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By Maud Lavin

“The ladies of Weimar Germany had an uneasy alliance with modernity: whereas they skilled cultural liberation after international conflict I, those “New Women” nonetheless confronted regulations of their incomes strength, political participation, and reproductive freedom. photos of ladies in newspapers, motion pictures, magazines, and high-quality artwork of the Twenties mirrored their ambiguous social position, for the ladies who have been pictured operating in factories, donning androgynous models, or having fun with city nightlife instantly empowered and decorative, either shoppers and items of the recent tradition. during this publication Maud Lavin investigates the multi-layered social development of femininity within the mass tradition of Weimar Germany, concentrating on the exciting photomontages of the avant-garde artist Hannah Höch.

Höch, a member of the Berlin Dada team, used to be famous as some of the most cutting edge practitioners of photomontage. In such works as Dada-Ernst and reduce with the Kitchen Knife, she reconstructed the splendidly seductive mass media photos of the recent lady with their attraction intact yet with their contours fractured with a view to reveal the contradictions of the recent lady stereotypes. Her photomontages convey a demanding pressure among excitement and anger, self assurance and anxiousness. In Weimar—as today—says Lavin, the illustration of girls within the mass media took on a political that means whilst it challenged the distribution of strength in society. Höch’s paintings offers very important proof of the need for girls to form the construction and reception of the photographs that redefine their role.”

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