Hannah Hoch, photomontage, and the representation of the New Woman in Weimar Germany, 1918-1933. (Volumes I and II).

Item

Title
Hannah Hoch, photomontage, and the representation of the New Woman in Weimar Germany, 1918-1933. (Volumes I and II).
Identifier
AAI9136798
identifier
9136798
Creator
Lavin, Maud Katherine.
Contributor
Advisers: Rose Carol Washton-Long | Linda Nochlin
Date
1989
Language
English
Publisher
City University of New York.
Subject
Art History | Fine Arts | Women's Studies
Abstract
This dissertation is a study of the relationships between avant-garde and mass culture. It focuses on the photomontages of the Berlin dadaist Hannah Hoch and discusses both her individual contributions (to the representation of women, androgyny, ethnography, etc.) and the general construction of femininity in the mass-circulation photoweeklies.;The study proceeds chronologically and by issues. In analyzing Hoch's Berlin Dada photomontages, her strategies of deconstruction and pleasure are discussed, strategies formulated at this time that form the basis for the artist's Weimar production. Hoch's photomontages are also patterned by her selections from available mass media photographs. In fact, she constructed a scrapbook of media images, and this scrapbook is examined for its historically specific utopianism and its representation of the New Woman. This example of an artist's usage of the photoweeklies raises general questions about the interest in modernity shared by both avant-garde and mass culture at the time and how images of the New Woman figured centrally in both categories of representation. Returning to the specific example of Hannah Hoch's avant-garde work, the text concludes with an in-depth consideration of her photomontages of androgynous figures and their meaning for the female spectator and Hoch's Ethnographic Museum series and its use of ethnographic images to create allegories of modern femininity.
Type
dissertation
Source
PQT Legacy Restricted.xlsx
degree
Ph.D.
Item sets
CUNY Restricted ETDs