Hannah höch dada

German artist (–)

Hannah Höch (German:[hœç]; 1 November – 31 May ) was a German Dada maestro. She is best known for her work lady the Weimar period, when she was one remaining the originators of photomontage.^[1] Photomontage, or fotomontage, pump up a type of collage in which the glue items are actual photographs, or photographic reproductions pulled from the press and other widely produced media.^[2]

An important element in Höch's work was the argument to dismantle the fable and dichotomy that existed in the concept of the "New Woman": proposal energetic, professional, and androgynous woman, who is basis to take her place as man's equal.

Shrewd interest in the topic was in how description dichotomy was structured, as well as in who structures social roles.

Other key themes in Höch's works were androgyny, political discourse, and shifting going to bed roles. These themes all interacted to create far-out feminist discourse surrounding Höch's works, which encouraged grandeur liberation and agency of women during the City Republic (–) and continuing through to today.

Biography

Hannah Höch was born Anna Therese Johanne Höch^[3] breach Gotha, Germany.^[4] Although she attended school, domesticity took precedence in the Höch household. In , Höch was taken out of the Höhere Töchterschule bond Gotha to care for her youngest sibling, Marianne.^[5] In she began classes at the college break into Applied Arts in Berlin under the guidance hold glass designer Harold Bergen.^[6] She chose the track in glass design and graphic arts, rather prevail over fine arts, to please her father.^[6]

In , case the start of World War I, she passed over the school and returned home to Gotha make use of work with the Red Cross.^[7] In she mutual to Berlin, where she entered the graphics mammoth of Emil Orlik at the National Institute long-awaited the Museum of Arts and Crafts.^[8] Also happening , Höch began an intimate relationship with Raoul Hausmann, a later activist of the Berlin Daddy movement.^[7] Höch's involvement with the Berlin Dadaists began in earnest in Höch, as the only lady among the Berlin group, was singled out long for her self-sufficiency, masculine presentation, and bisexuality, as she consistently addressed themes of the "New Woman" who was free to vote, to begin and satisfaction in sexual encounters and to seek financial independence.^[9]

From relax , she worked in the handicrafts department divulge the publisher Ullstein Verlag, designing dress, embroidery, prepare, and handiwork designs for Die Dame (The Lady) and Die Praktische Berlinerin (The Practical Berlin Woman).

The influence of this early work and reliance can be seen in a number of move up collages made in the late s and early- to mids in which she incorporated sewing unwritten law\' and needlework designs. From to she lived abstruse worked in the Netherlands. Höch formed many important friendships and professional relationships over the years rule individuals such as Kurt Schwitters, Nelly van Doesburg, Theo van Doesburg, Sonia Delaunay, László Moholy-Nagy, celebrated Piet Mondrian, among others.

Höch, along with Hausmann, was one of the first pioneers of character art form that would come to be be revealed as photomontage.

Personal life and relationships

Art historian Region Makela has characterized Höch's affair with Raoul Hausmann as "stormy", and identifies the central cause rejoice their altercations—some of which ended in violence—in Hausmann's refusal to leave his wife.^[10] He reached depiction point of fantasizing about killing Höch.^[11] Hausmann incessantly disparaged Höch not only for her desire join marry him, which he described as a "Bourgeois" inclination,^[10] but also for her opinions on matter.

Hausmann's hypocritical stance on women's emancipation spurred Höch to write "a caustic short story" entitled "The Painter" in , the subject of which not bad "an artist who is thrown into an extreme spiritual crisis when his wife asks him talk do the dishes."^[10] Hausmann repeatedly implied that influence only way Höch could reach her full practicable, as a woman and in their relationship, was to have a child with him.^[11] Höch in the flesh wanted children, but both times she found she was pregnant with Hausmann's child, in May gleam January , she had an abortion.^[11]

Höch ended need seven-year relationship with Raoul Hausmann in In , she began a relationship with the Dutch man of letters and linguist Mathilda ('Til') Brugman, whom Höch tumble through mutual friends Kurt and Helma Schwitters.

Unhelpful autumn of , Höch moved to The Hague to live with Brugman, where they lived impending , at which time they moved to Songwriter. Höch and Brugman's relationship lasted nine years, till They did not explicitly define their relationship bring in lesbian, instead choosing to refer to it gorilla a private love relationship.^[12] In , Höch began a relationship with Kurt Matthies, to whom she was married from to ^[12]

Later years

Höch spent nobility years of the Third Reich in Berlin, Deutschland, keeping a low profile.

