Hannah Höch. Indian Dancer: From an Ethnographic Museum (Indische Tänzerin: Aus einem ethnographischen Museum). 1930. Cut-and-pasted printed paper and metallic foil on paper, 10 1/8 × 8 7/8" (25.7 × 22.4 cm). Frances Keech Fund

“Most of our male colleagues continued for a long while to look upon us as charming and gifted amateurs, denying us implicitly any real professional status.”

Hannah Höch

Known for her incisively political collages and photomontages (a form she helped pioneer), Hannah Höch appropriated and recombined images and text from mass media to critique popular culture, the failings of the Weimar Republic, and the socially constructed roles of women. After meeting artist and writer Raoul Hausmann in 1917, Höch became associated with the Berlin Dada group, a circle of mostly male artists who satirized and critiqued German culture and society following World War I. She exhibited in their exhibitions, including the First International Dada Fair in Berlin in 1920, and her photomontages received critical acclaim despite the patronizing views of her male peers. She reflected, “Most of our male colleagues continued for a long while to look upon us as charming and gifted amateurs, denying us implicitly any real professional status.”1

The technical proficiency and symbolic significance of Höch’s compositions refute any notion that she was an “amateur.” She astutely spliced together photographs or photographic reproductions she cut from popular magazines, illustrated journals, and fashion publications, recontextualizing them in a dynamic and layered style. She noted that “there are no limits to the materials available for pictorial collages—above all they can be found in photography, but also in writing and printed matter, even in waste products.”2

Höch explored gender and identity in her work, and in particular she humorously criticized the concept of the “New Woman” in Weimar Germany, a vision of a woman who was purportedly man’s equal. In Indian Dancer: From an Ethnographic Museum she combined images of a Cameroonian mask and the face of silent film star Maria Falconetti, topped with a headdress comprised of kitchen utensils. Höch’s amalgamation of a traditional African mask, an iconic female celebrity, and tools of domesticity references the style of 1920s avant-garde theater and fashion and offers an evocative commentary on feminist symbols of the time.

Although the Berlin Dada group fractured in the early 1920s, Höch continued to create socially critical work. She was banned from exhibiting during the Nazi regime, but she remained in Germany during World War II, retreating to a house outside Berlin where she continued to make work. In 1945, after the end of the war, she began exhibiting again. Before her death in 1978, her significant contribution to the German avant-garde was recognized through retrospectives of her work in Paris and Berlin in 1976.

Höch’s bold collisions and combinations of fragments of widely circulated images connected her work to the world and captured the rebellious, critical spirit of the interwar period, which felt to many like a new age. Through her radical experimentations, she developed an essential artistic language of the avant-garde that reverberates to this day.

Heidi Hirschl Orley, Curatorial Expansion Project Manager

  1. Hannah Höch in Edouard Roditi, "Interview with Hannah Höch," Arts Magazine 34, no. 3 (Dec. 1959): 29.

  2. Hannah Höch, “On Collage,” in Hannah Höch, ed. Dawn Ades, Daniel F. Herrmann (London: Whitechapel Gallery, 2014).

Wikipedia entry
Hannah Höch (German: [hœç]; 1 November 1889 – 31 May 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage. Photomontage, or fotomontage, is a type of collage in which the pasted items are actual photographs, or photographic reproductions pulled from the press and other widely produced media. Höch's work was intended to dismantle the fable and dichotomy that existed in the concept of the "New Woman": an energetic, professional, and androgynous woman, who is ready to take her place as man's equal. Her interest in the topic was in how the dichotomy was structured, as well as in who structures social roles. Other key themes in Höch's works were androgyny, political discourse, and shifting gender roles. These themes all interacted to create a feminist discourse surrounding Höch's works, which encouraged the liberation and agency of women during the Weimar Republic (1919–1933) and continuing through to today.
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License
Getty record
Artist, Publicist, Collagist, Painter, Photographer, Photomontagist, Sculptor
Hannah Höch, Hannah Hoch, Hannah Johanne Höch, Anna Höch, Johanne Höch, Hannah Hoech
Information from Getty’s Union List of Artist Names ® (ULAN), made available under the ODC Attribution License


12 works online



  • Engineer, Agitator, Constructor: The Artist Reinvented, 1918–1939. The Merrill C. Berman Collection at MoMA Exhibition catalogue, Hardcover, 288 pages
  • MoMA Highlights: 375 Works from The Museum of Modern Art Flexibound, 408 pages
  • MoMA Now: Highlights from The Museum of Modern Art—Ninetieth Anniversary Edition Hardcover, 424 pages
  • Photography at MoMA: 1920 to 1960 Hardcover, 416 pages
  • The Original Copy: Photography of Sculpture, 1839 to Today Exhibition catalogue, Hardcover, 256 pages

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