462:(1929), one of Höch's most ambitious and highly political projects, is composed of twenty photomontages that depict images of European female bodies with images of African male bodies and masks from museum catalogues, creating collages that offer "the visual culture of two vastly separate civilizations as interchangeable—the modish European flapper loses none of her stylishness in immediate proximity to African tribal objects; likewise, the non-Western artifact is able to signify in some fundamental sense as ritual object despite its conflation with patently European features." Hoch created Dada Puppens (Dada Dolls) 1916. These dolls were influenced by Hugo Ball, the Zurich-based founder of Dada. The doll's costumes resembled the geometric forms of Ball's own costumes worn in seminal Dada performances.
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have been revered by the Nazis). The lips in the upper right corner show a feminine sexuality that is kept from the male gaze. (Lavin). For the viewer, the piece can provide the concept of a utopian moment that opposes gender-hierarchies. "Her androgynous images depict a pleasure in the movement between gender positions and a deliberate deconstruction of rigid masculine and feminine identities" (Lavin). These ideas were radical at the time when Höch raised them, but are still in the process of being addressed today. Androgyny can be viewed as a utopian ideal in Höch's works; in addition it relates to some of the radical leftist ideas in her works and the political discourse surrounding them.
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disparaged Höch not only for her desire to marry him, which he described as a "Bourgeois" inclination, but also for her opinions on art. Hausmann's hypocritical stance on women's emancipation spurred Höch to write "a caustic short story" entitled "The
Painter" in 1920, the subject of which is "an artist who is thrown into an intense spiritual crisis when his wife asks him to do the dishes." Hausmann repeatedly implied that the only way Höch could reach full potential, as a woman and in their relationship, was to have a child with him. Höch herself wanted children, but both times she found she was pregnant with Hausmann's child, in May 1916 and January 1918, she had an abortion.
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284:. Some claim that it was Höch's relationship with Hausmann that allowed her into the sphere of Dada artists. George Grosz and John Heartfield were against Höch exhibiting with them in the 1920 First International Dada Fair, and only allowed her participation after Raoul Hausmann argued for her inclusion. Hausmann, however, still attempted to deny Höch a place in the movement, by writing in his memoirs that "she was never a member of the club." She nonetheless held the title of “Dadasophin“ within the movement.
307:"Höch's photomontages display the chaos and combustion of Berlin's visual culture from a particularly female perspective" (Makholm). "Höch was not only a rare female practicing prominently in the arts in the early part of the twentieth century—near unique as a female active in the Dada movement that coalesced in her time—she also consciously promoted the idea of women working creatively more generally in society. She explicitly addressed in her pioneering artwork in the form of photomontage the issue of
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modernist abstraction were integrally related, blurring the boundaries between traditionally masculine and feminine modes of form and expression" (Makholm). She wrote a
Manifesto of Modern Embroidery in 1918, which spoke to the modern woman, empowering her to take pride in her work. "She now drew on this experience and on a large body of advertising material she had collected, in images that were unprecedented in their insights into the way society 'constructs' women" (Hudson).
291:. These collages, which borrowed images from popular culture and utilized the dismemberment and reassembly of images, fit well with the Dada aesthetic, though other Dadaists were hesitant to accept her work due to inherent sexism in the movement. Her work added "a wryly feminist note" to the Dadaist philosophy of disdain towards bourgeois society, but both her identity as a woman and her feminist subject matter contributed to her never being fully accepted by the male Dadaists.
212:, whom Höch met through mutual friends Kurt and Helma Schwitters. By autumn of 1926, Höch moved to The Hague to live with Brugman, where they lived until 1929, at which time they moved to Berlin. Höch and Brugman's relationship lasted nine years, until 1935. They did not explicitly define their relationship as lesbian, instead choosing to refer to it as a private love relationship. In 1935, Höch began a relationship with Kurt Matthies, to whom she was married from 1938 to 1944.
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accepted mode of design linked with modernity and consumerism. Thus began the notion that mass culture and fine arts could be combined in a meaningful way. The ambiguity in her work was integral to the way which she addressed issues of sexuality and gender. These complex constructions of genders allow women to embrace both their masculine and feminine attributes. This leads to an intensified sense of individualism. Photomontage is a large part of Höch's legacy as an artist.
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were once again a central theme in her work from 1963 to 1973. Her most often used technique was to fuse together male and female bodies. This fusion existed in order to give the attributed power of a man to a woman, as well as blur the lines of gender attributed actions. She also used historically feminine mediums such as embroidery and lace in her collages to highlight gendered associations.