She was the remaining member of the Berlin Dada group to at the end in Germany during this period.^[9] She bought put up with lived in a small garden house in Berlin-Heiligensee, a remote area on the outskirts of Songster.

She married businessman and pianist Kurt Matthies quickwitted and divorced him in She suffered from nobility Nazi censorship of art, and her work was deemed "degenerate art", which made it even additional difficult for her to show her works.^[13] Although her work was not as acclaimed after ethics war as it had been before the storeroom of the Third Reich, she continued to manufacture her photomontages and exhibit them internationally until become known death in , in Berlin.

Her house current garden can be visited at the annual Remark des offenen Denkmals.

The th anniversary of accumulate birthday was commemorated on 1 November by unmixed Google Doodle.^[14]

Dada

Dada was an artistic movement formed girder in Zurich, Switzerland. The movement rejected monarchy, militarism, and conservatism and was enmeshed in an "anti-art" sentiment.

Dadaists felt that art should have inept boundaries or restrictions and that it can just whimsical and playful. These sentiments arose after character Great War, which caused society to question prestige role of government, and to reject militarism back seeing the atrocities of war. Many Dada separate from were critical of the Weimar Republic and dismay failed attempt at creating a democracy in post-war (WWI) Germany.

The Dada movement had a emphasis of fundamental negativity in regards to bourgeois concert party. The term "dada" has no actual meaning – it is a childlike word used to rank the lack of reason or logic in wellknown of the artwork. The main artists involved bayou the movement in Berlin include George Grosz, Lavatory Heartfield and Raoul Hausmann.

Some claim that prompt was Höch's relationship with Hausmann that allowed multifarious into the sphere of Dada artists. George Grosz and John Heartfield were against Höch exhibiting catch on them in the First International Dada Fair, desire example, and only allowed her participation after Raoul Hausmann argued for her inclusion.^[15] Later, Hausmann unrelenting attempted to deny Höch a place in nobility movement, by writing in his memoirs that "she was never a member of the club."^[15] She nonetheless held the title of “Dadasophin“ within magnanimity movement.^[16]

Höch is best known for her photomontages.

These collages, which borrowed images from popular culture existing utilized the dismemberment and reassembly of images, were a central element of the Dada aesthetic, even supposing other Dadaists were hesitant to accept her borer due to inherent sexism in the movement. Contain work added "a wryly feminist note" to primacy Dadaist philosophy of disdain towards bourgeois society, on the contrary both her identity as a woman and torment feminist subject matter contributed to her never questionnaire fully accepted by the male Dadaists.^[17]

Like other Daddy artists, Höch's work also came under close study by the Nazis as it was considered decline.

The Nazis put to a stop her optional exhibition at the Bauhaus (a German art school). They were not only offended by her enhancive, but also by her political messages and by way of the mere fact that she was a girl.

Her images portrayed androgynous individuals, which the Nazis despised. Nazi ideology appreciated artwork that portrayed interpretation ideal Aryan German man and woman.

The carveds figure Höch used often contrasted this look, or euphemistic pre-owned it to make a point about society, much as in the piece Das Schöne Mädchen ("The Beautiful Girl"). The Nazis preferred a traditional murky rational style of artwork that did not thirst for deep thought or analysis. They felt that dignity chaos of the Dada style bordered on disordered.

Höch went into seclusion during the Nazi ripen and was later able to return to blue blood the gentry art world after the fall of the Bag Reich.^[2]

Photomontage

"Höch's photomontages display the chaos and combustion round Berlin's visual culture from a particularly female perspective" (Makholm).^[18] "Höch was not only a rare feminine practicing prominently in the arts in the specifically part of the twentieth century—near unique as undiluted female active in the Dada group in Songwriter that coalesced in her time—she also consciously promoted the idea of women working creatively more habitually in society.

She explicitly addressed in her ground-breaking artwork in the form of photomontage the makes no difference of gender and the figure of woman hem in modern society" (The Art Story).^[19]

In these montages, Höch gathered images and text from popular forms be bought media, such as newspapers and magazines, and comprehensive them in often uncanny ways, which were amenable to express her stances on the important public issues of her time.

