Not too too too…

For branding a collection that includes canonical modern masterworks of graphic design in its unique assemblage of Austrian and German art, almost anything would be too much. Instead, almost nothing: an authoritative but understated approach that lets the art speak for itself, an impactful but minimal logotype in a custom typeface (called, naturally, Neue). Thus a strong and serious identity was quickly established for this new classic of New York culture.

With a background in cosmetics and fashion, the gallery's patron has a keen understanding for the impact of even small-scale identity and collateral elements: an unusually comprehensive and ongoing partnership between Pandiscio Green and the gallery addresses information graphics, signage, catalog templates, and more.

“Berlin Metropolis” reunites the curator and designer responsible for the Neue Galerie’s harrowing “Degenerate Art” exhibition of 2014.

… In the opening gallery, “The Birth of the Republic,” blowups of typographically elegant Dada poster-poems confront fiery political posters designed by German Expressionists during the turmoil that preceded the signing of the new republic’s constitution in Weimar in 1919. Later in the show, a reproduction of the handsome five-sided electrical traffic light that presided over Berlin’s Potsdamer Platz – probably the first in Europe – sums up a lot about German design logic and ingenuity. Mr. Pandiscio found it in an old photograph. It flashes cautionary yellow. … This show is itself masterly, a fast-moving smorgasbord that coheres through its call-and-response syncopation among the artworks themselves. Above it, buoyed by its evidence, hovers the unanswerable question of what might have been.

-Roberta Smith, The New York Times, 10.01.15