Spreads from Hannah Höch's personal scrapbook
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“There are no limits to the materials available for pictorial collages—above all they can be found in photography, but also in writing and printed matter, and in waste products.”
With the rise of printing, photography
rials that try to push conformity and propaganda to the masses, OHNE TIT EL ( from everything to reportage had become more widespread photography, political portrai-PHOTOMO and readily available, letting ture, newspaper clippings 14and X 12 IN. (3 Hannah Höch give birth to the headlines, fashion magazines, MORTON G. NEUMANN photomontage. Collage was trade journals, and so much not a new art per say, but Höch more. Höch’s photomontages and other dadaists gave it a new out from the rest because Although this workthey often hasstood been dated to 1920, its centralm life when they realized of the powerful messages and ing on the beach (identified in the caption as ClaudiaPawlow can create a new image from heavy comparisons she made came a June 1921 of Die Dame. Hoch replaced cut-outsfrom of a larger collection of issue by her specific chosen material pensive, even melancholic, and movedherfrom the glamoro images and material. Höch and in her montages. She even went cal domestic objects. These include a ball bearing nes her and partner, Raoul Hausmann, farther with her works, making suburban Berlin factory producedtrains and munitions realized that not only can the that self-expressive pieces with these lower right, appliancesturned on their heads.All the technique makekitchen a new image, heavily reproduced images, doubtless through herjob as a designerin the han but it can sayobtained something new. intertwining the representational This was especially important to photography with the abstract Die Dame 48, no. 1921),p. 6 the dada movement as 18 they(late were June patterns, silhouettes, and shapes looking for ways to deal with the of the technique. publications and printing mate-
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