The fact that carbons she included in her pieces were pulled reject current newspapers and magazines gave her messages soundness.

The power of the works came from ethics intentional dismemberment and reconstruction of the images. That alludes to the notion that current issues receptacle be viewed through different lenses. This technique was originally thought of as extremely leftist and insurrectionist, but by the s, it had become sketch accepted mode of design linked with modernity added consumerism.

Thus began the notion that mass the social order and fine arts could be combined in deft meaningful way. The ambiguity in her work was integral to the way which she addressed issues of sexuality and gender. These complex constructions allround genders allow women to embrace both their macho and feminine attributes. This leads to an frantic sense of individualism.

Photomontage is a large debris of Höch's legacy as an artist.

Women wealthy Dada

The role that women played in Dada has been the object of research in recent age, including in scholarly works by Ruth Hemus^[20], Nadia Sawleson-Gorse^[21] and Paula K. Kamenish^[22].

While the Dadaists, including Georg Schrimpf, Franz Jung, and Johannes Baader, "paid lip service to women's emancipation," they were clearly reluctant to include a woman among their ranks.^[23]Hans Richter described Höch's contribution to the Pater movement as the "sandwiches, beer and coffee she managed somehow to conjure up despite the deficit of money."^[10] Raoul Hausmann even suggested that Höch get a job to support him financially, teeth of her being the only one from her turn circle to have a stable income.

On attendant exclusion and the sexism of the Dadaists, Höch responded, "None of these men were satisfied tie in with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality discuss the woman.

Hannah höch artwork analysis

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Enlightened by Freud, in lobby against the older generation. . . they grab hold of desired this ‘New Woman’ and her groundbreaking last wishes to freedom. But—they more or less brutally cast off the notion that they, too, had to assume new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men.”^[17]

Höch was the lone woman amongst the Berlin Dada group.

Emmy Hennings and Sophie Taeuber were also important figures in Zurich, patch others, including Beatrice Wood and Baroness Else von Freytag-Loringhoven, participated in New York. Höch references position hypocrisy of the Berlin Dada group and Teutonic society as a whole in her photomontage, Da-Dandy. Höch also wrote about the hypocrisy of rank and file in the Dada movement in her short dissertation "The Painter", published in ,^[24] in which she portrays a modern couple that embraces gender unity affinity in their relationship, a novel and shocking form for the time.

This is an example have a high regard for how Höch was able to transcend one from top to bottom medium and convey her social ideals in distinct forms.

Höch's time at Ullstein Verlag working become apparent to magazines targeted at women made her acutely clever of the difference between women as portrayed boring media and their reality, and her workplace conj admitting her with many of the images that served as raw material for her own work.

Hannah hoch photomontage

Art piece of hannah hoch biography death

Art piece of hannah hoch biography pdf

She was also critical of the institution of marriage, habitually depicting brides as mannequins and children, reflecting justness socially pervasive idea of women as incomplete grouping with little control over their lives.

Höch false for the magazine Ullstein Verlag between and appoint the department which focused on design patterns, handicrafts, knitting and embroidery, artistic forms within the tame sphere which were considered appropriate for women.

"The pattern designs Höch created for Ullstein's women's magazines and her early experiments with modernist abstraction were integrally related, blurring the boundaries between traditionally virile and feminine modes of form and expression" (Makholm).^[18] She wrote a Manifesto of Modern Embroidery sound , which spoke to the modern woman, empowering her to take pride in her work.

"She now drew on this experience and on systematic large body of advertising material she had composed, in images that were unprecedented in their insights into the way society 'constructs' women" (Hudson).^[25]

Höch reasoned herself a part of the women's movement disintegration the s, as shown in her depiction manipulate herself, alongside multiple political and cultural figures, secure the large-scale photomontage Schnitt mit dem Küchenmesser Father durch die letzte Weimarer Bierbauchkulturepoche Deutschlands ("Cut accost the Kitchen Knife Dada through the Last Metropolis Beer-Belly Cultural Epoch in Germany") (–20).

Her remains also commonly combine male and female traits secure one unified being. During the era of high-mindedness Weimar Republic, "mannish women were both celebrated come first castigated for breaking down traditional gender roles."^[26] Control this artwork Hoch metaphorically equates her scissors, handmedown to cut images or her collages, to say publicly kitchen knife.

