Hannah Höch

Von Cornelia Gerner Hannah Höch (1889–1978) zählt zu den zentralen Persönlichkeiten der Klassischen Moderne, ihr Collagen-Werk zu den Höhepunkten des Dada. Kurz vor Beginn des Zweiten Weltkriegs erwirbt die von den Nationalsozialisten als „Kulturbolschewistin“ diffamierte Künstlerin im Dorf Heiligensee im nördlichsten Berliner Bezirk Reinickendorf ein kleines Haus, das zum Refugium und Ort der inneren Emigration wird. Der selbst gestaltete Garten dient als Überlebenshilfe sowie Quell der Inspiration. Die vorliegende Publikation nimmt 70 Werke aus der Sammlung des Museum Reinickendorf zum Anlass, 40 Jahre Leben und Schaffen der Künstlerin in Heiligensee vorzustellen. Hannah Höch is one of the key protagonists of Dada in Berlin. Shortly before the outbreak of World War II, the artist, who had been defamed by the Nazis as a ‘cultural Bolshevist’‚ purchased a small house in Heiligensee in the north of Berlin, which became a place of refuge and inner emigration. With seventy works from the collection of the Museum Reinickendorf, the present publication sheds light on forty years in the life and work of the artist in Heiligensee. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover219 pagesText in GermanMuseum Reinickendorf: Wienand, 20189 x 1 x 9.8 inchesISBN 9783868324525Artist Monographs, Women Artists, Dada, Photomontage

Hannah Höch. Von Heiligensee in die Welt

Printed on archival paper, 11 1/4 x 11 1/4 inches Mounted on a 14 3/4 x 16 5/8 inch matte.Designed and printed at Thornwillow Press in Newburgh, New York under the direction of Luke Ives Pontifell. Limited Edition Print, Dada, Photomontage

Hannah Höch: The Singer, 1926 [Print]

Edited by Florence Ostende with Lotte Johnson “At a time when many richly researched tomes are liberally produced on all manner of 20th century avant-garde art and design, this is on my 2019 list as one of the best.” —Design Observer This thrilling book explores the role of cabarets, clubs, and cafés in modern art. These creative spaces were incubators of radical thinking, in which artists could exchange provocative ideas. They were welcoming environments for artists, dancers, designers, writers, and musicians pushing the boundaries of cultural and social norms. Spanning the decades from the 1880s to the 1960s, this unique and multi-faceted illustrated history of alternative artistic spaces covers four continents and includes both famed and little-known sites of the avantgarde. Organized by city, it features painting, drawing, photography, sculpture, film, and archival material emanating from over a dozen cabarets, clubs, and bars that were home to the likes of Henri de Toulouse-Lautrec, Loie Fuller, Josef Hoffmann, Giacomo Balla, Sophie Taeuber-Arp, Theo Van Doesburg, Jeanne Mammen, Jacob Lawrence, Ramón Alva de la Canal, and Ibrahim El-Salahi. It includes photographs of the interiors of the Chat Noir in Paris, the Café L’Aubette in Strasbourg and the Mbari Club in Nigeria; a cocktail menu from the Cabaret Fledermaus in Vienna; a 1930s night club map of Harlem; posters and invitations advertising performances at the Cabaret Voltaire in Zurich and Mexico City’s Café de Nadie; and countless artworks that emerged from these spaces conveying the energy and excitement of the time. A series of enlightening essays explore how each space fostered and stimulated new forms of artistic expression. Hardcover344 pages with 400 color illustrationsPrestel Publishing, 20199.4 x 1.3 x 12.4 inchesISBN 9783791358888Avant-Garde, Dadaism, Cabaret

Into the Night: Cabarets and Clubs in Modern Art

By Peter Chametzky “Chametzky’s book offers an interesting theoretical analysis of German art. Its sources and documentation are abundant. Chametzky’s knowledge of German art is impressive.”—Yves Laberge, German Studies Review“Compelling. . . . [Chametzky includes] appropriate critical/theoretical and cultural/historical background throughout.”—Shelley Cordulack, Millikin University European Legacy"This engaging book asks fundamental questions about the object in history and how meaning in art is produced and altered over time. Seamlessly weaving together discourses on gender, the body, ethnicity, film, mass media, and art history, Chametzky deftly explores German art from modernism to post-modernism through cogent case studies drawn from the Wilhelmine, Weimar, Nazi, Cold War, and Reunification eras. His perceptive ventures into such areas as Dada, the machine, and hitherto overlooked Jewish utopian thought provide fresh insights on German art and culture."—Timothy O. Benson, author of Raoul Hausmann and Berlin DadaThis book provides a stimulating overview of twentieth-century German art, focusing on some of the period's key works by Max Beckmann, George Grosz, Hannah Höch, Willi Baumeister, Arno Breker, Joseph Beuys, and Gerhard Richter. In Peter Chametzky's innovative approach, these works become representatives rather than representations of twentieth-century history. That is, the art here does not simply illustrate an argument, the art is the argument. Chametzky draws on both scholarly and popular sources to demonstrate how the works (and in some cases, the artists themselves) interacted with, and even enacted, historical events, processes, and ideas. He asserts the continued historical role of material art works in an era when less material forms—photography, film, television, video, digital images—have assumed the function of visually depicting contemporary history.Hardcover 286 pagesUniversity of California Press, 201010 x 6.8 x 1.1 inchesISBN 9780520260429Art History, German History

Objects as History in Twentieth-Century German Art

By Thomas O. Haakenson“Grotesque Visions: The Science of Berlin Dada is a much-needed contribution to the history and theory of the grotesque. Calling attention to historically specific ideas about the human body in early twentieth-century Germany, Thomas O. Haakenson not only describes the genesis of the grotesque at this particular time and place, he demonstrates its critical potential to intervene in the era's often misguided scientific activities. As science and anthropology increasingly implemented visual images to validate research and serve as legitimate evidence, the Dada grotesque-as Haakenson convincingly argues-pointedly questioned the importance of vision as constitutive of knowledge.” ―Maria Makela, Professor Emerita of Visual Studies, California College of the Arts, USAGrotesque Visions focuses on the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists, anthropologists, sexologists, and medical professionals went to present their research in a seemingly unambiguous way, this volume shows how Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists used the artistic grotesque to criticize, satirize, and subvert a variety of forms of supposed scientific objectivity.The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit/Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last fin-de-siècle.Paperback272 pagesBloomsbury Academic, 2022 5.5 x 0.57 x 8.5 inchesISBN 9781501369940 Dada, Avant-Garde

Shop at Neue Hannah Höch

Hannah Höch. Von Heiligensee in die Welt

Hannah Höch: The Singer, 1926 [Print]

Into the Night: Cabarets and Clubs in Modern Art

Objects as History in Twentieth-Century German Art

Grotesque Visions: The Science of Berlin Dada

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Hannah Höch