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workforce. While this opportunity was exciting for women, it was also frightening—symbolized by the cat eyes staring down at the image. This image shows that although women were excited about the idea of the "New Woman" and the freedom this lifestyle might bring, it was a freedom that was still constructed by men, who still had most of the power in society.
395:, "mannish women were both celebrated and castigated for breaking down traditional gender roles." In this artwork Hoch metaphorically equates her scissors, used to cut images or her collages, to the kitchen knife. This is used to symbolize cutting through the dominant domains of politics and public life in Weimer culture. Her
248:", which made it even more difficult for her to show her works. Though her work was not acclaimed after the war as it had been before the rise of the Third Reich, she continued to produce her photomontages and exhibit them internationally until her death in 1978, in Berlin. Her house and garden can be visited at the annual
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Nazis preferred a traditional clear rational style of artwork that did not require deep thought or analysis. They felt that the chaos of the Dada style bordered on pathological. Höch went into seclusion during the Nazi years and was later able to return to the art world after the fall of the Third Reich.
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Like other Dada artists, Höch's work also came under close scrutiny by the Nazis as it was considered degenerate. The Nazis put her 1932 intended exhibition at the
Bauhaus (a German art school) to a stop. They were not only offended by her aesthetic, but also by her political messages and by the mere
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movement. Höch's involvement with the Berlin
Dadaists began in earnest in 1917. Höch, as the only woman among the Berlin group, was singled out for her self-sufficiency, masculine presentation, and bisexuality, as she consistently addressed themes of the "New Woman" free to vote, free to enjoy sexual
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described Höch's contribution to the Dada movement as the "sandwiches, beer and coffee she managed somehow to conjure up despite the shortage of money." Raoul
Hausmann even suggested that Höch get a job to support him financially, despite her being the only one from her close circle to have a stable
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In these montages, Höch gathered images and text from popular forms of media, such as newspapers and magazines, and combined them in often uncanny ways, which were able to express her stances on the important social issues of her time. The fact that images she included in her pieces were pulled from
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This piece alludes to an ambiguous sexual identity of the subject. The image depicts two men looking upward at a pair of legs clad in stockings with high heels atop a pedestal. This pedestal symbolizes traditionalism, while the legs show sexuality triumphing over classical architecture (which would
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and of the Dada movement. Many of her pieces sardonically critiqued the mass culture beauty industry of the time, then gaining significant momentum in mass media through the rise of fashion and advertising photography. Many of her political works from the Dada period equated women's liberation with
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The power of the works came from the intentional dismemberment and reconstruction of the images. This alludes to the notion that current issues can be viewed through different lenses. This technique was originally thought of as extremely leftist and revolutionary, but by the 1930s, it had become an
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Women in Weimar
Germany in theory had a new freedom to discover social, political, and self-definition—all areas heavily addressed by Höch. Despite this, there were still many issues with the socioeconomic status of women. Women were given more freedom, yet in a way that seemed to be predetermined
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Dada was an artistic movement formed in 1916 in Zurich, Switzerland. The movement rejected monarchy, militarism, and conservatism and was enmeshed in an "anti-art" sentiment. Dadaists felt that art should have no boundaries or restrictions and that it can be whimsical and playful. These sentiments
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Her work displays the chaos and combustion of Berlin's visual culture from the female perspective. In particular, her photomontages often critically addressed the Weimar New Woman, collating images from contemporary magazines. Her works from 1926 to 1935 often depicted same-sex couples, and women
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Höch's time at
Ullstein Verlag working with magazines targeted at women made her acutely aware of the difference between women as portrayed in media and their reality, and her workplace provided her with many of the images that served as raw material for her own work. She was also critical of the
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On her exclusion and the sexism of the
Dadaists, Höch responded, "None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . .
