# @drawingcenter on Instagram

- **Type:** Image
- **Original URL:** https://www.instagram.com/p/BSl9pkfhk7r
- **Gondola URL:** https://gondola.cc/posts/16047197-drawingcenter-instagram
- **Thumbnail:** https://img.gondola.cc/tr:w-,h-,fo-auto/postThumbnails/legacy-do/9900525aa903c760e4ad73631724b9b2e2a4ebc707dba5bc2f3990646fae8ba8.jpg
- **Posted:** 2017-04-07T17:51:56.000+00:00
- **Account Owner:** The Drawing Center (@drawingcenter) — https://gondola.cc/drawingcenter

## Caption

Artists have a variety of methods to make their mark. Every Friday we will share a photograph of an #ArtistInAction. 
The lone female member of the male dominated Berlin Dadaists, Hannah Höch worked from the 1910s to the 1980s, building a prolific career in photomontage. Born in 1889 in Gotha, Germany, Höch studied at the School of Applied Arts in Berlin in 1915. As soon as 1916, off the heels of Hugo Ball’s early Dadaist performances in Zurich, Höch began to experiment with the same satirical reflections on the modern era in her own work. Her Dada Dolls, highly geometric figures somewhere between mechanical forms and humans, played off of the jarring encroachment of technology many in the movement were feeling at the time. Höch’s collages, clever amalgamations of newspaper, magazine, photograph, and book clippings, spun the latest news into absurd and even grotesque commentaries on politics, gender, and industry. In works like “Da-Dandy”, a photomontage from 1919, she unpacks the movement’s use of the female form, its male dominated atmosphere, and its relationship to the Weimar New Woman. Widely celebrated as a pioneer of photomontage, Höch had a lasting impact on Dadaism even as she critiqued the work of her peers. 
#HannahHoch #HannahHöch

Image: Hannah Höch sitting with her Dada Dolls in 1920.

## Stats

- **Views:** 0
- **Likes:** 546
- **Shares:** 0
- **Comments:** 4

## Tags

hannahhoch, artistinaction, hannahhöch

---
Copyright (c) Gondola