Hannah Höch

Institut für Auslandsbeziehungen

Götz Adriani

1889-1978

Collagen Hannah Höch

Maud Lavin

The women of Weimar Germany had an uneasy alliance with modernity: while they experienced cultural liberation after World War I, these New Women still faced restrictions in their earning power, political participation, and reproductive freedom. Images of women in newspapers, films, magazines, and fine art of the 1920s, reflected their ambiguous social role, for the women who were pictured working in factories, wearing androgynous fashions, or enjoying urban nightlife seemed to be at once empowered and ornamental, both consumers and products of the new culture. In this book Maud Lavin investigates the multilayered social construction of femininity in the mass culture of Weimar Germany, focusing on the photomontages of the avant-garde artist Hannah Hoch.

The Weimar Photomontages of Hannah Höch

Cut with the Kitchen Knife

Santiago Piedrafita

Peter W. Boswell

Carolyn Lanchner

Kristin Makholm

Here, in the first comprehensive survey of her work by an American museum, authors Peter Boswell, Maria Makela, and Carolyn Lanchner survey the full scope of Hoch's half-century of experimentation in photomontage - from her politically charged early works and intimate psychological portraits of the Weimar era to her later forays into surrealism and abstraction.

The Photomontages of Hannah Höch

Brian Currid

Gunda Luyken

It is designed through the Dadaistic principle of photomontage which Höch developed, together with Raoul Hausmann, in the early years of the 20th century. Awarded one of the 'Most Beautiful German Books 2010' The book presents the fantastic adventures of Runfast, Dumblet and Her Egg, Schnifti and Meyer 1, mythical creatures which seem like a dream in a zoological garden, surrounded by fairy tale flowers and plants. With a text by Gunda Luyken. Appendix includes original German Rhymes by Höch.

Picture Book

Hannah Höch

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