Not Signed-In
Which clippings match 'Weimar Republic' keyword pg.1 of 1
29 MAY 2009

The Photomontages of Hannah Höch

"The 'bob–haired muse', the 'holy shears' and 'Dada's good girl' are a few of the epitaphs that prevail in the comfortable little niche art history has carved out for Hannah Höch. These sound bites are seriously challenged by this travelling retrospective organised by the Walker Art Center. 'The Photomontages of Hannah Höch' momentously reconstructs her marginalised role in early 20th–century art and perhaps even ordains her as the single most influential female artist of the century. The exhibition surveying Höch's 55 years of photomontage not only rescues her from the anti–art antics of the legendary Berlin Dada circle but inclusively chronicles her private and aesthetic journey through the social and cultural constructs that have emerged in the 20th century. While she may have been remembered by her bombastic Dada colleagues for her 'sandwiches, beer and coffee', her lifetime of artistic practice reveals a vital and critical woman who could magically collide disparate reproductions of needlepoint patterns, political figures, film stars, animal life and non–Western artefacts into explorations of androgyny, Aryan activity, gender roles, imperialism, race and lesbianism."

(Michelle Grabner, Issue 33 March–April 1997, Frieze Magazine)

Fig.1 Hannah Höch "Entwurf für das Denkmal eines bedeutenden Spitzenhemdes", 1922, Entwurf, Tafelmalerei, Collage, 27,4 x 17 cm, Hamburg, Hamburger Kunsthalle, Ikonographie (Iconclass)




1920s • abstract collage • aesthetic journey • androgyny • anti-art posture • anti-composition • artartistartistic practiceBauhaus School • Berlin Dada • collagecoloured papercultural constructs • cut-and-sew lines • cut-outDadadecorationdecorative arts • decorative beauty • decorative sewingdesign formalismearly 20th centuryembroideryembroidery design • erotic photomontage • female activity • female artist • female features • female leisure • feminist artist • film starformal elementsFrieze (magazine)gender rolesgenetic engineering • good girl • handicraftHannah Hoch • hausfrau • homosexualityillustrative styleimperialism • kitchen knife • manipulative propaganda • marginalisation • mens work • modern womanmodernist tradition • needlepoint patterns • New Weimer Woman • non-Western artefacts • photomontage • pictorially ordered • political satirequeernessretrospective exhibitionRussian constructivismsewing and craftsocial construction • social constructs • traditional crafts • tulle netting • tulle patterns • typography • vital and critical • Walker Art CenterWeimar Republicwomanwomen artistswomen in art and design • womens activities


Simon Perkins
31 AUGUST 2007

Hitler's Hit Parade: Modernist Cultural Production of the Third Reich

"Hitler's Hit Parade is a composition of archival footage from movies, amateur–, animated–, and educational films, commercials and propaganda – accompanied by dance and popular music from the Third Reich.

The film is structured along thematic chapters, each accompanied by a song and introduced by a headline in the style of the period. In the form of an artistic collage, the film uses a musical thread, to lead the audience through experiences and ideas of the Nazi era.

In contrast to still images – from painter Otto Dix to the Bauhaus – this collage is composed of living pictures. From a wealth of situations in the original material, a portrait of a modern civilization slowly emerges, in which beauty and evil flourish side by side. The lyrics and melodies of the songs serve both as a complement and contrast to the footage.

By foregoing didactic narration, Hitler's Hit Parade addresses audiences, who are well versed in the historical facts of the time, on an emotional level. Open–minded viewers are thus offered a broad perspective on the problems inherent in passing judgment on the Nazi

Rather than adopting a typical distanced approach, the film invites viewers to shed their usual safe distance looking back in time from the outside – and to allow a view from the inside on this journey through the Third Reich.

In witnessing numerous situations and examples of human behavior, the viewer is tempted to identify with the figures on screen, and is forced to ask himself what roles he could, would, or should have taken on during this period.

In a subtle manner, Hitler'S Hit Parade analyses the enticing components of highly progressive, extremely modern Nazi Germany, and how at the same time a cultivated people could be reduced to a moral and physical heap of rubble as a result of the Nazi madness."
(German Documentaries)

"This Franco–German [film] production explores the impact of Nazi propaganda on music and art during the regime.
When the Nazis rose to power, Germany was at the height of its intellectual and artistic brilliance, and boasted some of the most eminent poets, artists, musicians and scientists in the world. The propaganda model created by Hitler and his followers was confusingly imposed on this state of affairs. Accompanied by a vortex of contradictions, the outcome was a repertory of styles and world visions ranging for idolatry of the most brazen and monumental classicism to decidedly lightweight (or even low–brow) taste, at times with indiscriminate crossovers involving the artistic circles, life styles and kinds of tastes officially execrated by the regime: modernism, jazz and homo– and heterosexual insinuations verging on licentiousness."
(Giorgio Cini Foundation)

[This film was screened on the Arte channel (France TV) on Monday the 27 August 2007 at 11:55 (Lundi 27 août 2007 de 23h55).]

Fig. 1,2,3,4. Oliver Axer and Susanne Benze (2003). Les Refrains du Nazisme [English title: Hitler's Hit Parade], C. Cay Wesnigk Filmproduktion: 76 minutes.



2003amateurappropriation • archival footage • artartistic practiceBauhaus School • C. Cay Wesnigk Filmproduktion • cinemacollagecultural production • Deutsches Reich • filmfootageGerman cinemaGermany • Hitlers Hit Parade • Les Refrains du Nazisme • modernismmusicmusic videoNazi • Oliver Axer • Otto Dix • propagandare-purposeremix culturerevisionismsequence design • Susanne Benze • Third ReichWeimar Republic

to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.