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Strange Beauty: Hannah Höch and the Photomontage Author(S): Kristin Makholm Source: Moma, No

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Strange Beauty: Hannah Höch and the Photomontage Author(S): Kristin Makholm Source: Moma, No Strange Beauty: Hannah Höch and the Photomontage Author(s): Kristin Makholm Source: MoMA, No. 24 (Winter - Spring, 1997), pp. 19-23 Published by: The Museum of Modern Art Stable URL: http://www.jstor.org/stable/4381346 Accessed: 10-08-2014 15:44 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Museum of Modern Art is collaborating with JSTOR to digitize, preserve and extend access to MoMA. http://www.jstor.org This content downloaded from 128.230.234.162 on Sun, 10 Aug 2014 15:44:42 UTC All use subject to JSTOR Terms and Conditions StrangeBeauty: m HANNAHEUocH and the Ph)otomo n tage KRISTIN MAKHOLM THE NAME HANNAH HOCH is probablynot thefirst to come to mind when consideringthe anticsof Berlin Dada. Artists such as George Grosz,John Heartfield,or RaoulHausmann seem moresuited to Dada'spolitical and social critiquesand its loud-mouthed,rowdy contempt of traditionalbourgeois art and aesthetics.Yet it is Hannah Hoch, whom HansRichter dubbed the "goodgirl" of Berlin Dada, who took the characteristicDada medium of pho- tomontageto its most provocativeand challengingheights. With photographsfrom mass-marketperiodicals, Hoch's -J, ~ ~ ~ 9 photomontagesdisplay the chaosand combustionof Berlin's visual culture from a particularlyfemale perspective.By chartingher preoccupation with photomontagefrom I9I8 to A -i'w,'u' , * 7 the earlyI970s, the exhibitionThe Photomontages ofHannah Hoch, on view at The Museumof ModernArt from Febru- ary27 to May 20, demonstratesHc&hs remarkable achieve- ments in this quintessential modern medium and her sensitivityto the powerof an explosivemedia culture. Born in I889, Hoch becamepart of the Berlinart scene when both World War I and Expressionismwere in full swing.She arrivedin Berlinfrom her home in the German provinceof Thuringiaat the age of twenty-twoto studythe applied arts, which included the creation of designs for wallpaper,embroidery, textiles, and glass. By 19I5 she had met the Czech emigreartist Raoul Hausmann,who drew her into the avant-gardecircle aroundHerwarth Walden and his famousDer Sturmgallery-the leadingenclave of Expressionistartists and writers in Berlin. From this point on, Hoch maintained a balance Flight(F/-icht) I931 Photomontage 9'/16 x 7? Institut fr AuslandsbeziehL.nge, StIttgart. betweentwo seeminglycontradictory realms: the world of the avant-garde,whose exhibitionsand poetryreadings she attended with Hausmann; and the commercial sector, where she a groupof young Berlinartists disillusioned with warand politicsand workedas a designerof embroideryand lace from I9I6 to i926 at the the discrepanciesbetween traditional art and modernlife. Within the large Ullstein PublishingCompany, creators of popular magazines realms of art, poetry, performance, and criticism, artists such as and newspapers,such as the BerlinerIllustrirte Zeitung and Die Dame. H6ch, Hausmann, Grosz, and Heartfieldembraced the tempest of The patterndesigns Hoch createdfor Ullstein'swomen's magazines modernlife in the new metropolis,calling for the artist'swholeheart- and her earlyexperiments with modernistabstraction were integrally ed commitmentto the eventsof the day. related,blurring the boundariesbetween traditionally masculine and Theirwork was infiltrated by sweepingforces: the unstablepolitical femininemodes of form and expression. and socialsituation brought about by the NovemberI9I8 revolution By I9I8 Dada had emergedin Berlin, transferredthere from its and the formationof Germany'scontroversial Weimar Republic; the wartimeorigins in Zurichby the writerRichard Huelsenbeck. Essen- barrageof technologyand new formsof industry;and the massmedia tiallyan antagonisticnonsense word, "Dada"became the battlecry of glut of illustratedmagazines, newspapers, photography, and film. 19 This content downloaded from 128.230.234.162 on Sun, 10 Aug 2014 15:44:42 UTC All use subject to JSTOR Terms and Conditions Gutwsith the Kitchen Knife Dada throuoghthe LwastWeimzar Beer-Belly Gu/ttural Epo0ch of/Germsany (.Schuict mit demlKiibchnmesscr dutch die lecztcuetimarerlc Bierb6auchkultltrepDoche DeutschlandsJ).I9I9-20. Photomontage. 