Fremde Schönheit, ca. 1929

**Hannah Höch ::** Fremde Schönheit [Strange beauty], Berlin, ca. 1929, original photographic collage on coloured paper signed H.H. (The Geneviève & Jean-Paul Kahn Library). | src la gazette drouot

Watched by Hannah Höch

**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

Indian Dancer by Hannah Höch

**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

From Hannah Höch’s Album page (scrapbook), 1933.

left: Dancer Gret Palucca, ca. 1925. ph, by Charlotte Rudolph.

right: “Stabhochsprung” Athete high jumping (pole vault) and “Starke Geste im modernen Ausdrucktanz (Die Wigmanschülerin Vera Skoronel)”. Expressionist dancer (Wigman student, Vera Skoronel) ph. by Suse Byk. | src Female artists

Willy Römer :: Hannah Höch with the puppets (Dada dolls) representing her daughters Pax and Botta, around 1920 | src RMN

Hannah Höch with her Dada Dolls, 1920 / src georgina goodman

Hannah Höch :: Dada Puppen, 1919 / src georgina goodman via

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