Summer 2014

Hannah Höch

Rachel Withers

Thanks not least to Maud Lavin’s 1993 study, Cut with the Kitchen Knife: The Photomontages of Hannah Höch, the centrality of Höch’s contribution to Berlin Dada is now generally accepted. But, based on the evidence of Daniel F. Herrmann, Dawn Ades, and Emily Butler’s rewarding Whitechapel Gallery monographic survey, that relationship was a complex one. Their show …

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