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A history of Mel Brooks as a ‘disobedient Jew’
(JTA) — Jeremy Dauber subtitles his new biography of Mel Brooks “Disobedient Jew.” It’s a phrase that captures two indivisible aspects of the 96-year-old director, actor, producer and songwriter.
The “Jew” is obvious. Born Melvin Kaminsky in Brooklyn in 1926, Brooks channeled the Yiddish accents and Jewish sensibilities of his old neighborhoods into characters like the 2000 Year Old Man — a comedy routine he worked up with his friend, the writer and director Carl Reiner. He worked Jewish obsessions into films like 1967’s “The Producers,” which features two scheming Jewish characters who stage a sympathetic Broadway musical about Hitler in order to bilk their investors.
Brooks’ signature move is to inject Jews into every aspect of human history and culture, which can be seen in the forthcoming Hulu series “History of the World, Part II.” A sequel to his 1981 film, “History of the World, Part I,” it parodies historical episodes in a style he honed as a writer on 1950s television programs such as “Your Show of Shows,” whose writers’ rooms were stocked with a galaxy of striving Jewish comedy writers just like him.
The “Disobedient” part describes Brooks’ relationship to a movie industry that he conquered starting in the early 1970s. In a series of parodies of classic movie genres — the Western in “Blazing Saddles,” the horror movie in “Young Frankenstein,” Alfred Hitchcock in “High Anxiety — he would gently, sometimes crudely and always lovingly bite the hand that was feeding him quite nicely: In 1976, he was fifth on the list of top 10 box office attractions, just behind Clint Eastwood.
Dauber describes the parody Brooks mastered as “nothing less than the essential statement of American Jewish tension between them and us, culturally speaking; between affection for the mainstream and alienation from it.”
Dauber is professor of Jewish literature and American studies at Columbia University, whose previous books include “Jewish Comedy” and “American Comics: A History.” “Mel Brooks: Disobedient Jew” is part of the Jewish Lives series of brief interpretative biographies from Yale University Press.
Dauber and I spoke about why America fell for a self-described “spectacular Jew” from Brooklyn, Brooks’ lifelong engagement with the Holocaust, and why “Young Frankenstein” may be Brooks’ most Jewish movie.
Our conversation was edited for length and clarity.
Jewish Telegraphic Agency: “History of the World, Part II” comes out March 6. “History of the World, Part I” may not be in the top tier of Brooks films, but it seems to touch on so many aspects of his career that you trace in your book: the parody of classic movie forms, the musical comedy, injecting Jews into every aspect of human civilization, and the anything-for-a-laugh sensibility.
Jeremy Dauber: I agree. There’s the one thing that really brings it home, and it’s probably the most famous or infamous scene from the film. That’s the Spanish Inquisition scene. You have Brooks sort of probing the limits of bad taste. He had done that most famously in “The Producers” with its Nazi kickline, but here he takes the same idea — that one of the ways that you attack antisemitism is through ridicule — and turns the persecution of the Jews into a big musical number. It’s his love of music and dance. But the thing that’s almost the most interesting about this is that he takes on the role of the Torquemada character.
As his henchman sing and dance and the Jews face torture, the Brooklyn-born Jew plays the Catholic friar who tormented the Jews.
That’s right. And what’s the crime that he accuses the Jews of? “Don‘t be boring! Don‘t be dull!” That’s the worst thing that you can be. It’s his way of saying, “If I have a religion, you know, it is show business.”
His fascination with showbiz seems inseparable from his Jewishness, as if being a showbiz Jew is a denomination in its own right.
One of my favorite lines of his is when he marries [actress] Anne Bancroft, who of course is not Jewish. And he says, “She doesn’t have to convert: She’s a star.” If you’re a star, if you’re a celebrity, you’re kind of in your own firmament faith-wise, and so it’s okay. Showbiz is this faith. But it is very Jewish, because show business is a way to acceptance. It’s a way that America can love him as a Jew, as Mel Brooks, as a kid from the outer boroughs who can grow up to marry Anne Bancroft.
Jeremy Dauber is the author of “Mel Brooks: Disobedient Jew” (Yale University Press)
You write early on that “Mel Brooks, more than any other single figure, symbolizes the Jewish perspective on and contribution to American mass entertainment.” On one foot, can you expand on that?
