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hoch

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Journal Article
New German Critique (2012) 39 (1 (115)): 169–197.
Published: 01 February 2012
... and illusionism. The final section demonstrates the potential of this montage aesthetics by analyzing the scrapbook assembled by the montage artist Hannah Höch around 1933–34. Höch's Album is examined as a photobook of sorts that enjoins resemblance (the staple of a traditional aesthetics of verisimilitude...
Journal Article
New German Critique (2009) 36 (2 (107)): 1–4.
Published: 01 August 2009
..., Hannah Höch), Hannover (Kurt Schwitters), and Cologne (Max Ernst), to New York and Paris New German Critique 107, Vol. 36, No. 2, Summer 2009 DOI 10.1215/0094033X-2009-008 © 2009 by New German Critique, Inc. 1 2 Introduction...
Journal Article
New German Critique (2009) 36 (1 (106)): 119–147.
Published: 01 February 2009
Journal Article
New German Critique (2009) 36 (2 (107)): 89–131.
Published: 01 August 2009
... in Painting Photography Film. In fact, this 1925 book is likely the fi rst printed use of the word photomontage, which Moholy-Nagy applies to works by Han- nah Höch and Paul Citroen.15 To differentiate his own montages from those of other artists, Moholy-Nagy referred to them as Fotoplastiken or “photo...
Journal Article
New German Critique (2017) 44 (1 (130)): 169–203.
Published: 01 February 2017
... and Suprematism at the Van Diemen Gallery in Berlin, and from that point on kept in close contact with figures such as László Moholy-Nagy and Lissitzky.22 Buchholz’s Berlin studio was a meeting place for artists of the avant-garde, including Hannah Höch, Kurt Schwitters, Richard Huelsenbeck, and Raoul...
Journal Article
New German Critique (2009) 36 (2 (107)): 53–88.
Published: 01 August 2009
... on the disruptive and violent effects of Hannah Höch’s photomontage, noting the allusive readings and aggressive party and the communist Left now and again. Grosz refused to accede to party expectations: “I don’t consider it necessary to satisfy the demands of a ‘hurrah Bolshevism’” (129). 16. See Krejsa...
Journal Article
New German Critique (2017) 44 (2 (131)): 41–73.
Published: 01 August 2017
... and typography, techniques that were quickly adopted by commercial advertisers. Along with innovations in photomontage, in which Grosz, Hausmann, John Heartfield, and Hannah Höch all played a part,45 the Dadaists popularized new practices in typography, incorporating the influences of Stéphane Mallarmé...
Journal Article
New German Critique (2013) 40 (3 (120)): 65–84.
Published: 01 November 2013
.... Sie verzieht den Mund, hebt ihre Hand und streichelt meine Wange, wie einem armen irren Kinde. Dann tritt Sie ins Haus und versperrt die Tür hinter sich. Ich stelle den Mantelkragen hoch und gehe die Straße hinunter. [Who Kant was? Poor dear. I do not want to spoil the joke...
Journal Article
New German Critique (2020) 47 (1 (139)): 105–140.
Published: 01 February 2020
... by several great figures of the cinema who were Warburg’s contemporaries, such as Dziga Vertov and S. M. Eisenstein” 55 —but then it becomes equally possible to adduce broader contexts that extend beyond film to other media, such as the photocollages of Aleksandr Rodchenko, John Heartfield, or Hannah Höch...
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
... personal links not only to young artists and writers more important than himself, but to the pacifi sts working against both the war and the system that produced it” (Red Count, 246). Von und zu Arco-Zinneberg’s visage later famously appeared in the center of Hannah Höch’s monumental photomontage...
Journal Article
New German Critique (2009) 36 (2 (107)): 133–183.
Published: 01 August 2009
... century it was the Berlin Dadaists (Hannah Höch and Raoul Hausmann, along with Heartfi eld and George Grosz) who took credit based on their respec- tive encounters during World War I with the souvenirs and correspondence of German soldiers, which were laden with photographic fragments.6...