Like other women artists of her era, Höch was largely overlooked.
This work, emblematic of the Berlin Dada movement, was hailed at the First International Dada Fair in 1920 (though initially Grosz and Heartfield rejected Höch's inclusion and only softened their position on the advocacy of Höch's lover and artistic collaborator, Raoul Haussman). For her part, Höch described herself as a "photomonteur" (photo-mechanic): "our whole purpose was to integrate objects from the world of machines and industry in the world of art" she said. As art critic Laura Cumming wrote, "female acrobats leap and tumble among the soldiers, guns and plutocrats a juggling act of bristling vitality". At the same time, the image wryly challenges gender inequities, as a small map in the lower right shows the only countries that allowed women the vote. The asymmetrical composition reflects both the chaos of World War I, and the anarchic opposition borne of its aftermath. Implicitly commenting upon Weimar society, the work assembles images of establishment figures around the phrase "anti-dada" while various anti-establishment radicals and artists cluster around the word "DADA". Their "photocollages" draw attention to the seams between images with the goal of creating more intangible and more conceptual impressions amongst their audiences.ġ919 Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in GermanyĬomposed of clippings from mass media, this large photomontage combines images of industrial machines, leading contemporary figures, and text, in disruptive but ironic juxtapositions. Pop artists brought photomontage closest to the fields of collage and contemporary photographers such as Lorna Simpson and John Stezaker, have extended the collage effect beyond ironic playfulness.In this respect, their images pay homage to the very earliest form of "combination printing" though in these contemporary works technology has allowed the artist to blend different geographical sites and settings into whole new localities. Contemporary artists, such as Jeff Wall and Andreas Gursky, have exploited the boundless possibilities of digital technology to create transparent and seamless images out of multiple photographic exposures.Indeed, Surrealism effectively unshackled photomontage from its propagandist function and in so doing it widened the appreciation of the art form amongst an audience that wondered at the range of its new creative possibilities.
#ASSOCIATIONAL MONTAGE DEFINITION FREE#
Once adopted by the Surrealists photomontage, which allowed for artists to experiment with the idea of "automatic" (or chance) free association, was used to explore the potential for creating incredulous and uncanny relations.Indeed, photomontage can produce a unique, attention-grabbing, dynamism that is perfectly suited to the goals of propagandists. The political posters of the Dadaists and the Constructivists chose the photographic image above all others because the photograph communicates with an objectivity that can be lost with painting and written text.
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