Jews understand that there’s a path to success and that being embraced by a culture means learning about it, immersing yourself in it, being so deeply involved in it that you understand it and master it. But simultaneously, you’re doing that as a kind of outsider. You’re always not quite in it, even though you’re of it in some deep way. In some ways, it’s the apotheosis of what Brooks does, which is being a parodist. In order to be the kind of parodist that Mel Brooks is, you have to be acutely attuned to every aspect of the cultural medium that you’re parodying. You have to know it inside and outside and backwards and forwards. And Brooks certainly does, but at the same time you have to be able to sort of step outside of it and say, you know, “Well, I’m watching a Western, but come on, what’s going on with these guys? Like why doesn’t anyone ever, you know, pass gas after eating so many beans?”
You have this great phrase, that to be an American Jew is to be part of the “loyal opposition.”
That’s right. Brooks at his best is always kind of poking and prodding at convention, but loyally. He’s not like the countercultural figures of his day. He’s a studio guy. He’s really within the system, but is poking at the system as well.
You wrote in that vein about his 1963 short film, “The Critic,” which won him an Oscar. Brooks plays an old Jewish man making fun of an art film.
On the one hand, he’s doing it in the voice of one of his older Jewish relatives, the Jewish generation with an Eastern European accent, to make fun of these kinds of intellectuals. He’s trying to channel the everyman’s response to high art. “What is this I’m watching? I don’t understand this at all.” On the other hand, Brooks is much more intellectual than he’s often given credit for.
For me the paradox of Brooks’ career is conveyed in a phrase that appears a couple of times in the book: “too Jewish.” The irony is that the more he leaned into his Jewishness, the more successful he got, starting with the “2000 Year Old Man” character, in which he channels Yiddish dialect in a series of wildly successful comedy albums with his friend Carl Reiner. How do you explain America’s embrace of these extremely ethnic tropes?
Brooks’ great motion pictures of the late 1960s and 1970s sort of track with America’s embrace of Jewishness. You have “The Graduate,” which came out at around the same time as “The Producers,” and which showed that someone like Dustin Hoffman can be a leading man. It doesn’t have to be a Robert Redford. You have Allan Sherman and all these popular Jewish comedians. You have “Fiddler on the Roof” becoming one of Broadway’s biggest hits. That gives Brooks license to kind of jump in with both feet. In the 1950s, writing on “The Show of Shows” for Sid Caesar, the Jewishness was there but in a very kind of hidden way. Whereas, it’s very hard to watch the 2000 Year Old Man and say, well, that’s not a Jewish product.
What he also avoided — and here I will contrast him with the novelist Philip Roth — were accusations that he was “bad for the Jews.” Philip Roth was told that his negative portrayals of Jewish characters was embarrassing the Jews in front of the gentiles, but for some reason, I don’t remember anyone complaining even though the Max Bialystock character in “The Producers” can be fairly described as a conniving Jew. What made Brooks’ ethnic comedy more palatable to other Jews?
“The Producers” had a lot of pushback, but for a lot of other reasons.
I guess people had enough to deal with when he staged a musical comedy about Hitler.
Exactly. But the other part is that his biggest films are not as explicitly Jewish as something like Roth’s novel “Portnoy’s Complaint.” I actually think “Young Frankenstein” is one of the most Jewish movies that Mel Brooks ever made, but you’re not going to watch “Young Frankenstein” and say, wow, there are Jews all over the place here.
What about “Young Frankenstein,” a parody of classic horror movies, seems quintessentially Jewish?
The script, which is a lot of Gene Wilder and not just Mel Brooks, is really about someone saying, “You know, I don’t have this heritage — I’m trying to fit in with everybody else. My name is Dr. FRAHNK-en-shteen.” And then people say, “No, this is your heritage. You are Dr. Frankenstein.” [Wilder’s character realizes] “it is my heritage, and I’m embracing it. And I’m Frankenstein. And you may find that monstrous but that’s your business.” It’s about assimilation and embracing who you are.
And of course, Wilder as Dr. Frankenstein is unmistakably Jewish, even when he plays a cowboy in “Blazing Saddles.”
