A couple of years ago, the O.K. Harris Gallery organized an exhibition of late sculptures by Philip Pavia (1912–2005). Pavia died shortly after this tantalizing show of large primitivistic heads, his achievements as an artist largely lost to history. A photo of Pavia’s 1961 exhibition...

New York is awash in Expressionism. Glitter and Doom, a grim parade of Weimar-era portraits, was at the Met earlier this year. From Berlin to Broadway, a collection of modern German and Austrian works on paper bequeathed by Cabaret lyricist Fred Ebb, is currently at...

Integrity exacts a price from an artist. Take the case of painter George McNeil (1908-1995). A fixture of the New York School, McNeil refused to pose with his peers in a 1950 photo shoot for Time magazine. As the story has come down through his...

In the following excerpt, Nicholls focuses on the elements of linguistic and sexual violence in the poetry and drama of the Expressionist period.

In the following essay, Weisstein describes some of the significant differences and dichotomies inherent in the various strands of German Expressionism.

In the following excerpt, Murphy explores the revolutionary tendency of many Expressionist poets, citing their use of such techniques as irony, skepticism, and manipulation of the signifier in language.

A reflection on the aspects of expressionism and the ways in which they can be applied in drama. Emphasis is given to three basic terms found in expressionist drama: montage, the alienation effect, and geste.