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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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Congress removes deadline for Holocaust-looted art claims, setting stage for more restitution battles
(JTA) — A new U.S. law removing a deadline for laying claim to art looted during the Holocaust has gone into effect after President Donald Trump signed it on Monday.
The 2025 Holocaust Expropriated Art Recovery Act, or HEAR Act, expands on a 2016 law, signed by President Barack Obama, that permits victims and descendants of victims of the Holocaust to lay legal claim to works of art looted by the Nazis or sold to the Nazis under false pretenses.
That law included a controversial “sunset clause” that required all claims of artwork looted by the Nazis to be filed by the end of this year. That clause has been removed, and the revised act permits families to file a lawsuit within six years of the discovery of looted artwork.
The law also further protects those seeking to retrieve their family’s looted property by preventing the current holders from using certain legal tactics unrelated to the subject matter — such as requesting to switch courts — during proceedings.
“For years, the sunset clause cast a shadow over every survivor and family whose stolen art is still missing,” Joel Greenberg, president of Art Ashes, a nonprofit that helps families recover their looted art, said in a statement to the Jewish Telegraphic Agency. “Now they can seek due process without the pressure of time and deadlines.”
Hundreds of thousands of pieces of fine art were looted from their Jewish owners by the Nazis, often by forced sales in the early years of the Nazi regime. Efforts to reunite the works with their owners or their descendants have been guided by an array of laws governed by an international compact including nearly two dozen countries. Restitution claims frequently ignite extensive legal battles.
The family of the cabaret artist Fritz Grünbaum, who was murdered in the Holocaust, for example, was able to recover works by Viennese Expressionist artist Egon Schiele that were in Grünbaum’s vast personal collection in 2018 after decades of efforts. The family has since continued to file legal action to reclaim Grünbaum’s works under the HEAR Act.
Watchdogs say the sunset clause may have caused those owning looted works to obscure them from public view.
“It was extremely important that Congress eliminated the sunset clause because it incentivized museums and others holding looted art to keep those works under wraps until the sunset period ended,” Greenberg said. “Now, that change and the other provisions ensure claims will be heard and decided on the merits and means that the commitment Congress made to survivors ten years ago when they first passed the HEAR Act is finally being honored.”
Both the original law and the new revision received bipartisan support. But the Republican Jewish Coalition credited Trump with its enactment, saying in a statement, “President Trump has consistently proven to be the best friend of the Jewish people ever to occupy the Oval Office, and his signature today ratifies the truth: the passage of time can never diminish the injustice of crimes committed by the Nazis and their collaborators during the Holocaust.”
The revision goes into effect just days after one of the most significant recent rulings in the restitution space. Last week, a judge ruled after a decade-long legal battle that a painting by Italian artist Amedeo Modigliani, once valued at around $25 million, must be returned to the descendants of its original owner, who was forced to sell the painting to the Nazis. The painting had been in the possession of a prominent New York-based real estate and art dealer family since 1996.
The post Congress removes deadline for Holocaust-looted art claims, setting stage for more restitution battles appeared first on The Forward.
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Holocaust Remembrance Day Marked in Poland, Germany Amid Nazi Displays, Rising Antisemitism
Participants with Israeli flags look at the landmark Birkenau extermination camp gate in Auschwitz Museum – former Nazi German Concentration Camp during the International March of the Living (MOTL) in Oswiencim, Poland on April 14, 2026. Photo by Dominika Zarzycka/Sipa USA via Reuters Connect
Eighty-one years after the Holocaust, antisemitism remains rampant in the heart of the former Third Reich, with incidents in both Poland and Germany underscoring a disturbing resurgence of Nazi-linked provocation and hatred across Europe — even as Jews and Israelis around the world marked Israel’s Holocaust Remembrance Day on Tuesday.
Polish far-right lawmaker Konrad Berkowicz sparked outrage in Warsaw after displaying a modified Israeli flag during a parliamentary debate, replacing the Star of David with a Nazi swastika.
Berkowicz’s act was widely condemned as a deeply troubling distortion of Holocaust memory and a provocative example of “Holocaust inversion,” weaponizing Nazi imagery to target Israel in a manner that promotes hateful rhetoric.
The European Jewish Congress (EJC) strongly condemned the incident, calling on government officials to take swift and decisive action to address the matter, deter similar acts, and uphold public accountability.
“This act constitutes a clear example of Holocaust inversion, distorting the memory of the Shoah, and trivializing its victims,” EJC wrote in a post on X, using the Hebrew word for referring to the Holocaust.
“The use of Nazi symbols in this context is not only offensive, but represents a serious form of antisemitic provocation, particularly on a day dedicated to remembrance,” the statement read. “Preserving the integrity of Holocaust remembrance and ensuring that antisemitism is not tolerated in public institutions is essential.”