Right. Again, by the mid-’70s, you know, you have Gene Wilder and Elliot Gould and Dustin Hoffman, all Jews, in leading roles. “Young Frankenstein” ends up being a movie about coming home and embracing identity, which is playing itself out a lot in American Jewish culture in the 1970s.
I guess I have to go back and watch it for the 14th time with a different point of view.
That’s the fun part of my job.
You talk about what’s happening at the same time as Brooks’ huge success, which is, although he’s a little younger, the emergence of Woody Allen. You describe Brooks and Woody Allen as the voice of American Jewish comedy, but in very different ways. What are the major differences?
Gene Wilder, who worked with both of them, says that working with Allen is like lighting these tiny little candles, and with Brooks, you’re making big atom bombs. The critical knock against Brooks was that he was much more interested in the joke than the story. And I think with the exception maybe of “Young Frankenstein” there’s a lot of truth to that. The jokes are phenomenal, so that’s fine. Allen pretty quickly moved towards a much more narrative kind of film, and so began to be seen as this incredibly intellectual figure. In real life, Allen always claimed that he wasn’t nearly as intellectual as everyone thought, while Brooks had many more kinds of intellectual ambitions than the movie career that he had. There is a counterfactual world in which “The 12 Chairs,” his 1970 movie based on a novel by two Russian Jewish novelists and which nobody talks about, makes a ton of money.
Instead, it bombs, and he makes “Blazing Saddles,” which works out very well for everybody.
Although he does create Brooksfilms, and produces more narrative, serious-minded films like “The Elephant Man” and “84 Charing Cross Road.”
Right, and decides that if he puts his name on these as a director, they’re going to be rejected out of hand. There is a shelf of scholarship on Woody Allen, but if you look at who had influence on America in terms of box office and popularity, it’s Brooks winning in a walk.
You also mention Brooks and Steven Spielberg in the same sentence. Why do they belong together?
Partly because they had huge popular success in the mid-’70s. Brooks is a generation older, but they are hitting their cinematic success at the same time. And they are both movie fans.
Which comes out in their work — Brooks in his film parodies and Spielberg in the films that echo the films he loved as kid.
Until maybe his remake of “West Side Story,” Spielberg is not really a theater guy in the way that Brooks is, when success meant to make it on Broadway. When Brooks was winning all those Tonys in 2001 for the Broadway musical version of “The Producers,” it may have been almost more meaningful for his 5-year-old, or 7- or 8-year-old self than making his incredibly popular pictures.
You also write about Brooks being a small “c” conservative, a bit of a square. Which I think will surprise people who think about the fart jokes and the peepee jokes and all that stuff. And by square, I mean, kind of old showbizzy, even a little prudish sometimes.
I think that’s right. There’s a great moment that I quote at the end of the book where they are trying out the musical version of “The Producers,” and they want to put the word “f–k” in and Brooks is like, “I don’t know if we can do that on Broadway,” and Nathan Lane is like, “Have we met? You’re Mel Brooks!” He’s a 1950s guy.
Another place where this kind of conservatism comes in is when you compare him to other comedians of the 1950s and ’60s — the so-called “sick comics” like Lenny Bruce and Mort Sahl who were pushing the envelope in terms of subject matter and politics. He wasn’t part of that. He was part of Hollywood. He was trying to make it in network television.
There is an interview in that era when he complained that people who are writing for television are not “dangerous.” Meanwhile, he himself was writing for television. But I think it’s fair to say that “The Producers” was really something different. You didn’t have to be Jewish to be offended by “The Producers.” But as we were saying before, he is more of the loyal opposition, rather than sort of truly out there. He’s not making “Easy Rider.”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
“The Producers” is part of Brooks’ lifelong gambit of mocking the Nazis, I think starting when he would sing anti-Hitler songs as a GI in Europe at the tail end of World War II. Later he would remake Jack Benny’s World War II-era anti-Nazi comedy, “To Be or Not to Be.” And then there is the quick “Hitler on Ice” gag in “History of the World, Part I.” Brooks always maintains that mocking Nazis is the ultimate revenge on them, while you note that Woody Allen in “Manhattan” makes almost the opposite argument: that the way to fight white supremacists is with bricks and baseball bats. Did you come down on one side or the other?
