Page 12

26

HANNAHHOCH

29

gE ª ll

THEDADAYEARS

ry

lltftranHcnlofc

>iingcrch6r

THE DADA YEARS

25

THE DADAYEARS

l

» j5uR0ERUCH.es

frfMirrmAR * ' stre/7") '

44ANMJ HOCH

2

BURGERLICHES

DADA-RUNDSCHAU PHOTOMONTAGE

WITH GOUACHE 17 Vu X 13 9

( OLLEC I ION BERLINISCHE

GALERIE,

LANDESMUSEUM

BRAUTPAAR

1919 ON CARDBOARD

(Bourgeois Wedding Couple [Quarrel])

IE UND ARCHITEKTUR.

i9

15 X 12 1/16 IN. (38 X 30.6 CM) PRIVATE

IN. (43.7 X 34.5 CM)

FUR MOD ERNE KUNST, PHOTOGRAPH

(STREIT)

PHOTOMONTAGE

(Dada Panorama) AND WATERCOLOR

COLLECTION

BERLIN

Top left down: Dada Panorama, 1919 — photomontage with gouache and watercolor on cardboard Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919 –1920 — photomontage Dada-Ernst, 1920 –1921— photomontage

28

HANNAH HOCH

32

HANNAH HOCH

Bourgeois Wedding Couple [Quarrel], 1919 — photomontage

I

SCHNITT MIT DEM KUCHENMESSER DADA DURCH DIE LETZTE WEIMARER BIERBAUCHKULTUREPOCHE DEUTSCHLANDS (Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany) i 9 1 9-1920

6

PHOTOMONTAGE 44 Vs X 35 7 IN. (114 X 90 CM) COLLECTION

STAATLICHE

MUSEEN ZU BERLIN— PREU6ISCHER

KULTURBESITZ,

DA DANDY

NATION ALGALERIE

Da Dandy, 1919 — photomontage

1919

PHOTOMONTAGE

This large and complex photomontageunites representativesof the former Empire,the military,and the new, moderate governmentof the Republicin the "anti-Dada" corner at the upper right, while grouping Communistsand other radicals together with the Dadaistsat the lower right. Thesemostly malefiguresare pairedwith photographicfragmentsof active, energeticwomen—dancers,athletes,actresses,and artists—who animatethe work both formallyand conceptually.The newspaperfragment at the lower right identifiesthe Europeancountries in which women could or would soon be able to vote, includingGermany,which grantedwomen suffragein its 1919 constitution.By placingthe clipping in the corner she normallyreservedfor her signatureand includinga small self-portraithead at the upper-left edge of the map, Hoch iden tified herselfwith the political empowermentof women, who, she envisioned,would soon "cut" through the male "beerbelly" culture of earlyWeimarGermany.A full treatmentof this work, includingextensivedocumentationof Hoch's source images (most of which came from issues of BIZ), can be found in Gertrud Jula Dech's Schnitt mit dem Kuchenmesser Dada durch die letzte weimarerBierbauchkulturepocheDeutschlands: Untersuchungenzur Fotomontagebei Hannah Hoch (Munster: LitVerlag, 1981).— MM

11 ' Vi6 X 9 '/is IN. (30 X 23 CM) PRIVATE COLLECTION

Duringthe earlyWeimarera Hoch often made silhouetteportraits, cut from black or white paper, of friends such as Nelly van Doesburg, Hans Arp, Salomo Friedlaender,and others. Here, the silhouette of a man, accentuated by a bit of red backing paper Hoch left exposedaroundthe outline of his head, subsumesfragmentedimagesof fashionable,seductive "New Women." By titling the work Da Dandy, Hoch identifiedthis malefigure as both a Dadaistand a dandy, thus refer encing the fascinationof the Dadaists(in particular,GeorgeGrosz and RaoulHausmann)with fashion. MM

3 ST A A TSHAUPTER

( Heads

of State)

1918-1920

PHOTOMONTAGE 6 Vs X 9 Vi6 IN. (16.2 X 23.3 CM) COLLECTION

INSTITUT FUR AUSLANDSBEZIEHUNGEN,

STUTTGART

For this work, Floch used a well-known photograph of German Reich President Friedrich Ebert and DefenseMinister

GustavNoske,taken at a BalticSearesortjust two weeksafter the Weimarconstitutionhad beensignedinto law. Floch— Jlluftrirte3eitung at the time a Communistsympathizer—parodiedthese SocialDemocratic"headsof state" by collagingtheir paunchyfig

ures atop an iron-on embroiderypattern, associatingthem not with the traditionallymalerealmof state formationbut with the female domain of leisured relaxation. Floch used the same source image of Ebert and Noske in the related Dada Panorama(pi.2). — MM BIZ 28, no.34 (24 August 1919), cover

7 DADA-ERNST

1920-1921

PHOTOMONTAGE

.

75

X 6 9/16IN. (18.6 X 16.6 CM)

COLLECTION

ARTURO

SCHWARZ,

MILAN

This title can be read literally, as "Dada-Serious,"or as a possible punning referenceto Max Ernst, the Cologne-based Dadaistwho, like Hoch, also worked extensivelyin collage and photomontage.— MM

12

Heads of State, 1918 –1920 —photomontage

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A Montage of Hannah Höch by Ana Garcia  

A Montage of Hannah Höch by Ana Garcia  

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