Through her art, Hoch quietly submitted female equality to the
list of anti-bourgeois and radically leftist sentiments. In addition to her Dadaist influences, Hoch’s employment also contributed to her artistic style as well as the relationships mentioned in one of my previous blogs. Interestingly enough she spent many years employed by Ullstein Verlag (The Ullstein Press) designing fashion and embroidery patterns for women’s magazines. Her experience working in textiles led to the development of less Dada-like and more abstract pieces such as "Tailor’s Flower" (1920) as well as a great deal of her later work. This piece is much different than a lot of her chaos political filled photomontages widely known by the public. For example Hoch’s most famous piece, "Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural epoch of Germany" (1919) remains a powerful example of the ironically insensible cultural critique which embodied Dada, yet still shows Hoch’s distinct style. You can see these influences throughout her work such as her use of patterned backgrounds like the one in the piece I featured "Untitled".
Through her refined sense of color, remarkably timeless stylistic appeal, and deceptively simple compositions, Hannah Hoch established herself as a serious contributor to the artist world of early 20th century Europe, and proved herself to be the type of woman she clearly admired. While the causes she championed remain embattled, they are also extremely relevant, and her voice is no longer the only cry to rise up against traditional sensibilities surrounding race, gender, and human rights.
list of anti-bourgeois and radically leftist sentiments. In addition to her Dadaist influences, Hoch’s employment also contributed to her artistic style as well as the relationships mentioned in one of my previous blogs. Interestingly enough she spent many years employed by Ullstein Verlag (The Ullstein Press) designing fashion and embroidery patterns for women’s magazines. Her experience working in textiles led to the development of less Dada-like and more abstract pieces such as "Tailor’s Flower" (1920) as well as a great deal of her later work. This piece is much different than a lot of her chaos political filled photomontages widely known by the public. For example Hoch’s most famous piece, "Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural epoch of Germany" (1919) remains a powerful example of the ironically insensible cultural critique which embodied Dada, yet still shows Hoch’s distinct style. You can see these influences throughout her work such as her use of patterned backgrounds like the one in the piece I featured "Untitled".
Through her refined sense of color, remarkably timeless stylistic appeal, and deceptively simple compositions, Hannah Hoch established herself as a serious contributor to the artist world of early 20th century Europe, and proved herself to be the type of woman she clearly admired. While the causes she championed remain embattled, they are also extremely relevant, and her voice is no longer the only cry to rise up against traditional sensibilities surrounding race, gender, and human rights.
Federle, Courtney. “Kuchenmesser DADA: Hannah Höch's Cut Through the Field of Vision.” Qui Parle, Vol. 5, No. 2, (Spring/Summer 1992), pp. 120-134