Art piece of hannah hoch biography
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She presents an image of a world poised on the edge of chaos. The text on the cover translates to “The Practical Berliner”; Unknown author Unknown author / Hollerbaum & Schmidt (Reklameatelier), Public domain, via Wikimedia Commons
She was also scornful of the concept of marriage, frequently representing brides as dummies and toddlers, reflecting the widely held social belief that women are imperfect beings with no influence over their life.
Assembling fragments of images from snippets of popular magazines and fashion journals, the artist enacted a biting social critique of a fragmented world in the wake of World War I. Höch’s reliance on mass-produced materials was a direct repudiation of more traditional art forms, such as painting, that required academic training.
Höch's composition has lost the clear legibility and pointed social and political commentary of her earlier work.
From left to right: Raoul Hausmann, Hannah Höch (sitting), Otto Burchard, Johannes Baader, Wieland Herzfelde, Margarete Herzfelde, dr. Höch also wrote on the hypocrisy of males in the Dada group in her short piece “The Painter,” which was published in 1920 and depicts a modern pair that accepts equality between the sexes in their relationship, a fresh and disturbing concept at the time.
This is an instance of Höch’s ability to transcend one medium and transmit her societal values in a variety of ways.
Höch’s tenure at Ullstein Verlag, where she worked with women’s magazines, made her painfully aware of the disparity between women as depicted in culture and their realities, and her workspace provided her with many of the photos that functioned as raw resources for her own works.
The cover of an edition of Ullstein Verlag, c.
She was likely influenced by writer Hugo Ball, the Zurich-based founder of Dada, given Höch's doll costumes' resemblance to the geometric forms of Ball's own costume worn in a seminal Dada performance at the Swiss nightclub Cabaret Voltaire. Despite the fact that she went to school, domestic life took primacy in the Höch home. Her art was a powerful commentary on the changing roles and expectations of women in the early 20th century.
In Hannah Höch’s Collages, she also employed traditionally feminine techniques such as embroidery and lacework to accentuate gendered connotations. This photomontage is a great example of a composition that incorporates three of Höch’s main themes: androgyny, the “New Woman,” and political discourse.
With industrialization comes the potential for women to participate more fully in the labor field. She also questions the position of the "New Woman" of the Weimar Republic, looking at her as a fragmented and constructed image that serves particular ends in society, suppressing and disregarding other possible individual choices and desires.
Photomontage
1967
Industrial Landscape
Much of Höch's post-Second World War work is little-known and unacclaimed.
Her transformation of the visual elements of others by integrating them into her own larger creative projects evidenced a well-developed early example of "appropriation" as an artistic technique.
Accomplishments
- Höch was a key progenitor of the self-conscious practice of collaging diverse photographic elements from different sources to make art.
In the late 1920s, she incorporated advertisements for famous children’s dolls in numerous distressing photomontages, such as Love (1926) and the Master (1925). The two men carry menacing mechanical tools, but the hand of the man on the left seems to have been taken over by the piston, while his face (cut from a grainy newspaper) is obscured by the trigger of the sharp illustration of a gun.
Despite the fact that her art was not as well-received after the war as it was before the emergence of the Third Reich, she proceeded to create photomontages and show them abroad until her death in Berlin in 1978.
Photograph of Hannah Höch, 1974; Dietmar Bührer (de:Dietmar Bührer), CC BY-SA 4.0, via Wikimedia Commons
The Dada Art Style of Hannah Höch’s Collages
Dada was an art concept that began in Zurich, Switzerland in 1915.
Landesmuseum fur Moderne Kunst, Fotografie und Architektur
1918-20
Heads of State
Heads of State is built around a newspaper photograph of the German president Friedrich Ebert and his Minister of Defense, Gustav Noske. Cut with the Kitchen Knife, a 1919 satire of Weimar Germany, is her most renowned work.
One of the bankers' heads is spliced cleanly in half, and behind it are two shotguns, which look as if they are simultaneously being aimed by and at the banker. Dadaists believed that art should be free of restrictions and that it should be humorous and fun. Hannah Höch’s Collages, which drew images from popular culture and used image deconstruction and reassembly, matched well with the Dada aesthetic, while some Dadaists were reluctant to embrace her work owing to the movement’s intrinsic misogyny.
Her art provided a “wryly feminist tone” to the Dadaist concept of contempt for bourgeois society, but her gender identification and feminist source material resulted in her not being completely embraced by the masculine Dadaists.
Hannah Höch’s paintings, like that of other Dada artists, was closely scrutinized by the Nazis because it was deemed degenerate.
Over the years, Höch built numerous crucial personal and professional contacts with people like Nelly van Doesburg, Sonia Delaunay, and Piet Mondrian, among others. The Met's Open Access API is where creators and researchers can connect to the The Met collection.