To add just a twinge of complication is the fact that Brooks actually fought Nazis, and also had a brother who was shot down in combat. So for me to sit in moral judgment on anybody who fought in World War II is not a place that I want to be. What’s interesting is that Brooks makes a lot of these statements over the course of a career in which Nazism is done, in the past, defeated. Tragically, the events of the last number of years made white supremacy and neo-Nazism a live question again. When “The Producers” was staged as a musical in the early 21st century, people could say, “Okay, Nazism’s time has passed.” It’s not clear to me that we would restage “The Producers” now as a musical on Broadway, when just last week you had actual neo-Nazis handing out their literature outside a Broadway show. It would certainly be a lot more laden than it was in 2001.
Time also caught up with Brooks in his depiction of LGBT characters. Gay characters are the punchlines in “The Producers” and “Blazing Saddles” in ways that have not aged well. But you also note how both movies are about two men who love each other, to the exclusion of women.
There’s an emotive component to him about these male relationships. Bialystok and Bloom [the protagonists in “The Producers”] is a kind of love story. One of the interesting things is that as it became comparatively more comfortable for gay men to live their truth in society and in Hollywood, there was an evolution. In that remake of “To Be or Not to Be,” there is a much more sympathetic gay character who’s not stereotypical.
What other aspects of Brooks’ Jewishness have we not touched upon? For instance, he’s not particularly interested in Judaism as a religion, and ritual and theology rarely come up in his films, even to be mocked.
It’s not something that he’s particularly interested in. To him, being Jewish is a voice and a language. From the beginning of his career the voice is there. What he’s saying in these accents is that this is Jewish history working through me. It is, admittedly, a very narrow slice of Jewish history.
The first- and second-generation children of Jewish immigrants growing up in Brooklyn neighborhoods that were overwhelmingly Jewish.
It was a Jewishness that was aspirational. It was intellectual. It was a musical Jewishness. It was not in the way we use this phrase now, but it was a cultural Jewishness. It was not a synagogue Jewishness or a theological Jewishness. But of course he is Jewish, deeply Jewish. He couldn’t be anything else. And so he didn’t, and thank God for that.
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Feds open antisemitism investigation into National Education Association
(JTA) — The Trump administration is launching an antisemitism investigation into the National Education Association, the influential public school teachers union, over purported employment discrimination.
The probe is based on allegations that Jewish members of the NEA were harassed and “physically intimidated” during the organization’s 2025 annual convention, including a reported case of NEA members appearing to cheer at mention of the 2005 attack on a march for Israeli hostages in Boulder, Colorado.
The complaint, based on the accounts of several Jewish NEA members, also spotlighted recent controversies, such as materials from the union that labeled a map of the state of Israel as “Palestine” for Indigenous People’s Day and a handbook that failed to identify Jews as the primary victims of the Holocaust. They further alleged that the union’s diversity hiring guidelines harmed its Jewish members.
The Brandeis Center for Human Rights Under Law, a legal group that has brought several other such antisemitism cases to the Trump administration, filed the complaint that triggered the NEA investigation. The case is being handled through the U.S. Equal Employment Opportunity Commission, whose authority to investigate employment discrimination also extends to union membership.
“We really appreciate the EEOC’s decision to open this investigation,” Marci Miller, director of legal investigations at the Brandeis Center, told the Jewish Telegraphic Agency.
In a statement to JTA, the NEA said, “We take concerns like this seriously and are reviewing the matter through our established processes.” The union added that it “does not tolerate antisemitism in any form and is committed to ensuring that all members and students, including Jewish members and students, can work and learn in a safe and welcoming environment.”
The NEA has previously said its map labeled “Palestine” “does not meet our standards,” and updated its Holocaust handbook in response to the pushback.
Jews in public school education have expressed concern about tensions over the last few years. In 2021, many Jewish groups rallied against NEA proposals to oppose Israel; the measures did not pass. At its 2025 convention, the NEA had voted to boycott the Anti-Defamation League, though its executive committee rejected the vote following pushback from Jewish groups.
The GOP-led House Committee on Education and the Workforce is also investigating the union over antisemitism, citing several of the same instances later outlined in the Brandeis Center complaint.
The EEOC’s NEA case is part of an expansion of the Trump administration’s antisemitism investigations beyond college and K-12 campuses. Last week the U.S. Health and Human Services Department opened its own probe into the American Psychological Association, also based on a Brandeis Center complaint.
