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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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The post Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74 appeared first on Jewish Telegraphic Agency.
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I Came to Israel for Clarity and Left with More Questions (How Jewish)
The Western Wall and Temple Mount in Jerusalem. Photo: Wikimedia Commons.
I arrived in Israel as part of the Birthright Israel Onward Storytellers Program, with a dynamic group of creators from across the globe intent on gaining perspective on the region.
Many people in my group were short-form enthusiasts, but I repeatedly insisted on the power of long-form storytelling. So here are some long-form thoughts on my experience:
While Israelis wear their resilience on their sleeves, I was struck by the psychological weight they’ve gained since Oct 7.
When I learned that the word grief in Hebrew was “evel,” I asked if it was linked to the word “even,” which means rock. A native speaker was surprised by this question, but couldn’t refute the connection.
Coincidences in the Holy Land often feel like Divine signs. Maybe they are.
On our first day, while walking through the Old City in Jerusalem, I lost the Hamsa pendant I bought on my last visit; it slipped right off my neck.
My first sign!
That pendant was now burrowed in the pocket of cobblestone streets older than the prophets. What literal symbol would I replace it with?
After a tear-soaked visit to the Kotel, where I jammed a wish-filled note in the cracks of the ancient wall, we visited the Temple Mount, a jarring surprise to our group to even be allowed in.
At one of the holiest places in Jewish and Muslim culture, I was not moved by the archeological marvel, but by the human connection — in the thoughtful dialogue I began with our Palestinian tour guide, in an effort to understand his experience.
It was not lost on me that we were a living bridge of peace, in the most contentious location between our cultures. I doubt it was lost on him either.
We hugged goodbye later that day, and wished each other well, speaking to the individual but praying for our collectives.
The next day we visited the harrowing sites of the Oct. 7 massacres at the Nova festival and Kibbutz Nir Oz. I was surprised at how unsurprised I was, scarred by the gutting imagery that the attack had become sadly associated with.
We then went to the great expanse of the Negev Desert, with its Grand Canyon-like Godliness. We spoke to our creator in the darkness of the night, looking for more answers — but, again, I was left with more questions.
The signs were unclear and I was getting frustrated.
We then came to Tel Aviv, a city that always feels just right with its bustling multi-culturalism, charming architecture, undeniable food, and endless gorgeous faces.
I could live here, I thought. With the state of the world, maybe sooner rather than later.
I thrived on my own, with long walks away from the group, sipping delicious coffee and reaffirming why I love this country so much. The solitude energized my urge to make the world understand what Israel really is. How they would see if they only came here for themselves!
But we cannot make people see what they don’t want to see. We can only lead by example and hope that our changes inspire them, or at the very least, confront them.
Our meaningful journey, carefully curated by Yael Adventures, was coming to an end.
I left this chapter of my trip inspired by a group of young leaders expressing their values online to move hearts and minds through food, fashion, humor, and culture.
The odds are against us.
As I told them, my family is Israeli, so I have no choice but to be an outspoken advocate. The others have a harder choice, one that their peers reject violently and without nuance. And yet they choose to stand with Jewish pride in the land we are told we don’t deserve, but relentlessly reminded why we need.
I am grateful to this group for teaching me so much about their stories and about my own. Among them, I even made some true friends, a task that gets increasingly harder in a world saturated with false idols and inauthentic lives.
After the organized trip, I visited my family in the North, the only extended family I have. As we sat down for Shabbat dinner, I felt the feeling of home that people often describe when their tribe is together. When you live across the world from yours, a puzzle piece of your soul reattaches for even the shortest reconnection.
The next day, on a walk with my cousin, I ran into a childhood friend. I had met him on my family’s sabbatical in Israel when I was 12 years old. He no longer lived in the village, but happened to be visiting the same day as me, walking the same trail at the same time.
Another sign.
I had lived there at an age where life events are consequential to our personalities and trajectory. It reminded me of the confidence this place instilled in me, which has carried me throughout my life. If nothing else, I owe it to these people for the confidence they gave me — to remind them of how special they truly are, regardless of what the rest of the world thinks. To lighten the load of the “even” from the “evel.”
I visited my Father’s grave, a beautiful stone structure built for only the most epic of men. He rests exactly where he belongs, overlooking the land of his forefathers, beside his fellow countrymen.
His tombstone is labeled “Professor.” I questioned what identity I would want written on my own. I didn’t have an answer.
As a multi-hyphenate, I don’t do well with labels, or perhaps have yet to land on my own personal definition.
The trip ended with a cherished day of filming for my upcoming movie, continuing the long journey to tell a story I can’t wait to share with you all. It turns out that it doesn’t matter where I am in the world — if I’m making art on my own terms, I come alive.
This sign couldn’t be clearer.
