Exhibition features original art inspired by the Grimm Brothers fairy tale; new Met production of the opera opens December 24

In a unique collaboration between the Metropolitan Opera and The New Yorker magazine, Gallery Met brings together artists from the esteemed publication, plus a few special guests, in a colorful exhibition of new, original artworks titled Hansel and Gretel. The exhibition features renowned

New Yorker artists, including: Roz Chast, Ian Falconer, Jules Feiffer, Ana Juan, Ed Koren, Anita Kunz, Lorenzo Mattotti, Christoph Niemann, Lou Romano, Owen Smith, William Steig, Gahan Wilson, and Bob Zoell. The exhibit also features new works by well-known contemporary artists John Currin, George Condo, and William Wegman—also inspired by Hansel and Gretel.

Organized by Gallery Met Director Dodie Kazanjian in collaboration with the New Yorker’s Art Editor Francoise Mouly, Hansel and Gretel is inspired by the Met’s holiday presentation of Humperdinck’s operatic version of the Grimm fairy tale, premiering at the Met on Monday, December 24. The exhibition opens Friday, November 16, and runs through February 2006. Gallery Met is free and open to the public Monday through Saturday from 10 a.m. to 11 p.m. on performance days (closes at 6 p.m. on non-performance days) and Sundays from noon to 6 p.m.

The New Yorker’s witty and insightful artwork has been a hallmark of the publication since its founding in 1925, yet it is rare to see these artists shown together in a gallery setting. In the November 5 edition of The New Yorker (available on newsstands beginning October 29), Hansel and Gretel is previewed in a five-page portfolio that includes works from the exhibition by Ana Juan, Gahan Wilson, Lorenzo Mattotti, Lou Romano, Christoph Niemann, George Condo, John Currin, and William Wegman.

Dodie Kazanjian says, “The Hansel and Gretel story is one of our darker fairy tales. Its complex and often frightening overtones have fascinated both children and adults for centuries. On the occasion of the Met’s new production of the Humperdinck opera, I thought it would be intriguing to invite these artists, whose range and originality is so justly famous, to offer new visual interpretations of the old story.”

Francoise Mouly, adds, “The New Yorker artists are known for their wit and sophisticated approaches to visual narratives. They are the perfect choices to bring out the charm and humor lurking in the dark recesses of this deeply resonant fairy tale.”