In addition to alleged harassment of Jewish members at the convention, Miller said the center’s NEA complaint also involved diversity-based hiring practices at the union: “Jewish members in particular have been harmed by this policy because they have not been recognized as a racial or ethnic group worth counting for purposes of this policy.”
The EEOC has tackled antisemitism cases against other institutions, but its role in such investigations is controversial. The agency’s chair, Andrea Lucas, is currently demanding that the University of Pennsylvania turn over a list of Jews affiliated with the university as part of the commission’s antisemitism investigation into the Ivy League school. Several Jewish groups, as well as the university itself, have argued that such a demand will make Jews less safe.
Some Jewish groups have alleged that the administration has used antisemitism allegations as a pretext to undermine institutions it considers ideologically unfriendly.
One of Lucas’s defenders in the Jewish community is Kenneth Marcus, the Brandeis Center’s founder. Lucas herself is not Jewish but recently defended her legal strategy to Jewish leaders at a campus antisemitism conference.
Asked about this, Miller said the Brandeis Center was providing “dozens” of Jewish witnesses to the EEOC for consensual interviews.
“There’s no demand for anybody else,” she said. “We have plenty of information.”
This article originally appeared on JTA.org.
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New York primary tests Mamdani’s pull and Israel as a campaign issue
New York City Democratic voters are going to the polls today in congressional primaries that are doubling as a referendum on U.S.-Israel relations, as candidates allied with Mayor Zohran Mamdani test whether his brand of democratic socialism and criticism of hardline pro-Israel money in politics will translate into broader electoral success.
Mamdani has endorsed Columbia Gaza war encampment leader Darializa Avila-Chevalier and former City Comptroller Brad Lander in challenging sitting members of Congress, and Assemblymember Claire Valdez for an open seat.
All have campaigned using the terms “genocide” and “apartheid” to describe Israel’s actions in Gaza and the West Bank, and Mamdani himself has singled out Israel and its champions as adversaries.
At a Brooklyn campaign rally last week, Mamdani compared the American Israel Public Affairs Committee to “monsters” who “move millions in dark money to accomplish a single goal — to preserve their power, so that they can turn us against one another.”
The statement drew widespread condemnation from Jewish leaders, including some of Mamdani’s supporters. And it comes as Democratic infighting over Israel nationally has intensified, with candidates across the political spectrum increasingly treating support from AIPAC as politically toxic.
All three of the Mamdani-endorsed congressional candidates have made Israel or AIPAC a central part of their campaigns, though each in different ways. AIPAC backs candidates aligned with continued U.S. support for Israel military aid and has spent upwards of $38 million nationally this election cycle, a Politico analysis found — though exact AIPAC contributions are difficult to track due to its use of shell PACs and tactic of funneling money directly to campaigns.
In the 10th Congressional District in lower Manhattan and western Brooklyn, Lander is challenging incumbent Rep. Dan Goldman, zeroing in on Goldman’s support for U.S. military aid to Israel and his past ties to AIPAC. Lander opted not to take part in New York City’s annual Israel Parade, while Goldman used his participation to appeal to Jewish voters.
Earlier this month, Israel and Gaza consumed roughly 15 minutes of a one-hour debate between the candidates. Goldman expressed a desire to move on, arguing that “Israel is not the most important issue in this district,” while Lander countered that Gaza represents “one of the significant moral and humanity challenges of our time.”
Goldman has defended his support for Israel as consistent with his values. He told the Jewish Telegraphic Agency in February that there is “an undercurrent of antisemitism in the degree to which AIPAC seems to be vilified.”
The heat boiled over on Sunday when a Brooklyn coffee bar chain, Poetica Coffee, declared on social media after Goldman and his young daughter stopped by that it would have turned Goldman away from the cafe had staff known who he was, posting to Instagram that they don’t serve “genocide enablers.”
Next to a picture of Goldman taken outside the shop after he had ordered a coffee, and another image showing $9.82 refunded, the post added: “Do you see how it doesn’t taste like genocide juice? Or are you still having a hard time telling the difference?” (The account has since been disabled.)
Lander, who identifies as a liberal Zionist, had acknowledged the potential for anti-Israel passions in the race to get out of hand — telling an interviewer that criticizing AIPAC makes him “queasy” given “the antisemitic tropes at play,” but that he feels an obligation to call out its funding nonetheless as he promises to curtail U.S. military aid to Israel.