It would be borderline blasphemous to not acknowledge the Divinity of using my God-given gifts in my ancestral homeland.
Perhaps I was right to be in this cohort after all. A true “hero’s journey,” I came back home changed, and armed with fresh perspective and new tools to do what I do best — tell stories. I guess I don’t need a new pendant for that.
No matter your background, I hope you’ll visit Israel and see it for yourself someday. It may not have all your answers, but, like me, it may leave you with new questions to explore.
And if you don’t, that’s OK too. I’ll be back again very soon, and eat enough Shawarma for the both of us.
Ari Frenkel is an actor, writer and filmmaker. He is known for his on-screen work in Amazon’s I’m A Virgo, HBO’s Silicon Valley, FX’s American Crime Story, and much more. He is the creator and star of the award-winning digital series Sorry, Ari. He is currently in production for his debut feature film, See You on the Other Side. Visit his Instagram, and website.
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Phase Two Begins: Will Hamas Uphold Its Ceasefire Commitments?
People walk past a billboard portraying the late Hamas leader Yahya Sinwar at the site of a rally held by protesters, mainly Houthi supporters, to show support to Lebanon’s Hezbollah and Palestinians in the Gaza Strip, in Sanaa, Yemen, Oct. 18, 2024. Photo: REUTERS/Khaled Abdullah
The United States has announced that the second phase of the ceasefire agreement between Israel and Hamas has now begun. While officials worry that not moving on to the second stage could encourage renewed fighting, the movement towards the second phase has also been met with trepidation from the Israeli perspective.
Notably, Hamas has yet to uphold its end of the agreement, consistently violating the ceasefire since its implementation by launching attacks on Israeli soldiers, crossing the yellow line into territory controlled by the IDF, and not returning all hostages within the first 72 hours of the agreement.
While all hostages, both living and deceased, were meant to return home 72 hours after the initial agreement was signed, Hamas has consistently delayed releases or indulged in misdirection and cover-ups. As phase two begins, the body of Ran Gvili, the final hostage being unlawfully held in Gaza, has yet to return home. It raises serious doubts about the extent to which the terrorist organization can be trusted to honor its commitments.
What Does Phase Two Entail?
The second phase of the ceasefire is meant to establish a transitional technocratic Palestinian administration in Gaza, known as the National Committee for the Administration of Gaza (NCAG). It will also begin the full demilitarization and reconstruction of Gaza, focusing specifically on the disarmament of all unauthorized personnel, such as Hamas and Islamic Jihad.
While Hamas is now supposedly signaling willingness to disarm, it has in the past made it explicitly clear that it is not interested in disarming until there is a clear process that will result in the establishment of a Palestinian state, least of all if Israel is still present in the Gaza Strip. Yet this requirement for disarmament must be met at this stage for Israel to continue its withdrawal.
Since the beginning of phase one, the IDF has been working tirelessly on the demilitarization of Gaza. Yet areas beyond the yellow line — the area of withdrawal controlled by the IDF — remain far from clear of terrorist infrastructure, as the IDF continues to uncover more tunnel systems.
All of these key components of the second phase need to work in synchronization. Hamas’ military grip on the Gaza Strip currently puts the terrorist organization in a position of de facto governance. If it relinquishes its military powers by disarming, it will create the possibility for the NCAG force to begin administering the civilians there.
The NCAG is meant to be an apolitical body overseeing daily life in Gaza. In this capacity, it could help support stabilization efforts, reduce the influence of terrorist organizations, and create space for long-term initiatives focused on education, reconstruction, and economic opportunity — key elements in fostering a more sustainable future. Additionally, the International Stabilization Force (ISF) will also be implemented at this stage to help establish and support a police force, allowing for further Israeli withdrawal.
The successful implementation of the second phase lays the groundwork for a stable and functional civilian administration in Gaza. Thus, this phase is not only about immediate security and withdrawal, but rather about building the institutional foundations necessary to ensure a stable future in post-war Gaza.
A Reminder From Oslo
This is not the first time Israel has entered into agreements with the Palestinians, only to face challenges stemming from a lack of enforcement, limited accountability, and differing interests.
In 1993, Israelis and Palestinians were similarly excited about the process of moving towards a future free of terrorism, incitement, and hatred.
The Oslo Accords called for the Palestine Liberation Organization (PLO) to formally recognize the right of the State of Israel to exist. In contrast, Israel recognized the PLO as the representative of the Palestinian people. Over the course of five years, the two parties were meant to reach a formal and comprehensive agreement. However, no such agreement was ever reached between the parties, and the breakdown of the process was followed by the launch of the Second Intifada, during which weapons originally intended for Palestinian security forces were turned against Israel.