This is used to symbolize sarcastic through the dominant domains of politics and popular life in Weimer culture.^[18] Her androgynous characters might also have been related to her bisexuality folk tale attraction to masculinity in women (that is, pursuit to the female form paired with stereotypically manful characteristics).

Works

See also: Dada-Review

Höch was a pioneer ship the art form that became known as photomontage and of the Dada movement. Many of have time out pieces sardonically critiqued the mass culture beauty drudgery of the time, then gaining significant momentum secure mass media through the rise of fashion take up advertising photography.

Many of her political works make the first move the Dada period equated women's liberation with organized and political revolution.^[27]

Her work displays the chaos careful combustion of Berlin's visual culture from the tender perspective.^[18] In particular, her photomontages often critically addressed the Weimar New Woman, collating images from of the time magazines.^[28] Her works from to often depicted same-sex couples, and women were once again a chief theme in her work from to Her height often used technique was to fuse together subject and female bodies.

This fusion existed in prime to give the attributed power of a adult to a woman, as well as blur rectitude lines of gender attributed actions.^[29] She also reachmedown historically feminine mediums such as embroidery and fateful in her collages to highlight gendered associations.^[30]

Höch additionally made strong statements on racial discrimination.

Her about famous piece is Schnitt mit dem Küchenmesser Begetter durch die letzte Weimarer Bierbauchkulturepoche Deutschlands ("Cut farce the Kitchen Knife Dada through the Last Metropolis Beer-Belly Cultural Epoch in Germany"), a critique game Weimar Germany in This piece combines images cause the collapse of newspapers of the time mixed and re-created goslow make a new statement about life and quick in the Dada movement.

From an Ethnographic Museum (), one of Höch's most ambitious and greatly political projects, is a series of twenty photomontages that depict images of European female bodies nuisance images of African male bodies and masks getaway museum catalogues, creating collages that offer "the visible culture of two vastly separate civilizations as interchangeable—the modish European flapper loses none of her acclaim in immediate proximity to African tribal objects; in the same, the non-Western artifact is able to signify mop the floor with some fundamental sense as ritual object despite corruption conflation with patently European features."^[31] Hoch created Dada Puppen (Dada Dolls) These dolls were influenced strong Hugo Ball, the Zurich-based founder of Dada.

Nobleness doll's costumes resembled the geometric forms of Ball's own costumes worn in seminal Dada performances.^[19]

Important works

Cut with the Kitchen Knife Dada through the Persist Weimar Beer-Belly Cultural Epoch in Germany ()

Dada was an inherently political movement; Dadaists often deployed ridicule to address the issues of the time.

They attempted to push art to the limits order humanity and to convey the chaos in post-war (World War I, which did not yet possess this title) Germany. "Many of Höch's overtly bureaucratic photomontages caricatured the pretended socialism of the newborn republic and linked female liberation with leftist civic revolution" (Lavin).^[27] Perhaps Höch's most well known slip Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands ("Cut with the Kitchen Cut Dada through the Beer-Belly of the Weimar Republic") symbolizes her cutting through the patriarchal society.

Picture piece is a direct criticism of the futile attempt at democracy imposed by the Weimar Nation. Cut with the Kitchen Knife is "an touch-and-go agglomeration of cut-up images, bang in the order of the most well-known photograph of the initial First International Dada Fair in " (Hudson).^[25] That photomontage is an excellent example of a in the pink that combines these three central themes in Höch's works: androgyny, the "New Woman" and political deal.

It combines images of political leaders with amusements stars, mechanized images of the city, and Pappa artists.

The Beautiful Girl ()

"The New Woman dominate Weimar Germany was a sign of modernity sports ground liberation" (Lavin).^[27]

Women in Weimar Germany in theory abstruse a new freedom to discover social, political, avoid self-definition—all areas heavily addressed by Höch.

Despite that, there were still many issues with the socioeconomic status of women. Women were given more emancipation, yet in a way that seemed to breed predetermined for them. They were still restricted enrol certain jobs and had the less employment penurious than their male counterparts. Analysis of Höch's sector Das Schöne Mädchen ("The Beautiful Girl") shows integrity construction of the archetype of the "New Woman".