Goldman has not commented on the incident, other than to reply on Instagram: “The barista could not have been nicer to my 7-yr-old daughter and me.” Lander criticized the coffee shop’s response, telling the Forward, “There are plenty of ways to lobby elected officials and express outrage at the votes they’ve taken without turning coffee shops into places people don’t feel welcome.”
On the other end of the spectrum, Avila Chevalier attended a rally held in Times Square on Oct. 8, 2023 widely condemned for condoning Hamas’ violence. She has said she attended in anticipation of an Israeli military response, citing “a pattern in which whenever there is an incident, the state of Israel engages in a response that is often disproportionate and creates a greater loss of life.”
And she told the New York Editorial Board last week that Zionism “is an ideology that is looking to create a political system where one group of people has more standing before the law than another group of people.”
She faces AIPAC-backed incumbent Rep. Adriano Espaillat in NY-13, which covers Upper Manhattan and portions of the Bronx.
“To know that my opponent takes AIPAC money is something that, for a lot of people, is just disqualifying. It is [about] Palestine at the heart of it, but it’s also what it says about someone’s inability to stand up against something that is so blatantly horrific, someone who refuses to name a genocide,” Avila Chevalier told the Nation. “Can you trust someone who won’t even say that word to fight for you on the most basic of issues?”
Addressing AIPAC’s support for him in a primary debate, Espaillat said “no one dictates or tells me how to vote, my constituents do that.”
Meanwhile, in NY-7, which includes parts of Brooklyn and Queens, Valdez has sought to make Israel and AIPAC a campaign issue in a race where AIPAC is not involved and the candidates have broad agreement on Gaza.
Valdez faces Brooklyn Borough President Antonio Reynoso, whom she has critiqued for not using the word “genocide” to describe Israel’s actions until after he announced his candidacy. She also accused Reynoso of benefiting from secretive pro-Israel money, despite no evidence that AIPAC has supported his campaign.
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Is the art world finally ready to celebrate Diana Kurz?
Diana Kurz is on a roll. Last April, the 89-year-old, Viennese-born New York artist had a solo show of her abstract paintings, “Diana Kurz: A Journey of Discovery,” at the Lincoln Glenn Gallery in Chelsea. Motorists on the New York State Thruway can now see “The Hudson River Downtown, Triptych,” her large landscape reproduced as a permanent installation at the Ardsley Service Plaza, the first stop outside Manhattan. The US State Department recently chose two of Kurz’s still-life paintings for the US Embassy in Paraguay. And a series of Instagram reels featuring Kurz explaining aspects of her practice have earned her more than 24,000 followers. Kurz’s work will also be included in Lincoln Glenn’s “American Women Artists and the Century of Change,” opening later this summer.
“This is a time in New York to celebrate women artists of a certain age,” Kurz told me, mentioning that painters Joan Semel, Martha Edelheit, Lois Dodd and Judith Bernstein, all in their eighties and nineties, have been receiving renewed attention. “If you live long enough. But then, the work itself is what keeps you going.”
“Diana has been part of New York’s art culture since the early 1960s,” said Douglas Gold, co-founder of Lincoln Glenn, which focuses on artists who worked in New York between 1940 and 1980. “The women of this era continued painting despite an incredibly misogynistic culture. Dealers wouldn’t handle them or if they did, wouldn’t raise their prices, and the men of the period drank together and networked in downtown bars where women didn’t feel welcome. Historians, museums, people motivated to research this period, have taken note. It’s a moment to recognize the women who kept moving forward no matter what.”
‘One painting leads to another and another’
I first met Kurz in 1995 when I profiled her for the New York Jewish Week. Back then, the loft where she lives and works, a former doll factory in SoHo, had been taken over by a project both personal and enormous: larger-than-life paintings based on photos of men, women and children lost in the Holocaust, many of them her family members. She’d never intended to explore this material, had spent much of her artistic life avoiding the pain of her family’s narrow escape from the Nazis in 1940, when she and her parents boarded the last boat out of Southampton. Her father’s eyewear business had franchises beyond Austria, critical outposts that helped them flee.
