Download Cut With the Kitchen Knife: The Weimar Photomontages of by Maud Lavin PDF

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.”

Show description

Read or Download Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch PDF

Similar art history books

Art & Visual Culture 1600-1850: Academy to Avant-Garde (Art & Visual Culture)

An innovatory exploration of paintings and visible tradition. via rigorously selected issues and themes instead of via a basic survey, the volumes process the method of artworks when it comes to their audiences, features and cross-cultural contexts. whereas inquisitive about portray, sculpture and structure, it additionally explores a variety of visible tradition in quite a few media and strategies.

The Social History of Art: Renaissance, Mannerism, Baroque (Social History of Art (Routledge))

First released in 1951, Arnold Hausers commanding paintings provides an account of the improvement and that means of paintings, from its origins within the Stone Age via to the movie Age. This re-creation of a vintage paintings explores old and social hobbies and the results those have had at the construction of art--the centrality of sophistication and sophistication fight, the cultural roles of ideologies and the making a choice on impression of modes of financial improvement.

Abstraction and Empathy: A Contribution to the Psychology of Style (Elephant Paperbacks)

Wilhelm Worringer’s landmark learn within the interpretation of contemporary paintings, first released in 1908, has seldom been out of print. Its profound influence not just on paintings historians and theorists but in addition for generations of artistic writers and intellectuals is nearly unheard of. ranging from the proposal that attractiveness derives from our experience of having the ability to spot with an item, Worringer argues that representational artwork produces pride from our “objectified get pleasure from the self,” reflecting a self assurance on the earth because it is—as in Renaissance artwork.

Early Netherlandish Paintings: Rediscovery, Reception, and Research

The so-called Flemish Primitives, a gaggle of fifteenth-century painters from the southern Netherlands, bought their identify within the 19th century. between them have been world-famous artists resembling Rogier van der Weyden, Hans Memling, the brothers Van Eyck, and large van der is going. Their masterpieces, oil work minutely special in luminous colour, are a excessive element of Western ecu paintings, which, including the Italian Renaissance work, laid the principles for contemporary artwork.

Extra info for Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch

Example text

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.

Download PDF sample

Rated 4.96 of 5 – based on 29 votes