Polish MP Konrad Berkowicz displayed an Israeli flag bearing a swastika during a parliamentary debate in Warsaw on Holocaust Remembrance Day.
This act constitutes a clear example of Holocaust inversion, distorting the memory of the Shoah and trivialising its victims.
The use of… pic.twitter.com/zeyRN5yG6T
— European Jewish Congress (@eurojewcong) April 14, 2026
The latest antisemitic incident came as Holocaust survivors from around the world joined thousands of participants in the 38th March of the Living, held at the site of the Auschwitz concentration camp in remembrance of the 6 million Jews murdered by Nazi Germany during World War II. The annual march goes from Auschwitz I to Auschwitz II-Birkenau, the Nazis’ largest death camp where 1 million Jews were killed.
During a ceremony, Revital Yakin Krakovsky, deputy chief executive of the International March of the Living organization, warned that antisemitism continues to endure today despite the lessons of the Holocaust, stressing that its warning signs are once again becoming impossible to ignore.
“Since Oct. 7, antisemitism has surged and is spreading everywhere,” Krakovsky said, referring to the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023. “The scale and normalization of this hatred echoes the dark times we have seen before and, today of all days, we know how it ended.”
Like most countries across Europe and the broader Western world, Poland has seen a rise in antisemitic incidents over the last two years, in the wake of the Oct. 7 atrocities.
Germany has also experienced a marked surge in antisemitism, with Jewish communities and Israelis facing an increasingly hostile climate and a growing number of disturbing public provocations.
On Tuesday, workers at the Eggenfelden tax office in Bavaria, southern Germany, discovered a structure over a meter high on the premises, allegedly designed to resemble a crematorium and adorned with a swastika and SS runes. The structure also had the inscription “Zyklon B,” the pesticide used by the Nazis to carry out the mass murder of Jews in gas chambers at Auschwitz.
This latest incident coame just three weeks after a replica of the Auschwitz concentration camp gate, also covered in swastikas, was placed in front of the same tax office.
Eggenfelden’s mayor, Martin Biber, strongly condemned the incident, calling it a deeply disturbing provocation that has shocked the community.
“This shocks me. It’s also a huge disappointment that someone here is so cowardly. Quite apart from the fact that an object that is presumably meant to resemble a crematorium represents a horrific act,” Biber told the German newspaper BILD.
Local law enforcement has launched an investigation into the incident, treating it as a serious suspected extremist provocation.
The incident coincided with a commemoration held by the Israeli Embassy in Germany for the six million Jewish victims of the Nazis at the Sachsenhausen Memorial in Oranienburg, in eastern Germany.
During the ceremony, Israeli Ambassador Ron Prosor called for the resolute protection of Jewish life, warning that “antisemitism is not a relic of the past but remains visible and on the rise.”
He also emphasized that confronting the spread of terror by Iran is not solely Israel’s responsibility, warning of its expanding global reach and ideological influence.
“The mullahs are already part of the war in Europe. Their drones are falling in Ukraine. Their networks operate across continents – and their deadly ideology is spreading faster than any missile,” the Israeli diplomat said.
“Once again, Israel is on the front line. But the free world, especially Germany and Europe, has not only the responsibility, but the duty to confront this deadly ideology that threatens Europe from within,” he continued.
Andreas Büttner, the Brandenburg commissioner against Antisemitism, was also in attendance at the ceremony, where he reaffirmed the urgent need to confront and counter rising antisemitism.
“Antisemitism is not a shadow of the past. It is an open fire burning among us. And this fire is being stoked from various sides – by the extreme right, by the extreme left, and by those who disguise their hatred of Israel as moral concern,” the German official said.
According to newly released figures, the number of antisemitic offenses in the country reached a record high in 2025, totaling 2,267 incidents, including violence, incitement, property damage, and propaganda offenses.
By comparison, officially recorded antisemitic crimes were significantly lower at 1,825 in 2024, 900 in 2023, and fewer than 500 in 2022, prior to the Oct. 7 atrocities.
Officials warn that the real number of antisemitic crimes is likely much higher, as many incidents go unreported.
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Mossad Chief Says Iran Campaign ‘Will Only Be Complete When This Extremist Regime Is Replaced’
Israeli Prime Minister Benjamin Netanyahu, left, with Mossad chief David Barnea in July 2025. Photo: Israeli Government Press Office (GPO)
The head of Israel’s intelligence agency Mossad declared on Tuesday that the Israeli military campaign against Iran will end only with the collapse of the Islamist regime in Tehran.
David Barnea’s comments during a speech at a Holocaust Memorial Day ceremony came as a fragile ceasefire teetered on the brink of collapse and prospects for renewed negotiations remained uncertain.