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Her images portrayed androgynous individuals, which the Nazis despised. Nazi ideology appreciated artwork that portrayed the ideal Aryan German man and woman. The images Höch used often contrasted this look, or used it to make a point about society (such as in the piece "the
Beautiful Girl"). The
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is "an explosive agglomeration of cut-up images, bang in the middle of the most well-known photograph of the seminal First
International Dada Fair in 1920" (Hudson). This photomontage is an excellent example of a piece that combines these three central themes in Höch's works: androgyny, the "New
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between 1916 and 1926 in the department which focused on design patterns, handicrafts, knitting and embroidery, artistic forms within the domestic sphere which were considered appropriate for women. "The pattern designs Höch created for Ullstein's women's magazines and her early experiments with
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Art historian Maria Makela has characterized Höch's affair with Raoul Hausmann as "Stormy", and identifies the central cause of their altercations—some of which ended in violence—in Hausmann's refusal to leave his wife. He reached the point of fantasizing about killing Höch. Hausmann continually
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Höch created an expansive series of works titled the Ethnographic Museum Series after a visit to an ethnographic museum. Germany had begun colonial expansion into African and Oceanic territories by the 1880s, which lead to an influx of cultural artifacts into Germany. Höch was inspired by the
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Höch also wrote about the hypocrisy of men in the Dada movement in her short essay "The Painter", published in 1920, in which she portrays a modern couple that embraces gender equality in their relationship, a novel and shocking concept for the time. This is an example of how Höch was able to
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shows the construction of the archetype of the "New Woman". The piece combines motifs of the ideal feminine woman with car parts. In the upper right corner there is a woman's face with the eyes of a cat. Along with industrialization comes the opportunity for women to be more involved in the
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is a part of this return, showing a woman surrounded by feathery pink fauna. The woman's face is covered by a Peruvian terracotta trophy head. In this piece, Höch effaces the figure of the New Woman and replaces her head with a tribal mask, turning the figure from beautiful to disturbing.
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Dada was an inherently political movement; Dadaists often deployed satire to address the issues of the time. They attempted to push art to the limits of humanity and to convey the chaos in post-war (World War I, which did not yet have this title) Germany. "Many of Höch's overtly political
148:(The Practical Berlin Woman). The influence of this early work and training can be seen in a number of her collages made in the late 1910s and early- to mid-1920s in which she incorporated sewing patterns and needlework designs. From 1926 to 1929 she lived and worked in the
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arose after the Great War, which caused society to question the role of government, and to reject militarism after seeing the atrocities of war. Many Dada pieces were critical of the Weimar Republic and its failed attempt at creating a democracy in post-war (WWI) Germany.
555:, or the Kwakuti Indian tribe, on the Northwest Coast. She pastes a woman's mouth over the bottom of the mask, and a single eye over one of the eye holes. The image is part of an ongoing critique by Höch of Paragraph 218, a law outlawing abortion in Germany at the time.
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The Dada movement had a tone of fundamental negativity in regards to bourgeois society. The term "dada" has no actual meaning – it is a childlike word used to describe the lack of reason or logic in much of the artwork. The main artists involved in the movement include
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they all desired this ‘New Woman’ and her groundbreaking will to freedom. But—they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men.”
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in Berlin, Germany, keeping a low profile. She was the last member of the Berlin Dada group to remain in Germany during this period. She bought and lived in a small garden house in Berlin-Heiligensee, a remote area on the outskirts of Berlin.
949:. Artistry of Polarities. Montages – Metamechanics – Manifestations. Translated by Brigitte Pichon. Vol. V. of the ten editions of Crisis and the Arts. The History of Dada, ed. by Stephen Foster, New Haven, Conn. u. a., Thomson/ Gale 2003.
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in London presented a major exhibition of Höch's work from 15 January to 23 March 2014. This exhibition was composed of over one hundred works from international collections that Höch created from the 1910s to 1970s. Highlights included
73:. These themes all interacted to create a feminist discourse surrounding Höch's works, which encouraged the liberation and agency of women during the Weimar Republic (1919–1933) and continuing through to today.
58:": an energetic, professional, and androgynous woman, who is ready to take her place as man's equal. Her interest in the topic was in how the dichotomy was structured, as well as in who structures social roles.
51:. Photomontage, or fotomontage, is a type of collage in which the pasted items are actual photographs, or photographic reproductions pulled from the press and other widely produced media.
590:. This series is primarily watercolor and pencil. The images show individual figures without hair or defining features, in long gray shifts, filing across barren pastel landscapes. The
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photomontages caricatured the pretended socialism of the new republic and linked female liberation with leftist political revolution" (Lavin). Perhaps Höch's most well known piece
1997:"Hannah Hoch in Gotha – eine Ausstellung zeigt die weniger bekannten Bilder und Zeichnungen der sonst als Dada-Dame gerühmten Künstlerin: Die Frau für Besserwisser"
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were also important, if overlooked, Dada figures. Höch references the hypocrisy of the Berlin Dada group and German society as a whole in her photomontage,
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under the guidance of glass designer Harold Bergen. She chose the curriculum in glass design and graphic arts, rather than fine arts, to please her father.
