Wednesday, October 14, 2020
Monday, October 12, 2020
ART 125/FIST 318 Hannah Hoch's Gestalt Effects
Hannah Höch, Grotesk, 1963, photomontage, 9 7⁄8 x 6 5⁄8". |
The principal of Gestalt, defined as 'an organized whole that is perceived as more than the sum of its parts', was a popular concept used to better understand how humans perceive environments in the early twentieth century. Hannah Hoch (1889 – 1978) was a queer German Dada artist who used this idea to create collages that often create ambiguous juxtapositions. Höch, has been identified by art historians as one of the most under recognized and under-rated female artists of the 20th century.
Hannah Höch, Watched, 1925. |
Here we have an armed guard, whose head appears to be a simple egg, watching over an abstracted fabric flower, that looks a bit like a giant brain. Certainly we can speculate on what this combination of visual elements may imply, but the artist's intent isn't entirely obvious, and the viewer has to resort to associative logic to see, or feel, what this really may be.
Even when the artist's message has clear intent we are left with much to decode...
Höch's most well-known artwork, Cut with the Kitchen Knife Dada Through the Last Weimer Beer-Belly Cultural Epoch of Germany, 1919-1920, uses the medium of collage to critique the political chaos in Europe After WWI. The video below explains the social and political context behind this iconic Dadaist work. It also identifies the various figures in the composition and decodes a lot of the meaning behind the imagery Höch uses. It is important to think about how this collage was constructed from commonly available printed materials which were then manipulated in a way that transcends each individual piece itself and exemplifies the fragmented political moment in which Höch lived.
ART/FIST 240 Jeff Koons Doc
Most of the music is dropped-out of this rip, but you can imagine the original Led Zeppelin tunes they used. The Zep does appear when they cover southern blues...let's think about that.
Everybody seems to have an opinion about this guy. It's my guess that any curators who would believe that the idea of 'avant-garde' has lingered beyond the beatnik age would consider Koons the last gasp of avant-garde in visual art.