A colorful, GDR-era mural by Josep Renau celebrating “man’s relation to nature and technology” has been restored “in all its pixelated glory” in Erfurt.  (The Guardian, 11/3/19)

In memoriam: Ingo Maurer (1932–2019), “Promethean in his delivery of illumination—fashioning lamps out of shattered crockery, scribbled memos, holograms, tea strainers and incandescent bulbs with feathered wings.”  (The New York Times, 10/24/19; Azure, 10/29/19)

“Beyond Bauhaus: Modernism in Britain 1933–66” is now showing at the RIBA in London. “The show casts a necessarily broad net,” writes Oliver Wainwright, “given our introverted island wasn’t particularly receptive to the radical cocktail of machine-made functionalism, abstraction and socialism.”  (The Guardian, 10/1/19)

There’s still time to see “Point of No Return,” a survey of Wende-era work by GDR artists at the Museum der bildenden Künste in Leipzig. Then head to the Düsseldorf Kunstpalast for “Utopia and Demise,” among the few major surveys of GDR art mounted since the Wende.   (The New York Times, 7/24/19; The Independent, 9/19/19)

The Bauhaus may have never had a proper music department, but “musical thinking permeated the lives of its students and faculty.”  (The New York Times, 8/22/19)

The “stylishly straightforward” Bauhaus Museum Dessau opened on September 9. “Our maxim was ‘more with less,'” says architect Roberto Gonzalez.  The Wall Street Journal, 8/9/19; artnet, 9/9/19; The Economist, 9/18/19)

Berlin’s “rebuilt Stadtschloss has become a national monument, but an accidental one—not a legacy defining grand projet, but the product of a series of actions with unintended consequences. It is a German monument developed in a very un-German way.”  (Financial Times, 9/13/19)

“Thousands of artworks from the Nazi period lie hidden away in storage depots,” both in Germany and the U.S. Is it time for the public to see them?  (Spiegel Online – International, 8/14/19)

“Mounting an exhibition containing swastikas, propaganda posters, photographs of Nazi rallies and clips of Leni Riefenstahl…was bound to generate controversy.” By that measure, the Design Museum Den Bosch’s exhibition on “Design of the Third Reich” does not disappoint.  (artnet, 9/17/19; The New York Times, 9/17/19)

“They complain that they do not have enough money to do research on these objects to take proper care of them…but they had enough money to build a castle in the middle of Berlin.” The debate over the Humboldt Forum and the repatriation of African artifacts continues.  (The New York Times, 9/4/19)

German ambassadors in Buenos Aires almost got to live in a “house in the trees” designed by Walter Gropius and his colleagues at The Architects Collaborative. Alas, the late-1960s project never came to fruition.  (Deutsche Welle, 7/2/19)

Here’s a friendly reminder from the Bauhaus Archive that the art and design school was not all about clean lines, white houses and tubular chairs. Exhibit A: the eccentric Landhaus Ilse, constructed in 1924.  (The Economist, 8/3/19)

“With luck, the swimmers will get their way, and the gleaming acropolis will live up to its intention of being a truly welcoming civic space.” The James Simon Gallery on Berlin’s Museum Island is now open to visitors.  (The Guardian, 7/8/19; The Economist, 7/12/19)

An exhibition at the Bundeskunsthalle in Bonn aims to show us how Johann Wolfgang von Goethe transformed the world. (The Art Newspaper, 5/29/19; Art Critique, 6/12/19)

“Though her painting style harks back to the 19th century, Laserstein’s portraits look astonishingly modern.” See Lotte Laserstein’s work for yourself at the Berlinische Galerie, now through August 12.  (Art & Object, 6/10/19; Apollo, 6/20/19)

Practical and philosophical problems continue to plague the Humboldt Forum in Berlin’s city center. Its opening has been now been delayed until 2020.  (The New York Times, 6/13/19; The Guardian, 6/16/19)

Pioneering photojournalist Gerda Taro was killed in 1937, just days before her 27th birthday, while documenting the carnage of the Spanish Civil War.  (Open Culture, 6/11/19)

A new exhibition at the Kunsthalle Rostock recalls the Palast der Republik as “a kind of microcosm of the GDR as one would have wished it to be.”  (The Art Newspaper, 5/31/19; The New York Times, 6/7/19)

Berlin has become a go-to destination for Chinese artists, writers, performers, and filmmakers who are “up to no good by the standards of Beijing’s morality police.”  (The Atlantic, 5/25/19)

“Around 30 ‘Judensau’ (Jewish Sow) images still exist in medieval churches around Europe, primarily in Germany…Their intention was to dehumanize Jewish people, provoking scorn and ridicule by associating them with a beast considered impure and dirty.”  (The Art Newspaper, 5/30/19)

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;’ The Nation, 9/19/19)

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)