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symbolizes her cutting through the patriarchal society. The piece is a direct criticism of the failed attempt at democracy imposed by the Weimar Republic.
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She married businessman and pianist Kurt Matthies in 1938 and divorced him in 1944. She suffered from the Nazi censorship of art, and her work was deemed "
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in 1919. This piece combines images from newspapers of the time mixed and re-created to make a new statement about life and art in the Dada movement.
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for them. They were still restricted to certain jobs and had the less employment benefits than their male counterparts. Analysis of Höch's piece
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Woman" and political discourse. It combines images of political leaders with sports stars, mechanized images of the city, and Dada artists.
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Höch ended her seven-year relationship with Raoul Hausmann in 1922. In 1926, she began a relationship with the Dutch writer and linguist
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Maria Makela (1996). "By Design: The Early Work of Hannah Höch in Context". In Boswell, Peter; Makela, Maria; Lanchner, Carolyn (eds.).
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Maria Makela (1996). "By Design: The Early Work of Hannah Höch in Context". In Boswell, Peter; Makela, Maria; Lanchner, Carolyn (eds.).
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and attraction to masculinity in women (that is, attraction to the female form paired with stereotypically masculine characteristics).
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and children, reflecting the socially pervasive idea of women as incomplete people with little control over their lives.
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Series, that mainly utilizes the photo of a pregnant, working class mother. Höch effaces the woman with a mask from the
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176:, among others. Höch, along with Hausmann, was one of the first pioneers of the art form that would come to be known as
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in Gotha to care for her youngest sibling, Marianne. In 1912 she began classes at the college of Applied Arts in
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McBride, Patrizia. "Narrative Resemblance: The Production Of Truth In The Modernist Photobook Of Weimar Germany."
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Höch returned to the female figure in the 1960s after a long period where she favored surrealism and abstraction.
152:. Höch formed many influential friendships and professional relationships over the years with individuals such as
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391:(1919–20). Her pieces also commonly combine male and female traits into one unified being. During the era of the
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1222:. Nashville, Tennessee, USA: Faculty of the Graduate School of Vanderbilt University. p. 48. Archived from
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964:(mit Rekonstruktion der Ersten Internationalen Dada-Messe und Dada-Chronologie) Berlin: Gebr. Mann Verlag 2000.
452:("Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany"), a critique of
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Höch considered herself a part of the women's movement in the 1920s, as shown in her depiction of herself in
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1359:. "The New Woman in Hannah Höch's Photomontages: Issues of Androgyny, Bisexuality, and Oscillation." in
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Höch's work was intended to dismantle the fable and dichotomy that existed in the concept of the "
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1675:, No. 51, Special Issue on Weimar Mass Culture (Autumn, 1990), pp. 62–86: Duke University Press:
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Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands
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Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands
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Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany
1469:; Amsterdamer Beitrage Zur Neueren Germanistik (Book 70); Rodopi (October 16, 2009); p. 125
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Jolles, Adam (2006). "The Tactile Turn: Envisioning a Postcolonial Aesthetic in France".
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pedestals and masks present in the museums, and began incorporating them into her art.
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Gender and Laughter: Comic Affirmation and Subversion in Traditional and Modern Media
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Makholm, Kristin (1997-01-01). "Strange Beauty: Hannah Höch and the Photomontage".
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Three Berlin Artists of the Weimar Era: Hannah Höch, Käthe Kollwitz, Jeanne Mammen
499:"The New Woman of Weimar Germany was a sign of modernity and liberation" (Lavin).
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The 128th anniversary of her birthday was commemorated on 1 November 2017 by a
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Höch's work has been exhibited internationally in solo and group exhibitions.
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From 1916 to 1926, she worked in the handicrafts department for the publisher
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Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic
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Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic
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transcend one particular medium and convey her social ideals in many forms.
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1669:, "Androgyny, Spectatorship, and the Weimar Photomontages of Hannah Höch",
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We Weren't Modern Enough: Women Artists and the Limits of German Modernism.
116:. In 1915 she returned to Berlin, where she entered the graphics class of
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Visions of the 'Neue Frau': Women and the Visual Arts in Weimar Germany.
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The subversive stitch : embroidery and the making of the feminine
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Gaby Pailer, Andreas Böhn, Ulrich Scheck, Stefan Horlacher (editors);
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1371:(Berkeley, California: University of California Press, 2005), 324–41.
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Objects as History in Twentieth-Century German Art: Beckmann to Beuys
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Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Hoch.
