Hannah Höch :: Watched, 1925. Höch feminizes the Dada movement’s engagement with the everyday by pairing craft techniques, traditionally seen as women’s work, with the avant-garde strategy of photomontage. | src MoMA
Hannah Höch :: Indian Dancer from an Ethnographic Museum (Indische Tänzerin Aus einem ethnographischen Museum) 1930. Her collaged model is the actress Renée (Maria) Falconetti, appearing in a publicity still for Carl Theodor Dreyer’s 1928 film The Passion of Joan of Arc. | src MoMA
Lola Álvarez-Bravo :: Sirenas del Aire, ca. 1935–36, printed ca. 1958. Álvarez-Bravo offers a pairing of the modern and the classical world using the surrealist approach of juxtaposing improbable objects. Two mermaids, their backs to the viewer, float on an empty picture. These mermaids (or sirens) have chosen a more modern vehicle to send their messages, a typewriter. | src Surrealism and Women Artists