When Kurz was growing up in Kew Gardens, Queens, in the 1940s and ‘50s, she was aware of family who’d perished in the concentration camps, but she also wanted to be an ordinary American and fit in. For many years, she denied her European background. Then, in 1989, on a trip to California, an aunt showed her a tiny photo of her uncle holding his baby daughter, both of whom died in the Holocaust (the family never learned the details of their fate) and she decided to make a painting based on the photo. “I never start out saying I’m going to do a big project, but sometimes one painting leads to another and another,” she told me.
A painter with roots in abstract expressionism, Diana is known for her dynamic use of color. “All that I learned painting abstractly, about composition, color, form and space, that’s in my figurative work too. It’s just as important to me as the image itself,” she said.
The luminous vitality of her palette and the depth it creates is what stays with me most in these works. In “Three,” which is nine-feet high, a father stands on crutches. He’s missing a leg, and on the lapel of his suit, he’s wearing the medal he earned in World War I. He holds the hands of his two small children, a little girl and boy each wearing the yellow star. The portrait is based on a photo of Eastern European Jewish war veteran Victor Fanjnzylber, whose heroic status exempted him from wearing the star but didn’t exempt his children. In the end, all three were still deported.
The little girl’s dress is a deep blue that almost glows, the boy’s shirt is apple green with yellow undertones (rhyming disturbingly with bits of the yellow star peeking out from under the suspenders of his short pants). The grey-violet of the father’s suit, with its folds and pleats, is deepened by its proximity to the daughter’s dress.
“Because of all the black-and-white photos we tend to associate with the Holocaust, people don’t realize how often the horrors took place on beautiful days, under clear skies,” said Kurz, “When reading people’s recollections, I was often struck by the irony of the fact that terrible, unspeaking things occurred while the sky was blue, with birds singing.”
‘I had no choice. I had to do that work.’
Kurz told me that she always knew she was an artist. “I remember my father saying to my mother that they’d better start frequenting museums because ‘if she’s going to be an artist we’d better know about it,’” she said. While working towards her MFA at Columbia in the late 1950s, she painted large, classically abstract expressionist paintings, and says she often learned more from her fellow students than from her teachers, who didn’t always take women seriously. Yet she persisted, and in 1966 won a Fulbright to Paris, where she was mentored by painter and art theorist Jean Hélion.
Hélion, a survivor of a German prison camp, encouraged her to try incorporating figures into her abstract work; he was the one who first gave her the photo that would become the painting “Three” two decades later. During residencies at Yaddo in 1968 and ‘69, she met Philip Guston, an important influence, who was remaking himself in those years, moving from the abstract to the tangible. Back in lower Manhattan, she became part of a group that included Mercedes Matter, Philip Pearlstein and Lois Dodd, all of whom were exploring figurative art and drew and painted from live models.
Solo shows followed, including three at the Green Mountain Gallery in the 1970s, and three at the Alex Rosenberg Gallery in the 1980s, highlighting her still life and portraiture. “Then I took on the Holocaust paintings and had no major shows for many years,” she said. “But I had no choice. I had to do that work.”
Kurz said she knew these paintings would be difficult to sell. “These are not portraits to hang over the couch or whatever,” she told me. Thus far, there have been 13 solo shows featuring the work, mostly in college and university galleries. “It’s allowed me to tell the history to newer generations, many of whom don’t know it.”
In 1998, the Bezirksmuseum Josefstadt in Vienna showed the “Remembrance” series in total as it existed then. Wien Museum (formerly known as the Historisches Museum der Stadt Wien) purchased two of the paintings. Another small canvas is at Yad Vashem. A major American museum has never done a comprehensive exhibit of all 18 portraits. This would seem the time for it.
Meanwhile Kurz continues to paint. “For me, inspiration comes through working,” she said. “You can’t sit there and wait for it.” Since 2005, she’s been painting a series of “small portrait heads,” mostly of actors, musicians, and dancers, young people from every possible background and ethnicity who are now filling up the same walls where “Remembrance” once dominated. The sitters are mostly under 30, and “I can look at them and see all this potential.” There are 43 so far, though she hopes one day to reach a hundred, and perhaps do an installation.
“I tell the models just to sit and look at me, and everyone puts such different energy into it. I find it fascinating,” said Kurz. “I love painting from life.”
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