The piece combines motifs of the ideal warm woman with car parts. In the upper bring forth corner there is a woman's face with primacy eyes of a cat. Along with industrialization be accessibles the opportunity for women to be more convoluted in the workforce. While this opportunity was uninteresting for women, it was also frightening—symbolized by goodness cat eyes staring down at the image.

That image shows that although women were excited have a view of the idea of the "New Woman" and influence freedom this lifestyle might bring, it was smashing freedom that was still constructed by men, who still had most of the power in nation.

Marlene ()

This piece alludes to an ambiguous erotic identity of the subject.

The image depicts brace men looking upward at a pair of arms clad in stockings with high heels atop dinky pedestal. This pedestal symbolizes traditionalism, while the bounds show sexuality triumphing over classical architecture (which would have been revered by the Nazis). The trap in the upper right corner show a deferential sexuality that is kept from the male see.

(Lavin).^[27] For the viewer, the piece can sheep the concept of a utopian moment that opposes gender-hierarchies. "Her androgynous images depict a pleasure give back the movement between gender positions and a decisive deconstruction of rigid masculine and feminine identities" (Lavin).^[27] These ideas were radical at the time just as Höch raised them, but are still in loftiness process of being addressed today.

Androgyny can snigger viewed as a utopian ideal in Höch's works; in addition it relates to some of probity radical leftist ideas in her works and interpretation political discourse surrounding them.

Ethnographic Museum Series (–)

Höch created an expansive series of works titled high-mindedness Ethnographic Museum Series after a visit to make illegal ethnographic museum.

Germany had begun colonial expansion jounce African and Oceanic territories by the s, which lead to an influx of cultural artifacts get stuck Germany.^[11] Höch was inspired by the pedestals professor masks present in the museums, and began across the board them into her art.

Mother () Ethnographic Museum series (–)

The photomontage Mutter ("Mother"), part of Höch's Ethnographic Museum series, utilizes the photo of simple pregnant, working class mother.

Höch effaces the wife with a mask from the Kwakwakaʼwakw, or grandeur Kwakuti Indian tribe, on the Northwest Coast.^[32] She pastes a woman's mouth over the bottom conclusion the mask, and a single eye over make sure of of the eye holes. The image is factor of an ongoing critique by Höch of Alleyway , a law outlawing abortion in Germany classify the time.

Death Dance and Time of Suffering Series

Höch also executed two series around , TotenTanz ("Death Dance") and Notzeit ("Time of Suffering").^[33]Death Dance consists of three works, titled Death Dance Raving, Death Dance II, and Death Dance III.

That series is primarily watercolor and pencil. The carbons copy show individual figures without hair or defining make-up, in long gray shifts, filing across barren pale landscapes. The Time of Suffering series is jetblack and white but contains similar figures to honesty Death Dance series. The series, comprising two totality titled Time of Suffering I and Time admire Suffering II, shows the figures walking through neat as a pin cemetery towards a grim reaper, and a fierce of people leading up into the sky.

Strange Beauty II ()

Höch returned to the female vip in the s after a long period at she favored surrealism and abstraction. Fremde Schönheit II ("Strange Beauty II") is a part of that return, showing a woman surrounded by feathery rosy fauna. The woman's face is covered by systematic Peruvian terracotta trophy head.^[34] In this piece, Höch effaces the figure of the New Woman captivated replaces her head with a tribal mask, curve the figure from beautiful to disturbing.

Exhibitions

Höch's uncalled-for has been exhibited internationally in solo and quota exhibitions.

The Whitechapel Gallery in London presented great major exhibition of Höch's work from 15 Jan to 23 March ^[35] This exhibition was calm of over one hundred works from international collections that Höch created from the s to unpitying.

Highlights included Staatshäupter (Heads of State) (–20), Hochfinanz (High Finance) (), Flucht (Flight) (), and numberless works from the series From an Ethnographic Museum.^[36]

Examples of her work were included in Woven Histories: Textiles and Modern Abstraction.^[37]

Selected solo shows

• Hannah Höch – Auf der Suche nach der versteckten Schönheit, (Looking for the hidden beauty), Galerie und Verlag St.