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Lavin, Maud. "The Mess of History or the Unclean Hannah Höch". In:
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New German Critique: An Interdisciplinary Journal of German Studies
1894:"Woven Histories: Textiles and Modern Abstraction - 5415-list.pdf"
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Reclaiming Female Agency: Feminist Art History After Postmodernism
1010:. The Institute of Contemporary Art, Boston & MIT Press, 1996.
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Montage und Metamechanik. Dada Berlin – Ästhetik von Polaritäten
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1977:"'Vorhang auf für Hannah Höch': Die Theaterbühne im Dadaismus""
1867:"Hannah Höch. Indian Dancer: From an Ethnographic Museum. 1930"
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Women in the Metropolis: Gender and Modernity in Weimar Culture
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Lilienstaub & Schmidt, Berlin 2019, ISBN 978-3-945003-45-9.
140:, designing dress, embroidery, lace, and handiwork designs for
1568:. In Boswell, Peter; Makela, Maria; Lanchner, Carolyn (eds.).
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series is black and white but contains similar figures to the
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Höch was the lone woman among the Berlin Dada group, although
1315:. Berkeley: University of California Press. pp. 119–121.
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current newspapers and magazines gave her messages validity.
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and the figure of woman in modern society" (The Art Story).
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Berkeley, California: University of California Press, 1999.
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1120:. Larass, Petra., Klier, Melanie, 1970–. Munich: Prestel.
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Das Lachen Dadas. Die Berliner Dadaisten und ihre Aktionen
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The Dada Cyborg: Visions of the New Human in Weimar Berlin
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Hannah Höch – Auf der Suche nach der versteckten Schönheit
124:. Also in 1915, Höch began an intimate relationship with
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Makela, Maria. "Hannah Höch". In: Louise R. Noun (ed.),
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Lady Dada. Essays über die Bild(er)finderin Hannah Höch.
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Höch was a pioneer of the art form that became known as
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1572:(1. ed.). Minneapolis: Walker Art Center. p.
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Berlin: Deutsche Gesellschaft für Bildende Kunst, 1968.
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Hannah Höch with her puppets, Dada-Messe, Berlin, 1920.
1483:"Hannah Hoch and the Dada Montage ⋆ In the In-Between"
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Aspects of Innere Emigration in Hannah Höch 1933–1945
1566:"By Design: The Early Work of Hannah Höch in Context"
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Hand/Arbeit/Buch/SchrifT: approaching the female hand
995:. "Dada's Girl: Hannah Höch Thumbs Her Nose at Art."
425:, 1989, sculpture in homage to Hannah Höch in Berlin-
1281:"Hannah Höch | National Museum of Women in the Arts"
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New Haven, Connecticut: Yale University Press, 1993.
935:. Minneapolis: University of Minnesota Press, 2009.
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1541:"Hannah Höch Biography, Art, and Analysis of Works"
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372:institution of marriage, often depicting brides as
1824:(1. ed.). Minneapolis: Walker Art Center. p. 177.
1811:(Cambridge: University of Cambridge, 2010), 80–81.
1785:Women in Dada: Essays on Sex, Gender, and Identity
1709:"Before Digital: Hannah Hoch and the Dada Montage"
1311:Makela, Maria (1997). von Ankum, Katharina (ed.).
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812:Hannah Höch: Bilder, Collagen, Aquarelle 1918–1961
1441:. United States: Yale University Press. pp.
1336:(1. ed.). Minneapolis: Walker Art Center. p. 64.
928:. Berkeley: University of California Press, 2010.
133:encounters and begin them, and free financially.
1626:"Hannah Hoch: The woman that art history forgot"
1031:. Des Moines, Iowa: Des Moines Art Center, 1994.
659:Woven Histories: Textiles and Modern Abstraction
598:series. The series, comprising two works titled
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191:, 1919, collage of pasted papers, 90 x 144 cm,
85:Portrait of Hannah Höch (1933), by Chris Lebeau
47:period, when she was one of the originators of
729:, Germany, 7 November 2015 – 21 February 2016.
43:artist. She is best known for her work of the
39:; 1 November 1889 – 31 May 1978) was a German
2136:
1787:. Cambridge, MA: The MIT Press. p. 331.
547:This piece is a photomontage, part of Höch's
399:characters may also have been related to her
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1959:"Exhibition September 2016 to January 2017"
570:Höch also executed two series around 1943,
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1020:Meskimmon, Marsha & Shearer West, ed.
