Dadaism: Artists and Collections
Hannah Höch is a German artist who was associated with Dadaism

Höch and the other Dadaists tried to respond to the horror of World War I. They often used found objects such as photographs which eventually led to the art form we know as photomontage today. Höch was one of the first pioneers of photomontage as her work included cut-and-pasted images.
Indian Dancer (1930) by Höch borrows imagery from non-Western cultures and therefore can be categorised as inspired by Primitive art forms.
The piece was created with the use of found photographs which included a picture of a famous actress called Marie Falconetti. Höch combined the modern woman of the time with images of non-Western sculpture in the hopes of making a reference to femininity. According to Harrison, Hoch wanted to ‘imply female power and evoke questions of gender identity and cultural prejudice.’ The actress who was featured in Indian Dancer had a short haircut which represents the new modern German women.
These women could supposedly go out, get a job, and even change their hairstyle however Höch believed that they were still confined in a lot of ways. To emphasize this, she covered the actress’ mouth with an image of a non-Western sculpture, which had a frozen mouth, making the actress unable to speak. This was an attempt to represent the limitations of the new modern women. On the other hand, Höch created a crown using found images once again to give of the impression that the woman is some kind of royalty. This was obviously a joke as when looked at carefully we can clearly see that the crown is made up of images of forks, knives, and spoons. These images were a reference to what women’s duty was thought to be at the time no matter how modern they had become. The view that women were housewives was still present and Höch wanted to represent that stereotypical idea of women.
Another point that can be made about Indian Dancer is that it also deals with how we perceive beauty.
It is said that Höch was attempting to portray women’s beauty as multi-faceted and diverse and challenge a contemporary oppressive beauty standard. This brings out a feminist point of view that beauty isn’t limited to how someone looks. Höch tried to portray the strong side of women as well as the beautiful side which was done by combining images of a non-Western sculpture and a famous actress. She managed to show a more complex side of gender and challenge the traditional expectations of women.
Using found photographs allowed Höch to make reference to femininity. Her representation of women was discussed in MoMA Highlights: ‘…we see many layers of femininity here. We see a film star, a modern woman, a non-Western woman, all combined in a single image.’ Höch was able to present all of these images as one because she used photographs. The photographs are very clear representations of things and Höch used this to strengthen the meaning of her work. The fact that she used found materials was also important as it also added to the work’s meaning. Höch used a picture of Marie Falconetti which was probably mass-reproduced because of her fame.
This excessive reproduction eventually turned the actress’ photos into objects which relates to what Höch is trying to represent through her work. She tried to take the objectification of the actress even further by replacing half of her face with a picture of an object. Another point that can be made is that both the theme and materials presented a challenge to the society of the time. The theme dealt with the issues revolving around and challenging the traditional expectations of women and similarly the materials aimed to challenge the traditional expectation of art.
We can suggest that Höch used elements of feminism to point out the ways the so-called modern woman of the time was confined.
To achieve this she borrowed images from two different cultures highlighting their differences as well as their similarities. The materials that Höch used were also significant as they added to the meaning of her work. She used found photographs to emphasize the objectification of women and also to challenge art itself.
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