Perhaps one of the most important requirements from the Palestinian side of the Oslo Accords was a commitment to education reform, intended to promote tolerance within the Palestinian education system. A lack of enforcement meant that this crucial factor was never implemented.
As a result, the Palestinian education system has — to this day — been one that indoctrinates Palestinian children with a vehement hatred of the State of Israel and the Jewish people, and calls on children to become martyrs by committing terrorist attacks. This means that the terrorists who committed the atrocities of October 7, 2023, grew up using textbooks that glorified terrorism after the fallout from Oslo.
While the world and the media may be ready to move on to phase two, it is crucial that Israel ensures the other side are held to their obligations. The aftermath of the Oslo Accords illustrates the consequences of failing to uphold commitments. The repeated disregard of terrorist organizations’ negotiated commitments ultimately undermined long-term stability. The current phase in Gaza presents a similar crossroads. Without careful oversight and accountability, a history of broken commitments and renewed violence could repeat itself.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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What Happens Next for the US and Iran?
Iran’s Supreme Leader Ayatollah Ali Khamenei speaks during a meeting in Tehran, Iran, January 17, 2026. Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS
Having warned Iran’s regime, repeatedly and explicitly, not to brutalize its own people, President Trump now must figure out how to uphold his red line, avoid losing credibility, and impose serious costs on the regime — all without triggering a wider conflict.
Revolutionary regimes like the Islamic Republic try to delegitimize and deflect popular discontent by pinning it on external enemies. Although Trump has spoken out about the protests, Tehran ignored the Biden team’s glaring silence and still blamed America for the “Woman, Life, Freedom” movement just a few years ago.
It is therefore no surprise that the speaker of Iran’s parliament has said the country is already in a new round of conflict with America and Israel. Iranian officials also have threatened to attack US regional bases, including preemptively.
Even if the country’s recent nationwide protests have subsided for now, Iran’s regime is fundamentally both unable and unwilling to address the deep-rooted grievances underlying such widespread and steadily worsening internal discontent.
It is strictly a question of when — not if — major unrest returns, and with it, the regime’s enduring instinct and temptation to project its problems outward onto the “Big” and “Little” Satans of America and Israel. Brinkmanship also offers the regime hope of deterring military action during the moments of domestic crisis when its future is most in doubt.
There are plenty of salutary sanctions, cyberwarfare tools, and covert and kinetic options to support protestors, inhibit further crackdowns, and encourage the regime’s ultimate collapse.
By themselves, however, these options are unable to keep Iran from threatening or unleashing massive retaliation against US targets in the process.
A key element of President Trump’s response, and one that fulfills his promise of “hitting them very, very hard where it hurts,” should be to target the regime’s best retaliatory capabilities.
This means its short-range ballistic and cruise missiles, drones, missile boat swarms, anti-ship missiles, and mobile coastal batteries looming over the Gulf, Iraq, and American forces there. By combining mass with precision, the weapons are Iran’s readiest option to counter US threats against its internal security apparatus.
These capabilities were left untouched during the June war, when the United States and Israel focused on nuclear sites and longer-range ballistic missiles. They do not require the time-consuming loading and fueling of those longer-range missiles, and their flight times are shorter.
These short-range projectiles can be launched in large “bolt from the blue” attacks with little early warning, and in great quantities, that strain US-led defenses in the region. Unlike some of its other arsenals, Iran has dangerous incentives to strike first, fast, and hard with these weapons.
Moreover, this Iran weapons program would have an attractive array of high-value targets. American forces cluster in a small handful of bases and warships in the Gulf, adjacent to major energy terminals and the world’s most important energy shipping point in the narrow Strait of Hormuz. These sites do not have anything remotely like Israel’s air and missile shield, a concern reflected in recent comments from senior US military officials about needing time to prepare regional defenses.
Iran’s past attacks with these weapons reliably hit their aimpoints. Most memorably, Iran launched a surprise cruise missile and drone swarm against Saudi energy facilities in 2019, and a ballistic missile barrage against US forces in Iraq several months later.
Even though it chose to telegraph its missile strike on Al-Udeid airbase in Qatar last year, American troops had to evacuate in advance, given their lack of adequate defenses. Both during and since the June conflict, Iran has prepared attacks and conducted military exercises to target US forces and energy shipping around Hormuz.
Iran also knows from past practice that threatening such attacks can generate pressure on America from its Gulf partners, all of whom want to deescalate tensions that could otherwise shoot oil prices upward and jeopardize their ambitious, but vulnerable, economic development projects.
Iran’s regime should know its short-range weapons are central to the strike options being readied for President Trump’s consideration. America’s commander-in-chief should make painfully and explicitly clear that Tehran cannot escalate its way out of its predicament — at home or abroad.
Jonathan Ruhe is the Fellow for American Strategy at the Jewish Institute for National Security of America.