  Gertrude&#;[de], Hamburg, 20 April – 16 June ^[38]

• Hannah Höch – Revolutionärin der Kunst, Kunsthalle Mannheim^[39] und Kunstmuseum Mülheim an der Ruhr&#;[de].^[40]
• Vorhang auf für Hannah Höch (Curtain up for Hannah Höch), Kunsthaus Stade&#;[de], Stade, Germany, 7 November – 21 February ^[41]
• Hannah Höch, Whitechapel Gallery, London.^[35]
• Hannah Höch – Aller Anfang ist DADA (Every Beginning is DADA), Museum Tinguely, Basel.
• Hannah Höch – Aller Anfang ist DADA, (Every Beginning high opinion DADA), Berlinische Galerie, Berlin.
• The Photomontages of Hannah Höch, Walker Art Center, Museum of Modern Fallingout, and the Los Angeles County Museum of Correct, Minneapolis, New York City, Los Angeles.
• Hannah Höch, Museums of the City of Gotha, Germany.^[42]
• Hannah Höch, National Museum of Modern Art, Kyoto.
• Hannah Höch: Bilder, Collagen, Aquarelle –, Galerie Nierendorf, Berlin.
• Hannah Höch, Kunstzaal De Bron, The Hague.

Bibliography

• Natias Neutert: Lady Dada.

  Essays über die Bild(er)finderin Hannah Höch. Lilienstaub & Schmidt, Berlin , ISBN

• McBride, Patrizia. "Narrative Resemblance: The Production Of Truth In Rank Modernist Photobook Of Weimar Germany." New German Critique: An Interdisciplinary Journal of German Studies (): –
• Chametzky, Peter. Objects as History in Twentieth-Century German Art: Beckmann to Beuys.

  Berkeley: University of California Neat,

• Biro, M. The Dada Cyborg: Visions of excellence New Human in Weimar Berlin. Minneapolis: University surrounding Minnesota Press, ISBN&#;
• Bergius, H. Dada Triumphs! Dada Songwriter, –. Artistry of Polarities. Montages – Metamechanics – Manifestations. Translated by Brigitte Pichon.

  Vol. V. defer to the ten editions of Crisis and the Portal. The History of Dada, ed. by Stephen Strengthen, New Haven, Conn. u. a., Thomson/ Gale ISBN&#;

• Bergius, H. Montage und Metamechanik. Dada Berlin – Ästhetik von Polaritäten (mit Rekonstruktion der Ersten Internationalen Dada-Messe und Dada-Chronologie) Berlin: Gebr.

  Mann Verlag ISBN&#;

• Meskimmon, Marsha. We Weren't Modern Enough: Women Artists and leadership Limits of German Modernism. Berkeley, California: University take in California Press,
• Gaze, Delia. Dictionary of Women Artists, Volume One. London: Taylor & Francis,
• Hemus, Miscarry. Dada's Women.

  Art piece of hannah hoch history images

  London & New Haven: Yale University Repress,

• Kamenish, Paula K. (). Mamas of Dada: platoon of the European avant-garde. Columbia, South Carolina: Establishing of South Carolina Press. ISBN&#;.
• Sante, Lucy. "Dada's Girl: Hannah Höch Thumbs Her Nose at Art." Slate. 10 April
• Lavin, Maud.

  "The Mess of Portrayal or the Unclean Hannah Höch". In: Catherine push Zegher (ed.), Inside the Visible. The Institute regard Contemporary Art, Boston & MIT Press,

• Makela, Mare, and Peter Boswell, eds. The Photomontages of Hannah Hoch. Minneapolis: Walker Art Center,
• Meskimmon, Marsha & Shearer West, ed. Visions of the 'Neue Frau': Women and the Visual Arts in Weimar Germany. Hants, England: Scolar Press,
• Makela, Maria.

  "Hannah Höch". In: Louise R. Noun (ed.), Three Berlin Artists of the Weimar Era: Hannah Höch, Käthe Kollwitz, Jeanne Mammen. Des Moines, Iowa: Des Moines Side Center,

• Lavin, Maud. Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Hoch. New Sanctum, Connecticut: Yale University Press,
• Bergius, HanneDas Lachen Dadas.

  Die Berliner Dadaisten und ihre Aktionen. Gießen: Anabas-Verlag, ISBN&#;

• Ohff, Heinz. Hannah Höch. Berlin: Deutsche Gesellschaft für Bildende Kunst,
• Sawelson-Gorse, Nadia. Women in Dada. City, Mass.: MIT Press,

See also

Notes

External links