785:, Minneapolis, New York City, Los Angeles.
232:Hannah Höch's Gardenhouse, Berlin, Germany
1601:. United Kingdom: Blackwell Publishing.
842:
1104:
1013:Makela, Maria, and Peter Boswell, eds.
650:(1931), and many works from the series
423:Der archaische Erz-Engel vom Heiligense
1214:McEwen, Kathryn Elizabeth (May 2013).
833:
690:Hannah Höch – Revolutionärin der Kunst
657:Examples of her work were included in
61:Other key themes in Höch's works were
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1017:Minneapolis: Walker Art Center, 1996.
947:Dada Triumphs! Dada Berlin, 1917–1923
361:Baroness Else von Freytag-Loringhoven
34:
7:
1193:. Phaidon Press. 2019. p. 189.
1147:
1145:
444:Höch also made strong statements on
2057:Cut with the Kitchen Knife Dada ...
1846:"Hannah Höch – Whitechapel Gallery"
1694:,"Bauhaus Theater of Human Dolls",
1024:Hants, England: Scolar Press, 1995.
989:London: Taylor & Francis, 1997.
894:Cut with the Kitchen Knife Dada ...
848:Cut with the Kitchen Knife Dada ...
760:Hannah Höch – Aller Anfang ist DADA
749:Hannah Höch – Aller Anfang ist DADA
685:, Hamburg, 20 April – 16 June 2017.
674:, (Looking for the hidden beauty),
1383:"Hannah Höch: art's original punk"
14:
2854:20th-century German women artists
2849:20th-century German photographers
1159:, Washington, D.C. Archived from
1015:The Photomontages of Hannah Hoch.
437:social and political revolution.
128:, a later activist of the Berlin
120:at the National Institute of the
2859:20th-century women photographers
2211:
1822:The photomontages of Hannah Höch
1570:The photomontages of Hannah Höch
1334:The photomontages of Hannah Höch
1216:"Hannah Höch embroiders on Dada"
1116:50 women artists you should know
886:
862:
783:Los Angeles County Museum of Art
771:The Photomontages of Hannah Höch
582:consists of three works, titled
1112:Christiane., Weidemann (2008).
1050:. Gießen: Anabas-Verlag, 1989.
803:National Museum of Modern Art,
698:Kunstmuseum Mülheim an der Ruhr
676:Galerie und Verlag St. Gertrude
200:Personal life and relationships
2027:Cut with the Kitchen Knife ...
1985:(in German). 10 December 2015.
1783:Sawelson-Gorse, Naomi (2001).
1415:"Hannah Höch's 128th Birthday"
870:Cut with the Kitchen Knife ...
714:(Curtain up for Hannah Höch),
640:Staatshäupter (Heads of State)
584:Death Dance I, Death Dance II,
327:While the Dadaists, including
1:
814:, Galerie Nierendorf, Berlin.
762:, (Every Beginning is DADA),
379:Höch worked for the magazine
2662:(photographer, art promoter)
2500:Readymades of Marcel Duchamp
2489:Tulip Hysteria Co-ordinating
2475:Why Not Sneeze, Rose Sélavy?
2358:Elsa von Freytag-Loringhoven
2193:Elsa von Freytag-Loringhoven
1929:"Mitteilung zur Ausstellung"
1381:Dillon, Brian (2014-01-09).
1094:List of German women artists
236:Höch spent the years of the
2738:Beatrice Wood: Mama of Dada
2378:Georges Ribemont-Dessaignes
2102:, a history of photomontage
2005:(in German). 13 August 1993
985:Dictionary of Women Artists
751:(Every Beginning is DADA),
712:Vorhang auf für Hannah Höch
652:From an Ethnographic Museum
460:From an Ethnographic Museum
448:. Her most famous piece is
295:fact that she was a woman.
287:Höch is best known for her
2882:
2844:German women photographers
2839:German socialist feminists
1933:Kunsthalle-Mannheim online
1597:Harrison, Charles (2003).
485:Cut with the Kitchen Knife
410:
2814:German LGBT photographers
2209:
1739:. London: Women's Press.
1733:Rozsika., Parker (1984).
