One down, two to go—the first of Germany’s new Bauhaus museums opens in Weimar.  (artnet, 4/8/19; The Guardian, 4/17/19)

The exhibition “Emil Nolde. A German Legend: The Artist During the Nazi Regime,” now showing at the Hamburger Bahnhof in Berlin, reveals that “while his art was persecuted, the artist himself was not.”  (The New York Times, 4/10/19)

What’s not to love about Bauhausmädels: A Tribute to Pioneering Women Artists, a new Taschen book by Patrick Rössler?!  (Afar, 4/18/19; Creative Boom, 4/30/19)

The historic Clayallee building that briefly housed the Nazi-era Luftwaffe—and then, until 1994, headquarters for the U.S. occupation forces—is now home to Fluentum, a showcase for contemporary video art.  (The Art Newspaper, 5/2/19)

“Poor no more, but still sexy? Berlin seeks its art world niche.”  (The New York Times, 4/29/19)

“By both rejecting style when it could be reduced to fashion, and embracing an aesthetic that was too easily reduced by followers and commentators to exactly that, the Bauhaus ensured that its legacy would be universally embraced and almost as widely misunderstood.”  (The New York Times, 4/30/19)

In a new biography, Fiona MacCarthy transforms Walter Gropius “from a dull institutionalist…into a stylistic rebel who lived and loved in an exuberant community of artist outcasts that would be scattered across the world after Weimar Germany became the Third Reich.”  (The New Republic, 4/2/19; The Guardian, 4/25/19)

The culture ministers from all 16 German states have agreed on a set of guidelines for the restitution of colonial-era artifacts.  (artnet, 3/14/19; The New York Times, 3/15/19)

“Dozens of men, and a handful of women, glare mirthlessly from the walls of New York’s Neue Galerie, their urgent eyes and pensive frowns demanding that we pause and return their gaze.”  (Financial Times, 3/7/19)

Four descendants and students of the Bauhaus artists remember the individuals behind the movement.  (Financial Times, 4/5/19)

“The Whole World a Bauhaus,” at the Elmhurst Art Museum through April 20, is a “solid deep-dive primer even if it doesn’t take on the big question: How should we view the Bauhaus today?”  (Chicago Tribune, 3/8/19; CityLab, 3/13/19)

Forget the boxy architecture—the real legacy of the Bauhaus, writes Edwin Heathcote, is its “magical weirdness . . . the gothic fashion, the extreme pretentiousness, the learning of craft, the exuberant hope, the tolerance for the different, the dark and the downright strange.”  (Financial Times, 3/1/19; CityLab, 3/13/19)

“Forging Hitler’s art is a time-honoured tradition.”  (The Art Newspaper, 2/26/19; The New York Times, 3/6/19; Prospect, 4/2/19)

Ali Fitzgerald’s graphic memoir, Drawn to Berlin: Comic Workshops in Refugee Shelters and Other Stories from a New Europe depicts “a city and the refugees who’ve tried to adopt it as their own, as well as the medium of comics as a tool for self-knowledge.”  (The Atlantic, 11/7/18; Los Angeles Review of Books, 2/9/19)

Controversy over looted artifacts, and how best to remember and atone for the crimes of the colonial era, continues to haunt planning for the Humboldt Forum, which opens within the rebuilt Berlin Palace later this year.  (Deutsche Welle, 1/30/19)

“What do escalators in Medellin, Arabic lettering in Amman, story-telling furniture in London, urban farming in Detroit and a co-living complex in Tokyo have to do with the Bauhaus?” Bauhaus World, a three-part documentary from Deutsche Welle, will show you this and much more.  (Open Culture, 2/19/19)

The Gropius Bau is free at last: “This is an important architectural monument for Berlin and I didn’t feel it’s right to restrict it to people who could buy tickets.”  (artnet, 2/14/19)