Hannah Höch

As scholar Maria Makela pointed out in the The Ullstein Verlag job also offered up materials. “The peculiar characteristics of photography and its approaches have opened up a new and immensely fantastic field for a creative human being,” she wrote. A member of Berlin’s Dada movement in the 1920s, she was a driving force in the development of 20th century collage. Photograph: courtesy of Ubu Gallery, NY/Galerie Berinson Berlin. Indeed, all of the paintings, sculptures, and especially photomontages Höch made throughout her career evidence a passionate fascination with the world around her. She began exhibiting more frequently starting in the late 1920s. She was the only woman in the group. Photo by Will / ullstein bild via Getty Images.This continued even as late as the mid-1960s, when Höch was finally recognized by the art establishment for her revolutionary But Höch never bowed to belittlement. In 1915 she began an affair and artistic partnership with Raoul Hausmann, a Viennese artist, which lasted until 1922. She was also involved, after the first World War, with political radicalism, though Höch herself expressed herself less politically than many of the others in the group. Jone Johnson Lewis is a women's history writer who has been involved with the women's movement since the late 1960s. Hannah Höch. Artwork Images. But they’ve also gone on to transcend time and lay bare the most contemptuous—and regrettably enduring—aspects of human nature. She used this imagery to playfully—and sometimes causticly—allude to traditional women’s roles and domestic spaces. Instead, she forged her own artistic path that, while certainly linked to Dada’s absurdist underpinnings, veered boldly away from her male colleagues. A 1976 retrospective was displayed at the Musée d'Art Moderne de la Ville de Paris and the Nationalgalerie Berlin. “I would like to do away with the firm boundaries that we human beings so self-assuredly are inclined to erect around everything that is accessible to us,” she wrote in 1929, in the foreword to the catalogue for her first solo exhibition at the Kunstzaal De Bron, in The Hague. As early as 1916 she began assembling cutout images from printed media along with her lover Raoul Hausmann, one of the founders of the iconoclastic Dada movement. Simultaneously, Höch celebrated and elevated domestic crafts, reclaiming them as art forms. Höch carefully extracted and spliced images of lace, fabric, and patterns for her collages, along with cut-outs of idealized female figures. Though her work was not acclaimed after the war as it had been before the rise of the Third Reich, Höch continued to produce her photomontages and to exhibit them internationally from 1945 until her death. “Here more than anywhere else, these beauties, wandering and extravagant, obligingly enrich our fantasies.”In Nazi Germany, the work of Höch and her contemporaries was deemed degenerate. Artworks. Over the course of Höch’s long life—she passed away in 1978 at age 88—she produced numerous essays and gave interviews that reveal her unflagging ingenuity, curiosity, and self-assurance. But even in the Dadaists’ anarchic approach, Höch recognized limitations.

They made work that rejected formal artistic concerns and openly lampooned the European leaders floundering in post–World War I chaos. Hannah Höch and Dadaism . “I am, however, a human being, and can use my fantasy, bound as I am, as a bridge.” Höch dabbled in many media over the course of her career, including an extensive engagement with painting.

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