SundayArts, Channel 13's weekly broadcast focusing on the world of New York art and culture, visits the Neue Galerie exhibition, "Postcards of the Wiener Werkstätte." Click here to watch the video of the segment.

2 December 2010,

Deborah Feller is both a clinical social worker and a visual artist. She draws on her background in both areas to give a nuanced interpretation of Messerschmidt's psychological struggles and arresting sculpture. [Read more]

20 November 2010,

The Neue Galerie is delighted to announce that its exhibition "Otto Dix" has been nominated for a 2010 Rob Pruitt Art Award in the category of best solo show of the year held in a museum. Click here to view all the nominees.

20 November 2010,

Writes Mario Naves, "Loathe as I am to perpetuate the myth that creativity and madness are inherently linked, madness does play a vital part in fueling the unnerving intensity of Franz Xaver Messerschmidt’s 'character heads.'" [Read more]

20 November 2010,

Much has been written on Messerschmidt's (arguable) madness, but perhaps not enough on his materials....When it comes to representing mental anguish, he showed that it's better to use materials less identified with the fine arts. [Read more]

20 November 2010,

"The character heads strike me not as realistic representations of the way a face changes with emotion, but as attempts to represent the way emotions, and those actions expressed through the face, feel from within." [Read more]

20 November 2010,

Designer Richard Mishaan is famous for his elegant, modern aesthetic sensibility. For Veranda Magazine, he selects some of his favorite Upper East Side destinations, and names both the Neue Galerie Design Shop and Café Sabarsky. [Read more]

20 November 2010,

"The character heads are shocking in their expressiveness....What makes [them] so otherworldly is their warped singularity within a form usually devoted to idealism and perfection.  Busts are meant to be honorific, not ugly." [Read more]

20 November 2010,

Lauren Flanigan is known for her commitment to offbeat, challenging roles. In the music of the Weimar period, she has found an ideal match for her taste and talent. Flanigan tells us about the choices she has made in her career, and in preparing her Café Sabarsky performance. [Read more]

25 March 2013,

"Each work is a self-portrait of sorts, rendering the exact expression but not necessarily the artist’s own exact features. To see the artist himself, we must look at the works as a whole and experience the anguish he felt." [Read more]

27 October 2010,

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