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eibliche Inkonscquenz. Mannlicher Haarschnitt, mannlicher Anzug und — — Puder und S

Höch usedJ.I. her ' photomontage to

assess how she felt disassociated from New Women. By use of Höch’s method of collection and appropriation, she accumulated mass amounts of new women imagery and made it her own. Höch focused on the feminine poses that women were expected en <£ntroidlung bed to assume, shedding light to the bizarre “liberated” Slurocn unb female body that gets genunb put basuptturio> for display in print and !)crrfd)enben video. Cbottin Assembling together new te cd)auftiicfe bc» in the way Höch women imagery idierlid)does nid)t mebrthe way that womexposed te, menn man en were stillftd) treated unequally to ncr in ^aris men, as eincn dolls, mannequins, dancm ein mcnig fteucrto view. Höch’s ers — objects unb bicfer »|>ert* assemblage of repeated poses and body parts from different medium creates a more disparate

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new women — a womanv --that t . mr* r does not belong to herself, one that is not whole, a collection of feminine behavior. The photomontage defamiliarized the conventionally seen women and gave us an opportunity to look for the contradictions and nuances among the average woman.

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Profile for Maine College of Art

A Montage of Hannah Höch by Ana Garcia  

A Montage of Hannah Höch by Ana Garcia  

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