Starting with early works influenced by her time working in the fashion industry, it includes key
photomontages such as High Finance (1923) which critiques the relationship between bankers and the army at the height of the economic crisis in Europe.
Not exact matches
This exhibition charts Höch's career beginning with early works influenced by her time working in the fashion industry to key
photomontages from her Dada period,
such as Hochfinanz (High Finance)(1923), which sees notable figures collaged together with emblems of industry in a critique of the relationship between financiers and the military at the height of an economic crisis in Europe.
They range from postwar experiments with darkroom processes,
such as photograms and
photomontages; to 1970s feminist performances conceived for the camera; to political and documentary engagements with themes of labor history and globalization in the 1980s; to post-appropriative forms of archival and historical reconstitution since 2000.
These conceptually complex but aesthetically cogent
photomontages, which were the focal point of «Maraviglia,» Spranzi's recent exhibition at P420, are each composed of two images: The first — a page pulled from a book or magazine on a subject
such as geography, astronomy, or botany — serves as a background or frame for the
Importantly for Höch,
photomontage was rooted in everyday forms
such as jokey military postcards and tourist souvenirs (showing, for example, the head of an infantryman
In the wake of the U.S. invasion of Iraq and Afghanistan, Rosler revisited the
photomontage format, but reflecting the new spaces and technologies of war and its representations, in
such works as Prospect for Today, Point and Shoot, and Invasion (2008).
A pioneer of
photomontage, whose images of women presaged the ideas of Simone de Beauvoir and Second Wave Feminism half a century later, Hoch was a pivotal figure in Dada, the anti-art movement that outraged conventional opinion in the final years of World War One, working alongside iconic male artists
such as George Grosz, John Heartfield and Raoul Hausmann.
Such an experiment, casting doubt on the veracity of images and highlighting their potential for manipulation recalls not only the
photomontage tradition created by Vertov and Eisenstein but also the more recent work of Gerhard Richter.
They range from postwar experiments with darkroom processes (
such as photograms and
photomontages), to 1970s feminist performances conceived for the camera, to political and documentary engagements with labor history and globalization in the 1980s and 1990s, to forms of archival and historical reconstitution made since 2000.
Artists created charged works by juxtaposing disparate images sourced largely from popular media,
such as Hannah Höch's 1930
photomontage Untitled (Large Hand Over Woman's Head), a work of layered images from magazines that speaks to the representation of women in popular culture, and Kurt Schwitters» Mz 426 Figures (1922), an assemblage of discarded newspaper and printed detritus, which evokes the urban environment in which he lived.