Israel secured “significant achievements” after 40 days of intense fighting against “those who have made the destruction of the Jewish state their guiding principle,” said Barnea, who noted that the campaign had reshaped the regional security landscape.
“The Iranian threat grew stronger before our eyes, before the eyes of the world, almost without interruption,” he continued. “We repeatedly warned of the nuclear danger as an existential threat, and time and again we warned about the quantities of ballistic missiles that threaten Israeli citizens across the country, as well as the danger posed to us by the Iranian regime.”
Barnea said that Israel and its close ally the US took matters into their own hands for the good of the entire world and warned that, at least for Jerusalem, the mission isn’t done until the Iranian regime collapses.
“Finally, we took our fate into our own hands and entered two wars out of necessity. Alongside us, in firm alliance and historic cooperation with the world’s most powerful nation, we fought together for the values of justice and freedom,” the Israeli official continued. “Our commitment will only be complete when this extremist regime is replaced.”
Since Feb. 28, when the US and Israel launched joint strikes, Israeli officials have repeatedly said that, in addition to degrading Iran’s nuclear and missile programs, they aim to “create the conditions” for the regime in Iran to collapse, weakening the government to the point that the Iranian people can revolt.
US officials have not publicly adopted regime change as a declared war goal. However, President Donald Trump has at times suggested that Iranians should rise up once the airstrike campaign ends.
During Tuesday’s ceremony, Israeli Defense Minister Israel Katz also delivered a speech, saying that the US and Israel had “defined the removal of enriched material from Iran as a threshold condition for ending the campaign.”
“Iran’s regional proxies — from the collapsed Syrian regime to Hezbollah and Hamas — have been dealt heavy blows and have lost their capacity to pose a strategic threat to Israel,” Katz said. “There remains the task of confronting the rest of their power, and we are doing so — and will continue to do so — with full commitment and full force.”
On Monday, Israel Defense Forces (IDF) Chief of Staff Lt. Gen. Eyal Zamir approved plans to escalate the military campaign against Iran and advance expanded operational planning across multiple arenas in the region if the ceasefire ends, signaling continued pressure on Tehran’s military and strategic infrastructure.
“We are facing a multi-theater campaign unprecedented in the history of our people and of nations — against both immediate enemies on our borders and distant adversaries seeking our destruction,” Zamir said. “We are striking Iran and its proxies, inflicting heavy blows and significantly degrading their military capabilities.”
With the ceasefire deadline approaching in a week and regional tensions escalating, Trump said the White House has received a request from “the appropriate parties” to resume talks, adding that the Iranian regime is seeking to renew negotiations and reach an agreement.
“Iran will not have nuclear weapons. We agreed on a lot of things, but they did not agree to that. And I think they will agree to that. I am sure of it. If they do not agree – there will be no agreement,” Trump wrote in a post on Truth Social.
According to The New York Times, US officials have proposed a 20-year halt to Iranian uranium enrichment, which Iranian negotiators countered with a five-year suspension that Washington rejected, while also reportedly insisting that Iran dismantle major enrichment sites and surrender more than 400 kilograms of highly enriched uranium.
Meanwhile, Pakistan has offered to host another round of US–Iran negotiations in Islamabad in the coming days before the ceasefire expires, as diplomatic efforts intensify to prevent a renewed escalation.
The Trump administration has also stepped up pressure on Tehran to accept its demands by imposing a naval blockade on vessels entering or leaving Iranian ports through the Strait of Hormuz, a critical global shipping chokepoint for energy supplies.
Since the start of the war, Iran has used control over the Strait of Hormuz as a major source of leverage, militarizing the waterway and sharply restricting maritime traffic through one of the world’s most critical shipping corridors.
Iranian officials warned they would retaliate against any US naval blockade targeting their ports, calling the move illegal and warning that Gulf shipping routes would no longer remain secure if Iranian access were restricted.
Responding to Iranian threats in a post on Truth Social, Trump said, “If one of these boats approaches the blockade, it will be eliminated immediately, using the same elimination method that we use against drug smugglers at sea. It will be fast and brutal.”
Iran has also signaled it intends to maintain control over the Strait of Hormuz even after the war ends, potentially imposing transit fees framed as compensation for wartime damage.
Following the latest escalation at sea, Israel had instructed its forces to maintain a high level of alert and prepare for the possibility of an immediate collapse of the ceasefire agreement, remaining on heightened readiness in case the truce breaks down and talks do not resume.
Israeli officials have said they do not rule out that Iran may be using the ceasefire to rebuild damaged air defense systems and restore military capabilities, while also attempting to bring weapons and sensitive technologies back into the country through overland smuggling routes.
Meanwhile, Iran appears to still be targeting Gulf states despite the ceasefire, with Bahrain intercepting seven Iranian drones in the past 24 hours in what officials described as a clear breach of the agreement.