Hannah Höch, ‘Ohne Titel, aus der Serie: aus einem ethnographischen Museum (Untitled, from the series: From an Ethnographic Museum)’, 1929, Whitechapel Gallery

Image rights: © Hannah Höch / Artists Rights Society (ARS), NY / Image: bpk / Kupferstichkabinett, SMB / Jörg P. Anders

Federal Republic of Germany - Collection of Contemporary Art

About Hannah Höch

Known for her incisively political collage and photomontage works, Dada artist Hannah Höch appropriated and rearranged images and text from the mass media to critique the failings of the Weimar German Government. Höch drew inspiration from the collage work of Pablo Picasso and fellow Dada exponent Kurt Schwitters, and her own compositions share with those artists a similarly dynamic and layered style. Höch preferred metaphoric imagery to the more direct, text-based confrontational approach of her contemporary John Heartfield, whose work she found “tendentious.” She rejected the German government, but often focused her criticism more narrowly on gender issues, and is recognized as a pioneering feminist artist for works such as Das schöne Mädchen (The Beautiful Girl), (1920), an evocative visual reaction to the birth of industrial advertising and ideals of beauty it furthered. Höch was, for a period of time, the partner of Dada artist Raoul Haussman.

German, 1889-1978, Gotha, Germany, based in Berlin, Germany

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