Honnah Hoch

1. in the Weimar Republic
!1
“New Women”
Hannah Höch
NEUE FRAU

2. TIMELINE
1914 1933
Women's
Suffrage
WW1 Weimar Republic
1919 JAN.

3. THE ROLE OF WOMEN
➤ A Transition era…
➤ The image of New women (Neue Frau)
➤ Represented in mass media
!3

4. THE ROLE OF WOMEN
➤ In Reality…
➤ Wartime: Inequality in workplace
➤ Post-war: Control of Abortion
➤ Repealed by men
(a loss of war/gender role relating to masculinity)

5. BERLIN DADA

6. BERLIN-DADA MOVEMENT
➤ Key Figures (male dominated)
➤ George Grosz, John Heartfield, Raoul Haussmann,
Hannah Hoch (the only female)
➤ Criticized the bourgeois, nationalism, social issues, and
German society
➤ Expressed the fear and outrage of war
➤ Feature
➤ Photomontage

7. PHOTOMONTAGE (DIE FOTOMONTAGE)
"dismemberment and
reconstruction of the images”
The Art Critic, 1919-20
Raoul Hausmann

8. HANNAH HÖCH (1889-1978)

9. BIOGRAPHY
➤ 1912 the School of
Applied Arts in Berlin
➤ 1915 in Relationship with
Raoul Haussmann
➤ 1916-1926 Handiwork
Designers for Die
Dame (The Lady)
and Die Praktische
Berlinerin (The Practical
Berlin Woman)
➤ 1926-1935 in Relationship
with a Dutch Woman Writer
➤ 1937 Considered as
Degenerate Art

10. images and text from popular forms of media, mostly from
newspapers and magazines
HER WORKS
The issue of gender and the figure of woman in modern society,
especially for sexual freedom
The Communication with society, especially for women

11. Schnitt mit dem Küchenmesser DADA durch die letzte
Weimarer Bierbauchkulturepoche Deutschlands, 1919
Cut with the Kitchen Knife Dada through the Last
Weimar Beer-Belly Cultural Epoch in Germany, 1919

12. Das Schone Madchen, 1919-20
]The Beautiful Girl, 1919-20

13. Untitled, 1921

14. Conventional
Assumptions
About the
Media
Construction
of Its Reality

15. WOMEN IN DADA
➤ Rejected other Dadaist…
➤ Identity as Woman
➤ Feminist Subject Matter
➤ Considered as Degenerate Art in
1937
➤ Aesthetic
➤ Political Message
➤ Herself as Woman

16. “My work did not attempt to glorify the modern woman,
I was concerned more
on the contrary,
with the suffering woman.”
- Hannah Höch, 1976

17. DANKE SCHÖN!