By Maud Lavin
“The girls of Weimar Germany had an uneasy alliance with modernity: whereas they skilled cultural liberation after global warfare I, those “New Women” nonetheless confronted regulations of their incomes strength, political participation, and reproductive freedom. photos of ladies in newspapers, motion pictures, magazines, and tremendous artwork of the Twenties mirrored their ambiguous social function, for the ladies who have been pictured operating in factories, donning androgynous models, or having fun with city nightlife straight away empowered and decorative, either shoppers and items of the hot tradition. during this publication Maud Lavin investigates the multi-layered social development of femininity within the mass tradition of Weimar Germany, concentrating on the interesting photomontages of the avant-garde artist Hannah Höch.
Höch, a member of the Berlin Dada team, was once well-known as essentially the most cutting edge practitioners of photomontage. In such works as Dada-Ernst and lower with the Kitchen Knife, she reconstructed the splendidly seductive mass media pictures of the recent girl with their allure intact yet with their contours fractured with a purpose to disclose the contradictions of the hot lady stereotypes. Her photomontages convey a traumatic pressure among excitement and anger, self belief and anxiousness. In Weimar—as today—says Lavin, the illustration of ladies within the mass media took on a political that means while it challenged the distribution of energy in society. Höch’s paintings offers vital proof of the need for girls to form the creation and reception of the photographs that redefine their role.”
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Extra info for Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch
II: p. 18). 2009 2:26:55] page_xxxix < previous page page_xxxix next page > Page xxxix Hauser’s account is, thus, in one sense, an important corrective to the received idealized view of the Renaissance. Though he will certainly admit the greatness of its art and the indebtedness of this to the twin epistemological revolutions of empiricism and rationalism, there is no correlate social or political revolution. Indeed, the eventual full commodification of labour and commercialization of economic activity, developments in which were discovered ‘the relativity and the morally indifferent character of value’ (vol.
2009 2:26:56] page_xl < previous page page_xl next page > Page xl Publics, personas, professionalism and property Hauser’s account of the Renaissance includes valuable information and discussion on three closely related facets in its historical sociology: (1) the development and diversification of the publics for art; (2) within that, the emergence of groups fashioning a variety of expert knowledges; and (3) the growth in a ‘free’ market for art’s production and consumption that gradually replaced the practice of direct commission associated with the Church and the great patrons, such as the Medici in Florence.
Though culture became increasingly secular in outlook and methods, turning from the Church to classical themes and values, art and artists were not in some abstract or complete sense ‘emancipated’. Though gradually severed from ecclesiastical dogma, Hauser remarks, art production ‘remains closely connected with the scientific philosophy of the age, just as the artist breaks away from the clergy but enters all the more intimately into relationship with the humanists and their following’ (vol. II: p.