#aaron levi garvey

by Emma Riva

Andy Warhol painted Mao, machine guns and Marilyn Monroe, but the public was scandalized in 1980 when he painted Jews.

The New York Times claimed that Warhol’s “Ten Portraits of Jews in the Twentieth Century” “reek[ed] of commercialism, and their contribution to art is nil,” and The Philadelphia Inquirer called the portraits “Jewploitation.”

But this month, Andy Warhol Museum Chief Curator Aaron Levi Garvey, a Jewish curator and historian originally from New York, installed them at the museum.

“I never understood calling these portraits commercial or vapid,” Garvey said. “What of Warhol’s work isn’t commercial? He worked with the idea of what an icon is.”

The 10 Jewish subjects that Warhol, art dealer Ronald Feldman and JCC of Greater Washington Gallery Director Susan Morgenstein selected in 1980 were actress Sarah Bernhardt; United States Supreme Court Justice Louis D. Brandeis; philosopher Martin Buber; physicist Albert Einstein; psychologist Sigmund Freud; comedians the Marx Brothers; Israel’s Prime Minister Golda Meir; songwriter George Gershwin; and writers Franz Kafka and Gertrude Stein.

The installation at the Warhol, Garvey said, was initially conceived as a gesture of solidarity coinciding with the five-year commemoration of the Pittsburgh synagogue shooting.

Then the Hamas massacre of Oct. 7 happened.

Fear of controversy over highlighting Jews during a period of escalating violence and brutality in Israel — as well as personal antisemitic threats that Garvey said were made against him via email and voicemail — could have caused the Jewish curator to postpone or cancel the exhibit. But he’s no stranger to anti-Jewish hate and decided to go through with the installation.

“People used to carve swastikas into my desk when I was in high school, and I experienced major antisemitism in college,” he said. “I want viewers of ‘Ten Portraits’ to learn and be open to dialogue.”

The portraits share a room on the fourth floor of the Warhol with Keith Haring’s “Untitled (Elephant)” — a literal elephant in the room alongside a figurative one, Garvey noted.

In the lineup of Warhol’s “Jewish geniuses,” as the artist nicknamed them, the views and figures represented are complex. Kafka abandoned Judaism. Bernhardt hid her Jewish identity. Stein supported the Vichy government of France, an actively anti-Jewish regime. Einstein is quoted as saying: “I should much rather see reasonable agreement with the Arabs on the basis of living together in peace than the creation of a Jewish state” in a 1938 speech entitled “Our Debt to Zionism,” even though he was offered the position of president of Israel.

One of the many things that makes “Ten Portraits” so timely and provocative is that it asks viewers to consider what being a Jewish icon means. All the portraits are of Ashkenazi Jews and speak to a certain image of Jewish identity. However, rather than Jacob Riis-esque tenement photography or depictions of Jewish suffering and tragedy, Warhol highlighted Jewish exceptionalism in the arts, government and sciences.

“I want viewers to think about all of these people in multitudes, in a non-linear fashion,” Garvey said. “It’s about Jewish exceptionalism but in a multitude of ways. All of the subjects contain multitudes. In the wall text, I put that Martin Buber was a Zionist philosopher. Someone told me I couldn’t say that, and I was like, ‘Well, that’s what he was,’” Garvey recalled.