Group Exhibitions
1919 Erste Berlin Dada Ausstellung; Graphischen Kabinett
of I.B. Neumann, Berlin
1920 Novembergruppe Exhibition, Berlin
Erste Internationale Dada-Messe; Dr. Otto Burch-
ard’s, Berlin
1921 Novembergruppe Exhibition, Berlin
Grotesken; Berlin Secession, BerlinAnti-Dada-Merz-
Tournee, Prague
1922 Novembergruppe Exhibition, Berlin
Grotto for Merzbau, Hannover
1923 Novembergruppe Exhibition, Berlin
Juryfreie Kunstaustellung; Berlin
Grotto for Merzbau, Hannover
1924 Allgemeine Deutsche Kunstausstellung; traveling in the
Soviet Union
1925 Deutsche Kunstgemeinschaft; Berlin Stadtschloss, Berlin
Juryfreie Kunstaustellung; Berlin
1926 Novembergruppe Exhibition, Berlin
Deutsche Kunstgemeinschaft; Berlin Stadtschloss,
Berlin
1928 Onafhankelijken Group Exhibition; The Hague
Ko ̈lnischen Kunstverein; Essen, Germany, and traveling
1930 Grosse Berliner Kunstaustellung; Berlin
Novembergruppe Exhibition, Berlin
1931 Fotomontageexhibition; Staatliche Kunstbibliothek,
Berlin
Frauen in Not; Haus der Juryfreien, Berlin
Grosse Berliner Kunstaustellung; Berlin
1932 Exposition Internationale de la Photographie; Palais
des Beaux Arts, Brussels
Collage Exhibition; Philadelphia Museum of Art, Phi-
ladelphia, Pennsylvania
1933 Exposition Internationale de la Photographie; Palais
des Beaux Arts, Brussels
1980 Conrad Felixmu ̈ller and Hannah Ho ̈ch; Berlinische
Galerie, Berlin
1994 Three Berlin Artists of the Weimar Era: Hannah Ho ̈ch,
Ka ̈the Kollwitz, Jeanne Mammen; Des Moines Art Cen-
ter, Des Moines, Iowa, and traveling
Selected Works
Schnitt mit dem Ku ̈chenmesser Dada durch die letzte wei-
marer BierbauchkulturepocheDeutschlands(Cut with the
Kitchen Knife Dada through the Last Weimar Beer
Belly Cultural Epoch of Germany), 1919–1920
Meine Hausspru ̈che(My House Sayings), 1922
Hochfinanz(High Finance), 1923
Liebe im Busch, 1925
Die starken Ma ̈nner(The Strong Men), 1931
Deutsches Ma ̈dchen, 1930Further Reading
Adriani, Go ̈tz, ed.Hannah Ho ̈ch. Cologne: Du Mont Buch-
verlag, 1980.
Apel, Dora. ‘‘‘Heroes’ and ‘Whores’: The Politics of Gender
in Weimar Antiwar Imagery.’’The Art Bulletin1 Sep-
tember 1997.
Ho ̈ch, Hannah.Hannah Ho ̈ch 1889–1978: Ihr Werk, Ihr Leben,
Ihre Freunde. Berlin: Berlinische Galerie and Argon, 1989.
Ho ̈ch, Hannah.Eine Lebenscollage. 2 vols. Bearbeitet von
Cornelia Thater-Schulz, Berlin: Berlinische Galerie and
Argon, 1989.
Lavin, Maud.Cut with the Kitchen Knife: The Weimar
Photomontages of Hannah Ho ̈ch. New Haven, CT: Yale
University Press, 1993.
Lavin, Maud. ‘‘Strategies of Pleasure and Deconstruction—
Hannah Ho ̈ch’s Photomontages in the Weimar Years.’’
InThe Divided Heritage: Themes and Problems in Ger-
man Modernism. Irit Rogoff, ed., Cambridge: Cam-
bridge University Press, 1991.
Makela, Maria. ‘‘Hannah Ho ̈ch.’’ InThree Berlin Artists of
the Weimar Era: Hannah Ho ̈ch, Ka ̈the Kollwitz, and
Jeanne Mammen. Louis R. Noun, ed., Des Moines, IA:
Des Moines Art Center, 1994.
Ohff, Heinz.Hannah Ho ̈ch. Berlin: Gebr. Mann, 1968.
Page ́, Suzanne. ‘‘Interview with Hannah Ho ̈ch.’’ InHannah
Ho ̈ch: Collages,Peintures, Aquarelles, Gouaches, Dessins.
Paris and Berlin: Musee ́ArtModerne de la Ville de Paris
and Nationalgalerie Berlin Staatliche MuseenPreus-
sischer Kulturbesitz, 1976.
Serger, Helen.Hannah Ho ̈ch: 1889–1978.NewYork:LaBoe-
tie, 1983.Walker Art Center, eds.The Photomontages of
Hannah Ho ̈ch. Minneapolis, MN: Walker Art Center, 1996.HORST P. HORST
American
The formal portrait of designer Coco Chanel,
Paris, 1937 and the famous ‘Mainbocher Corset,’
Paris, September 15, 1939, are among the twentieth
century’s best known fashion photographs. Both
were made within two years of each other by the
photographer, Horst P. Horst. Displaying an intui-
tive understanding for form, grace, femininity, and
elegance, the elegantly composed, dramatically litHO ̈CH, HANNAH