Dissertation Chapter 2 Notes.

Chapter 2 notes;


In reference to compositional consideration and aesthetics; “ The imagery used in the text is evocative of Hoch’s collages of the time. Leaving the wild and unruly style of Dada collages behind… more narrative…”

Hannah Hoch, pg 11.

backs up my opinion on how her work is illustrative and conveying messages to the viewer rather than for art’s sake.

She looked towards nature when drawing out her compositions. Said in the film shown at Whitechapel. See if I can find this film anywhere.

Refers to Hoch’s approach, what her work predominantly featured, eyes, lips, oversized heads. Also, suggesting the work be psychological rather than narrative and can’t be read only as autobiographical due to the public nature of the material.

TPOHH, pg 12.

Colour and composition;

TPOHH, pg 62. 4th paragraph; pg 135. (Horizontal lines, visual rhymes).


The relation of grotesque to the west; “On one hand this belies modernist and primitivist myths of universality, but also demonstrates the extent to which the grotesque is rooted in the powerful mind-body duality of western thought.”

Modern Art and the Grotesque, pg 6

(Also refer to my note attached to page 4).

…Bathkin summed up the nature of the grotesque body…all the parts and processes that are suppressed by social codes of behaviour.”

..Bathkin interpreted carnivalesque as the voice of the people… for the suppressed and regulated proletariat”.

Her material, classed as vulgar and superficial/ low art. Lack of understanding, respect and regard.

TPOHH, pg 11.


if needed; Contradictions of Dada being open to all and experimental and with no authority yet nearly all consisting of men.

Dada’s Women; pg 94.

about being left out of Hausmann’s memoirs. Also on how hard it was to be a woman; quote from 1959.

Dada’s Women, pg.92.. Quote also TPOHH, pg 8.

About her ‘greatest sin in the eyes of her fellow Dadaists- her respect for the notion of art.

The Photomontages of Hannah Hoch, pg.8.

My own notes on her timelessness;

Dada’s Women, pg, 99, 106.

My own notes on technique;

Dada’s Women; pg, 99, 107.


Dada’s Women; pg 124. My own notes on timeless quality. Her subjects continuing beyond Dada; Gender, Sexuality, Love, Relationships. Issues that are all still present and/or relatable today. Is it her subject matter that makes her timeless rather than compositional consideration or materials?

Adding to my opinion on timelessness; “Hoch, whose life spanned…. historical figure with a particularly contemporary voice….social construction and gender roles- speaking directly to the concerns of many artists and scholars working today.”

The Photomontages of Hannah Hoch, director’s foreword, pg, 4.

her influences and how they impacted her work;

Living in the countryside of Gotha,

Father was a gardner,

studied calligraphy,

mixed media glass design,


Splicing fine arts and applied.

Studied in the Graphic and book art division.

Played with the fact women had been liberated by law but this wasn’t carried out fully within society and definitely not within the household. Still under scrutiny, still oppressed.

TPOHH, 65.

Work evolved as different people came into her life, like surrealists and constructivists and also as her personal life evolved. Even if the subject matter was not directly autobiographical, the influence still filtered through.

Personal note; Our long for nostalgia meets with the past’s need for advancement. Old imagery-coloured imagery.

TPOHH, pg 147.

Personal note; Journey;

Politically aimed/Dada

Gender issues

Social issues


Confinement- led to fantasy

Freedom- abstract/compositional experiments.

Always evolving.

TPOHH, pg, 139.

Reoccurring themes; women, dance, revisited the work of the weimar period but with a fantasy spin.

Note, TPOHH, pg 136.


Negerplastik, 1929, after Dada. Questions societies ideals of expected beauty and how the people of Germany were rushing to have surgery or go through anti-ageing process to meet these ideals.

Subject is on a platform.

Primitive mask, questioning Western beauty, placed on the body of an infant. Expressing the process has gone too far.

The eye looking back asking for approval of the male.

The poles around the platform can be read as a cage, maybe of a zoo, or of some sort of spectacle, even circus? An arena for people to look and judge.

The grotesque again being used to question expectations of beauty.


For notes see Hannah Hoch. Pg, 28.

Indian Dancer; 1930.

A still from the film Joan of Arc.

The crown representing a moment in the film but can also read as the weight of domesticity still placed upon women.

The imposed mask looks suffocating and silencing. Also looks like it is made of stone; also adds weight. A burden. The mask also appears masculine. She hasn’t added her usual exaggerated eyes or lips to express femininit

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