1153:"NGA-DADA – Artists-Hoch"
885:
861:
841:
792:, Museums of the City of
644:Hochfinanz (High Finance)
146:Die Praktische Berlinerin
122:Museum of Arts and Crafts
108:In 1914, at the start of
91:Anna Therese Johanne Höch
16:German artist (1889–1979)
2834:People from Gotha (town)
250:Tag des offenen Denkmals
210:Mathilda ('Til') Brugman
2819:German bisexual artists
2666:Walter Conrad Arensberg
2468:Prelude to a Broken Arm
2263:Gabrièle Buffet-Picabia
2106:Essay on Hannah Höch's
1157:National Gallery of Art
2794:German collage artists
2789:Bisexual women artists
2779:Bisexual photographers
2692:Anarchism and the arts
2514:Handkerchief of Clouds
2198:Juliette Roche Gleizes
1698:, December 2003; 85, 4
1419:Google Doodles Archive
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2824:German bisexual women
2799:Women collage artists
2727:Épater la bourgeoisie
1564:Maria Makela (1996).
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821:, Kunstzaal De Bron,
446:racial discrimination
420:
231:
223:
186:
89:Hannah Höch was born
84:
22:
1965:on October 22, 2016.
1872:Museum of Modern Art
1435:Hemus, Ruth (2009).
921:115.(2012): 169–197.
779:Museum of Modern Art
604:Time of Suffering II
99:Höhere Töchterschule
2707:Appropriation (art)
2639:Monochrome painting
2343:Richard Huelsenbeck
2073:on October 17, 2014
1770:Yale French Studies
1672:New German Critique
1648:Makela 1994, p. 20.
1191:Great Women Artists
1004:Catherine de Zegher
975:Meskimmon, Marsha.
764:Berlinische Galerie
738:Whitechapel Gallery
694:Kunsthalle Mannheim
665:Selected solo shows
635:Whitechapel Gallery
600:Time of Suffering I
549:Ethnographic Museum
541:Ethnographic Museum
525:Ethnographic Museum
67:political discourse
2784:Bisexual feminists
2741:(1993 documentary)
2408:Sophie Taeuber-Arp
2388:Henri-Pierre Roché
2114:2012-07-07 at the
2095:Chronology of Dada
1258:Makela 1994, p. 49
1246:Makela 1994, p. 13
1180:Biro 2009, p. 199.
1008:Inside the Visible
924:Chametzky, Peter.
852:
543:Series (1924–1930)
527:Series (1924–1930)
493:The Beautiful Girl
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158:Nelly van Doesburg
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2672:291 (art gallery)
2403:Philippe Soupault
2288:Theo van Doesburg
1713:In the In-Between
1487:In the In-Between
1267:Gaze 1997, p. 699
1056:978-3-8703-8141-7
970:978-3-786115-25-0
955:978-0-816173-55-6
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775:Walker Art Center
619:Strange Beauty II
611:Strange Beauty II
592:Time of Suffering
576:Time of Suffering
564:Time of Suffering
193:Staatliche Museen
162:Theo van Doesburg
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2717:Cabaret Voltaire
2712:Art intervention
2660:Alfred Stieglitz
2624:Nouveau réalisme
2363:Clément Pansaers
2268:Serge Charchoune
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1545:The Art Story
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36:[hύ]
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2736:
2682:Found object
2595:
2591:(aka Sapeck)
2579:Alfred Jarry
2560:
2552:
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2525:Publications
2512:
2504:
2495:Rrose Sélavy
2487:
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2473:
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2445:
2438:
2413:Julien Torma
2353:Marcel Janco
2337:
2318:George Grosz
2313:Julius Evola
2258:André Breton
2248:Alice Bailly
2233:Louis Aragon
2108:Picture Book
2107:
2075:. Retrieved
2071:the original
2067:Khan Academy
2063:Smarthistory
2056:
2049:
2037:. Retrieved
2026:
2019:
2007:. Retrieved
2000:
1991:
1980:
1971:
1963:the original
1953:
1941:. Retrieved
1937:the original
1932:
1923:
1914:
1905:
1888:
1876:. Retrieved
1870:
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1849:. Retrieved
1821:
1816:
1808:
1803:
1784:
1778:
1769:
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1717:. Retrieved
1715:. 2013-04-29
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1703:
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1644:
1633:. Retrieved
1629:
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1569:
1559:
1548:. Retrieved
1544:
1515:
1491:. Retrieved
1489:. 2013-04-29
1486:
1466:
1461:
1438:Dada's Women
1437:
1418:
1409:
1398:. Retrieved
1387:The Guardian
1386:
1376:
1365:Norma Broude
1363:, edited by
1360:
1333:
1312:
1288:. Retrieved
1284:
1263:
1228:. Retrieved
1224:the original
1219:
1209:
1190:
1185:
1176:
1165:. Retrieved
1161:the original
1115:
1107:
1068:
1063:Hannah Höch.
