Taken from the link: http://www.whitechapelgallery.org/about/press/hannah-hoch/
She is best known for her work of the Weimar period, when she was one of the originators of photomontage. Photomontage, or, fotomontage, is a type of collage in which the pasted items are actual photographs, or photographic reproductions pulled from the press and other widely produced media.[1] Höch's work existed to dismantle the fable and dichotomy that existed in the concept of the “New Woman'': an energetic, professional and androgynous woman, who is ready to take their place as man's equal. Her interest in the topic was how the dichotomy was structured, as well as who structures social roles.
Hannah Höch was an important member of the Berlin Dada movement and a pioneer in collage. Splicing together images taken from popular magazines, illustrated journals and fashion publications, she created a humorous and moving commentary on society during a time of tremendous social change. Acerbic, astute and funny, Höch established collage as a key medium for satire whilst being a master of its poetic beauty.
Höch created some of the most radical works of the time and was admired by contemporaries such as George Grosz, Theo van Doesburg and Kurt Schwitters, yet she was often overlooked by traditional art history. At a time when her work has never seemed more relevant, the exhibition puts this inspiring figure in the spotlight.
Höch explored the concept of the ‘New Woman’ in Weimar Germany, presenting complex discussions around gender and identity in a series of both biting and poignant collages. The exhibition includes a number of works from the series From an Ethnographic Museum, in which Höch combines images of female bodies with traditional masks and objects and layers of block colours, capturing the style of the 1920s avant-garde theatre and fashion.
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