Hannah Hoch Her pieces also commonly combine male and female into one being. During the era of the Weimar Republic, "mannish women were both celebrated and castigated for breaking down traditional gender roles." Her androgynous characters may also have been related to her bisexuality, and the perception that feminine lesbians were attracted to masculinity, not women. Her work from 1926 to 1935 depicted same sex couples, and women were once again a central theme in her work from 1963 to 1973. Höch also made strong statements on racial discrimination.
Indian Dancer: From an Ethnographic Museum. 1930. Photomontage with collage. 10 1/8 x 8 7/8". The Museum of Modern Art, New York. Frances Keech Fund Shows a women's head pushed back where half of her face is an India statue. Her hair is hidden behind cut out silhouettes of knives and forks shaped like a crown.
She rejected the literal and what she termed "tendentious" approach of John Heartfield, and developed her own unique style, which gained a wider audience and appreciation right up to her death in the 1970s. Many of Hannah Höch's pictures still look astonishingly modern, or rather timeless, as the sophistication of her approach and the universality of her subjects do not date.
photomontage "though seemingly as chaotic as the Dada-Messe itself... is a remarkably concise and elgeant work that functions as a Dadaist manifesto on the politics of Weimar society."
Dada-Rundschau (Dada-Review), 1919" In 1919, Hannah Höch began to apply herself to the technique of photomontage, which had originated in the experimental workshop of Dada. Until the end of her life, despite her traditional art education, she continued to cut up the images she found - reproductions from the printed media - in order to recombine and remount their chopped elements. The “Dada-Review” is the jumbled simultaneity of numerous fragments of text and images; a grotesque political kaleidoscope. In this complex cross-section through the era following the First World War, it is possible to recognize individuals such as the German President Friedrich Ebert wearing bathing trunks and, above him, the American President Woodrow Wilson dressed as an angel of peace. Caricatured and dismantled personalities, floating and tumbling parts, changing perspectives and proportions – and between all these, cut-out words and letters. Hannah Höch, the only woman among the Berlin Dadaists, assembled this early montage - a parody of the “gigantic global nonsense” - using photos from illustrated magazines, headlines and advertising slogans.
Das schöne Mädchen (The Beautiful Girl), 1919–1920 photomontage and collage
Meine Haussprüche (Proverbs to Live By), 1922 photomontage and collage with ink, zinc white, graphite, crayon, and colored pencil on board Dada Puppen (Dada Dolls), 1916 fabric, yarn, thread, board, and beads
Hoch's message suggests a difference, and perhaps even a dislocation, or abduction in reference to changes taking place in Weimer society that for women meant, excitement, but at the same time a feeling of instability and dislocation . 1025
The bride Hannah Hoch c 1933 A bridle illusion that explores race, by juxtapositioning a white woman's neck and shoulders, with another woman's lips with a non-Caucasian face. Lace is used to portray the illusion of a bridal veil.
Made for a Party 1936 Photomontage Institut Fur Auslandsbeziehungen Collection, Stuttgart
Two men gaze up towards a pair of huge legs wearing high heals and stockings which are mounted upside down on a traditional architectural pillar. Up in the right hand corner sits a bright red mouth position away from the stare of the males. The name Marlene is written across the stage as if done by a fan. 1930 wa s the year that Marlene Dietrich starred in the movie the "Blue Angel."