447/8 X 357/16". Staatliche Museen zu Berlin-Preugischler Kulturbesitz, Narionialgalerie. Photo courtesy Bildarchiv Preugischer Kulturbesitz, Berlin. Photo: Jorg P. Anders. This content downloaded from 128.230.234.162 on Sun, 10 Aug 2014 15:44:42 UTC All use subject to JSTOR Terms and Conditions Modernforms of propagandasuch as pamphlets,posters, and advertisementsbrought their rhetoric to an audience familiarwith theseforms of publicaddress. Hoch responded to the Dadaist call for explosive, modernforms of expressionthrough her creationof pho- tomontage,which she and Hausmannbegan to construct aftera vacationto the BalticSea in the summerof I9I8. Here they discovereda type of commemorativemilitary picturewith the heads of differentsoldiers pasted in, a practicewith deep roots in folk tradition and popular consumer imagery. By cutting out photographs and wordsfrom mass-marketmagazines and pamphletsand reassemblingthem into fracturednew compositions, Hoch and the otherDada artistsreconfigured the images of dailylife into abstractedworks reminiscent of the hec- FT ~ E tic pace of modern urban life. They downplayedtheir works"mon- rolesas individualcreators by callingthese ~~A* tages,'which suggeststhe impersonalact of a technician or a graphicdesigner who merelyassembles and mounts BtwrstUnity (Gesprengte Einheit). I955. Photomontage. preexistingimages. With photomontagethey could call 1I-3/4X II5/8" Institutfur Auslandsbeziehungen,Stuttgart. into questionthe veryways that societyviewed itself. Hoch engagedthe worldof contemporarypolitics and politicalfigures in photomontagessuch as DadaPanorama (I919) and Cut with the KitchenKnife Dada throughthe Last WeimarBeer-Belly Cultural Epoch of Germany (I9I9-20), both of whichwere exhibited in the controver- sial FirstInternational Dada Fairof I920. Each presents recognizablefigures such as FriedrichEbert, president of the GermanReich, and Wilhelm II, the deposedemperor, absorbedwithin a chaoticworld of popularimagery and formalsatire. In Cut with theKitchen Knife, Hoch puts a femalespin on the imageby metaphoricallyequating her ..- .:.4 ' scissors with a kitchen knife, which she used to cut throughthe traditionallymasculine domains of politics and public life. Machineparts and massdemonstrations :t^ E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. connectthe imagesof intellectuals(such as Albert Einstein and KarlMarx), film starsand dancers(Pola Negri and Niddy Impekoven),political pundits, and even the Dada ?r ,'.'.;_ : artists themselves in a vertiginous composition that becameone of the iconsof the Dada movement. Along with her so-calledkitchen knife, H6ch usesthe imagesof modern femininity,especially the sensational "NewWoman," to questionthe complicatedrelationship betweenthe sexesin post-WorldWar I Germany.With her bobbed hair, sleek new fashions, and increasingly frequentappearance on the streetsand in the workplace, this New Woman emergedin Europe in the 1920S as a symbolfor all thatwas fashionableand up-to-datein the metropolis.In manyof her photomontages,Hoch juxta- InzdianDancer: From an Ethnographic Mntsen7n(Indische Tdnzerin: Aus einem ethnographischen posesthese sporty, active women with moderntechnology Museumn).1930. Photomontagewith collage.iol/8 x 87/8".The Museumof ModernArt. Frances and domestic appliances, creating ironic statements on KeechFund. 21 This content downloaded from 128.230.234.162 on Sun, 10 Aug 2014 15:44:42 UTC All use subject to JSTOR Terms and Conditions the ambiguitiesand deep conflictsthat accompaniedthe new female featuresof the wooden mask,freezing the dancer'ssensuous perfor- presencein the public realm. manceinto a crudeparody of the shacklesand stereotypes that marked With the gradualdispersal of the Dada artistsin the earlyI92os, the modern-daymedia representation of women. and her breakupwith Hausmannin I922, Hoch enteredan increas- By the end of the I920S, Hoch reapedthe benefitof the increasing inglyexciting period of experimentation.Her friendshipswith artists popularityof photomontage.No longermerely associated with Dada such as KurtSchwitters, Hans Arp and Sophie Tauber-Arp,Laszlo revolt, it became an importantvehicle in the fields of advertising Moholy-Nagy, and Theo and Nelly van Doesburg furthered her and design, which profited from a rising interest in the use of contact with the international photographic montage. For the avant-gardeand theirradical chal- first time, Hoch was publicly lenges to traditional art and acclaimed for her provocative abstraction.Alongside works pub- photomontages, which were in- lished in their magazines and cluded in several international books,such as Schwitters's"Merz" exhibitions, including the 1929 magazine,Arp and El Lissitzky's "Filmand Photo"show, the most TheArt-Isms, and Moholy-Nagy's comprehensiveexhibition to date Bauhausbook Painting-Photogra- of both commercial and avant- phy-Film,H6ch createdcollages of gardephotography and film. colored papers and embroidery All of this cameto a halt when patterns that pay homage to
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