Wolfgang J. Fuchs shares a few words on the art of comic book translation—he’s been working in the field since 1965.  (Deutsche Welle, 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)

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

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)

Industrial designer Dieter Rams introduces his ten timeless principles of good design (from the 2018 documentary Rams).  (Open Culture, 2/11/19)

Let the Bauhaus commemorations begin! Architect Charles Jencks gets this party started, asking about the movement’s legacy 100 years on.  (Financial Times, 1/4/19)

Blue particles in fossilized dental plaque, unearthed on the grounds of a Dalheim convent, suggest that women, too, were producers of illuminated manuscripts.  (The Atlantic, 1/9/19; The Conversation, 1/11/19)

“In retrospect, the Bauhaus invested a particular concept, ‘design,’ with such a quantity of meaning that it overwhelmed the word.”  (The New York Times, 2/4/19)

“‘Less is more,’ Mies van der Rohe, he of the towering, steel-ribbed black-glass boxes, once famously proclaimed, though no one seems to have told Harvard Art Museums.”  (The Boston Globe, 2/10/19; The Washington Post, 2/20/19)

“Sticking exactly to every fact and chronology tends to weaken something,” says director Florian Henckel von Donnersmarck ‘Citizen Kane’ would be a lesser film if it were called ‘Citizen Hearst.” Never Look Away (Werk ohne Autor), about an artist with a more than passing resemblance to Gerhard Richter, has just been nominated for an Oscar for Best Foreign-Language Film.  (The New Yorker, 1/21/19)