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April 1989.HANNAH HO
̈
CH
German
Hannah Ho ̈ch entered the art world as a creative
force with the radical-leaning Berlin Dada circle,
which formed shortly before the end of World
War I. She was generally regarded as responsible
for appropriating the photomontage technique
from folk culture and making it an avant-garde
artforminawaythatperfectlyfittheanarchic
spirit of the Dada movement. Her works fre-
quently contained distinctly personal iconogra-
phy, but ultimately took part in the political
discourses of the Weimar Republic, including
those involving ideas of utopia, debates over tech-
nocracy in German society, and the construction
of women’s identities.
Born in 1889 in the Thuringia region of Germany,
Ho ̈ch was the daughter of an insurance company
manager and an amateur painter and housewife. As
the family’s eldest child, she took care of her younger
siblings and was largely kept from attending school.
She was nearly 22 when she was finally able to enroll
in the Kunstgewerbeschule in Berlin. There, she stu-
died glass with Harold Bengen. The outbreak of
World War I forced her brief return home, where
she worked for the Red Cross. In 1915, she returned
to Berlin to study graphics with Emil Orlik at the
Staatlichen Lehranstalt des Kunstgewerbemuseums.
She met and became involved with the Austrian artist
Raoul Hausmann in the same year. Their romantic
liaison brought her into contact with many figures of
the avant-garde, including the Futurists. Later, when
the Berlin Dada circle unofficially formed in 1917,
after the arrival of Richard Huelsenbeck from Swit-
zerland, she also met the political dissidents George
Grosz and John Heartfield, who published incendi-
ary pamphlets under the name Malik Verlag.
Between 1916 and 1926, Ho ̈ch worked three days
a week for the Ullstein Verlag, which published the
popular illustrated magazinesDie Dame,Berliner
Illustrierte Zeitung, andDie praktische Berlinerin.
At Ullstein, Ho ̈ch designed pattern books appear-
ing in these journals, which targeted female audi-
ences. Her work for Ullstein, taken in conjunction
with the politicized intellectualism she took part in
as a member of the Dada movement, eventually
informed the ideological content of much of her art.
DuringatriptoGribowontheBalticSeain1918,
Ho ̈ch saw souvenir postcards depicting officer’s uni-
forms onto which photographs of heads had been
pasted. The medium used to create the images was
photomontage, a technique existing since the nine-HO ̈CH, HANNAH