1062:
1047:
1038:
1028:
1021:
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1007:
996:
983:
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960:Bergius, H.
946:
945:Bergius, H.
932:
925:
918:
911:
899:Smarthistory
893:
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830:Bibliography
818:
811:
801:Hannah Höch,
800:
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341:Hans Richter
326:
317:
313:
306:
303:Photomontage
297:
293:
286:
274:George Grosz
270:
266:
254:
243:
235:
224:Höch in 1974
207:
203:
188:
178:photomontage
145:
141:
135:
107:
90:
88:
71:gender roles
60:
53:
49:photomontage
27:
26:
2774:1978 deaths
2769:1889 births
2722:Noise music
2702:Anti-poetry
2584:Incoherents
2517:(1924 play)
2509:(1921 play)
2461:Dada-Review
2447:Bottle Rack
2338:Hannah Höch
2303:Paul Éluard
2278:Jean Crotti
2203:Jean Crotti
2025:"Annotated
1692:Juliet Koss
1357:Lavin, Maud
1035:Lavin, Maud
993:Sante, Lucy
819:Hannah Höch
790:Hannah Höch
734:Hannah Höch
719: [
701: [
679: [
642:(1918–20),
626:Exhibitions
596:Death Dance
580:Death Dance
572:Death Dance
560:Death Dance
413:Dada-Review
401:bisexuality
397:androgynous
238:Third Reich
216:Later years
150:Netherlands
110:World War I
28:Hannah Höch
2763:Categories
2619:Surrealism
2607:Influenced
2572:Influences
2557:(magazine)
2548:(magazine)
2540:(magazine)
2482:L.H.O.O.Q.
2009:26 January
1911:"Facebook"
1878:26 January
1851:26 January
1746:0704338831
1719:2016-03-19
1667:Maud Lavin
1635:2017-04-20
1550:2017-03-11
1493:2019-03-08
1400:2016-03-04
1290:2019-03-16
1230:2016-01-23
1167:2016-03-19
868:Annotated
796:, Germany.
781:, and the
411:See also:
374:mannequins
333:Franz Jung
118:Emil Orlik
2732:Shock art
2562:Dadaglobe
2308:Max Ernst
2253:Hugo Ball
2077:March 15,
2039:March 15,
1395:0261-3077
1136:195744889
931:Biro, M.
823:The Hague
766:, Berlin.
365:Da-Dandy.
114:Red Cross
77:Biography
63:androgyny
56:New Woman
2687:Anti-art
2598:(ballet)
2454:Fountain
2283:Otto Dix
2238:Jean Arp
2112:Archived
2055:"Höch's
2002:Die Zeit
1982:Die Welt
1755:11237744
1285:nmwa.org
1073:See also
850:, Detail
755:, Basel.
646:(1923),
344:income.
195:, Berlin
142:Die Dame
2653:Related
2629:Pop art
2373:Man Ray
2178:Man Ray
1943:29 June
1524:4381346
1006:(ed.),
892:Höch's
539:(1930)
513:Marlene
32:German:
2634:Fluxus
2596:Parade
2348:Iliazd
2033:Flickr
1828:
1791:
1753:
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1681:488172
1679:
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1340:
1197:
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997:Slate.
968:
953:
939:
875:Flickr
857:Images
817:1929:
810:1961:
799:1974:
788:1993:
769:1997:
758:2007:
747:2008:
742:London
732:2014:
710:2015:
688:2016:
670:2017:
613:(1966)
566:Series
537:Mother
515:(1930)
495:(1920)
474:(1919)
359:, and
335:, and
309:gender
172:, and
103:Berlin
45:Weimar
2432:Works
1897:(PDF)
1677:JSTOR
1520:JSTOR
1100:Notes
881:Video
805:Kyoto
794:Gotha
727:Stade
723:]
705:]
683:]
407:Works
95:Gotha
2804:Dada
2152:Dada
2079:2013
2041:2013
2011:2018
1945:2016
1880:2018
1853:2018
1826:ISBN
1789:ISBN
1751:OCLC
1741:ISBN
1603:ISBN
1578:ISBN
1516:MoMA
1447:ISBN
1391:ISSN
1367:and
1338:ISBN
1195:ISBN
1132:OCLC
1122:ISBN
1052:ISBN
966:ISBN
951:ISBN
937:ISBN
696:und
633:The
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
