Thousands of objects were looted from present-day Nigeria by British troops in a punitive mission in 1897.
Germany’s advisory commission on Nazi-looted art also recommended the return of a painting by Erich Heckel to the heirs of Jewish journalist Max Fischer.
The protesters called to redirect government funding of the Humboldt Forum towards cultural decolonization initiatives.
The painting, worth an estimated $340,000, was left behind by a traveler at Düsseldorf Airport and scrapped by a cleaning crew.
4 Nights at the Museum, a “weird-ass visual podcast,” is a good example of responsive curating amid the pandemic.
How better to illustrate the inadequacy of current restitution efforts than to offer up as tribute an object by one of Germany’s most famous artists, who thought art could bring about transformative social change?
The museum rolled its Trump lookalike off the premises in a dumpster.
Following their creation of an anti-fascist art installation for a show at Kunstsammlungen Chemnitz, the artist-activist group Peng! Collective found themselves at the center of a perhaps inevitable brouhaha.
A look back at all the questions, contradictions, omissions, and elisions of last year’s bauhaus imaginista exhibition reveals that it was a show about contemporary Germany as a country as much as it is about whatever we are calling “the Bauhaus.”
An organ recital of a piece by the composer began in 2001 and will run until 2640. This weekend, listeners gathered to hear its 14th chord change.
The Museum of Modern Art has released a short film of a German elevated train from its archives, and it absolutely rules.
Since about the 1970s, a new and largely post-vernacular Yiddish culture has started to develop in many, often unexpected, locales around the world. A related visual aesthetic now seems to be emerging.