News

"A distinguished group of individuals queued outside the Neue Galerie's 86th Street entrance for a private preview of Franz Xaver Messerschmidt’s arresting sculptural grimaces which hinted of mental unrest." [Read more]

29 September 2010,

“Anything great in this world has come from neurotics,” Marcel Proust wrote. He could easily have been referring to a string of manic, morose and sometimes quite mad artists who came and went over the centuries... [Read more]

22 September 2010,

One of the strangest yet most compelling figures in the history of art begins a star turn in Manhattan Thursday as the Neue Galerie opens "Franz Xaver Messerschmidt 1736-1783: From Neoclassicism to Expressionism."  [Download the article as a pdf]

22 September 2010,

"It’s this uneasy admixture of hyper-sensitivity and callousness that makes him ideally suited to capture Weimar era Germany: he sees the decay that goes hand in hand, etymologically and otherwise, with the decadence of the period." [Read more]

23 August 2010,

In advance of the publication of their review of the Otto Dix exhibition, The New York Review of Books posted an online slide show of works from the show, accompanied by excerpts from the article. [View the slide show]

2 August 2010,

British travel show "Monumental Adventure" aims to give viewers an insider's guide to New York. Their new website makes clips from their show available to the public, including a segment they produced in 2008 about the Neue Galerie. [Watch the clip online]

2 August 2010,

Writes FT arts critic Ariella Budick, "What makes Dix so bewitching is his merciless, mud-seeking eye combined with the refined precision of his hand. He exaggerates nothing, insisting that we see the world in all its garishness." [Read more]

2 August 2010,

Distinguished art critic Dore Ashton writes in her review, "[Dix's] extensive series of prints and drawings, particularly those of trench warfare, are undeniably among his most valuable contributions to art history." [Read more]

2 August 2010,

Columbia Daily Spectator writer Maria Castex says of Dix's 1924 portfolio War, "the small scale, the darkness of the ink, and the violence with which the figures and landscapes are rendered...forces viewers to really focus on the images." [Read more]

2 August 2010,

"The painter himself said he was neither for war nor against war. Instead he provided a kind of modified reportage, Peters said, that is "a reflection of war... filtered through experience and memories but also reflected through the basis of Dix's knowledge of art history." [Read more]

2 August 2010,

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