rival Andy Burnham in Manchester’s parliamentary election last week.
Burnham, the former mayor of Greater Manchester, has emerged as the leading contender after winning a Manchester-area by-election on Friday with 55% of the vote. Burnham has sought to position himself prominently on antisemitism and relations with the Jewish community in his bid to take over from Starmer.
In a post on X, Burnham thanked Starmer for his leadership and said the PM’s decision to resign “marks the beginning of a transition and it is important that this process is conducted in an orderly and responsible way. I will put myself forward as part of this process.”
Starmer confirmed he would remain on as caretaker prime minister until a successor was chosen.
“The question my party is asking now is whether I am best placed to lead us into the next general election,” he said. “I have heard the answer of my parliamentary party to that question, and I accept that answer with good grace.”
The Jewish Labour Movement thanked Starmer in a post on X, noting that two years ago he inherited the party “at its lowest point” from former party leader Jeremy Corbyn, when it was “institutionally antisemitic.” It added, under Starmer, “our party has a clean bill of health on antisemitism.”
However, Starmer’s tenure was still met with plenty of criticism from the Jewish community over his handling of antisemitism, particularly in light of ongoing antisemitic attacks in the country. In recent months alone, four Hatzola ambulances were lit on fire; there were attempted attacks on three synagogues; two Jewish men in the Orthodox neighborhood of Golders Green were stabbed. Dozens of people have been arrested in connection with the incidents.
Starmer entered office in July 2024, leading his country’s thorny relationship with Israel in the aftermath of the Hamas Oct. 7, 2023, attack against the Jewish and the Gaza war that followed. He angered Israel with steps such as recognizing Palestine as a state and promising to uphold the International Court of Justice’s arrest warrant against Prime Minister Benjamin Netanyahu for war crimes.
With Starmer’s upcoming departure, focus has shifted to the contest to replace him, bringing renewed scrutiny to candidates’ positions on antisemitism, relations with the Jewish community, and Israel.
Starmer said he would give his successor his “full and unequivocal support,” adding that nominations would open on July 9 and conclude before the parliamentary summer recess on July 16.
Board of Deputies of British Jews President Phil Roseneberg posted on X, “When he took on the leadership of the Labour Party the first thing @Keir_Starmer said he would do is ‘tear out the poison of antisemitism by its roots’. His subsequent actions were transformative within the Party.”
He praised Starmer’s government for providing “unprecedented security funding,” and introducing legislation to proscribe the IRGC.
Burnham, for his part, has spoken out against antisemitism in the wake of violence attacks. Following the October 2025 Yom Kippur attack at the Heaton Park Congregation synagogue in Manchester, in which two people were killed, Burnham said in an official release, “Tonight, our first thoughts are with the families of those who have died, those injured and those traumatised by this – a horrific antisemitic attack on our Jewish friends and neighbours. We condemn it outright.”
He also wrote in a post on X on the same day, “Today we have witnessed a vile attack on our Jewish community on its holiest day. We condemn whoever is responsible and will do everything within our power to keep people safe.”
His positions on Israel and Gaza have also come under scrutiny. In a June 4 interview with The Guardian, Burnham did not invoke the term “genocide” in relation to the war in Gaza, but did say, “I can’t judge things of that enormity from where I am as mayor of Greater Manchester.”
He added, “But I do have concerns about the disproportionate nature of what has happened in terms of the destruction, and there has to be a full process of investigation and accountability.”
Additionally, 10 days after the Oct. 7 attacks, Burnham called for a ceasefire in a joint statement with 10 Greater Manchester leaders. The statement read in part, “We condemn unreservedly the appalling terror attacks on innocent civilians in Israel by Hamas on 7th October.”
The statement also noted that Israel has the right to take “targeted action within international law” to defend itself and to rescue its hostages, but added, “We also have profound concerns about the loss of thousands of innocent lives in Gaza, the displacement of many more and widespread suffering through the ongoing blockade of essential goods and services.”
Referencing his expected leadership bid, Culture Secretary Lisa Nandy told the Jewish News on June 17 that Burnham had a few weeks earlier met with Jewish communal leaders in Greater Manchester.
When it comes to Israel, Nandy said Burnham “believes in justice, so he’s acutely aware of the need for a safe homeland for Jewish people, you know, and the particularly unique historical reasons why Israel came into existence.”
The post U.K. PM Starmer leaves behind mixed record on antisemitism appeared first on The Forward.
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NY cafe deactivates account after backlash over treatment of Rep. Goldman
(New York Jewish Week) — A Brooklyn café posted on Instagram that it refunded a purchase made by Rep. Dan Goldman, saying that it doesn’t serve “genocide enablers.”
“Do you see how it doesn’t taste like genocide juice?” the post by Poetica Coffee read. “Or are you still having a hard time telling the difference?”
In the post, the coffee shop included a photo of Goldman at the Lorimer Street location of their five Brooklyn spots. “Too bad we didn’t recognize you right away or we would have turned you away,” the post said.
The caption on the post said Goldman’s money is “probably coming from AIPAC anyways” and told Goldman never to come back. The post was accompanied by the song “F— You” by British singer-songwriter Lily Allen.
Jewish community leaders immediately condemned the post, which was deleted when Poetica Coffee deactivated its account Monday.
“Assigning collective blame to Jews or perceived supporters of Israel over disagreements with Middle East policies is the very definition of antisemitism,” Mark Treyger, CEO of the Jewish Community Relations Council of New York, said in a statement. “It is shameful and hateful, and businesses open to the public do not get to discriminate based on religion, ancestry, ethnicity, or stereotypes.”
According to its website, Poetica Coffee is “rooted in the Uzbek tradition where the guest is sacred, the books are unbanned, and the door is open to everyone.”
Goldman, who describes himself as “unabashedly pro-Israel,” is running for reelection in a contentious election Tuesday against former New York City Comptroller Brad Lander, an Israel critic who also identifies as a “liberal Zionist.” Lander’s campaign did not respond to request for comment from the Jewish Telegraphic Agency.
“I am sorry to see this post,” Goldman said in a statement earlier Monday. “The barista could not have been nicer to my 7-year-old daughter and me — allowing her to use the bathroom even though we had not purchased anything. I made sure to buy a coffee in return for her kindness. I hope you at least make sure she gets the tip that she deserved.”
Before deactivating its account, Poetica Coffee said it had been the recipient of multiple death threats, including at least one with Islamophobic rhetoric.
Goldman was refunded $9.82, according to now-deleted screenshots from Poetica’s post.
The post NY cafe deactivates account after backlash over treatment of Rep. Goldman appeared first on The Forward.
