The Radical Legacy of Hannah Höch, One of the Only Female Dadaists by Alina Cohen, artsy.net
Photomontages were the original remix. In the early 20th century, a group of European artists spliced together images they’d found in popular media, creating singular artworks via a strategy of sampling. The results show both individual statements by their makers and cross-sections of visual culture from a particular historical moment. While these creators called their movement by the nonsense word “Dada” (“DADA, as for it, it smells of nothing, it is nothing, nothing, nothing,” said artist Francis Picabia), their strange new artworks offered significant polemical ideas about gender, politics, and creativity during a particularly tumultuous era in Western history. ….
Hannah Höch, one of the few female members recognized by the movement, offered a refreshing antithesis to such macho constructions. Her own photomontages offer kaleidoscopic visions of German culture during the interwar era, often from a distinctly queer, feminist perspective. READ entire article.
Faith Ringgold, The American People Series #20: Die, 1967.
Ringgold’s original plan had been to study art. But when she showed up at City College’s School of Liberal Arts, she was informed that it did not admit women. “They’re sitting there trying to make me understand that I cannot get a liberal arts degree there,” she said, “and I am refusing to understand. And out of it, one woman says”—Ringgold dropped her voice to a whisper—“ ‘She can do it. Let me tell you how. She can [enroll in the School of Education] and major in art.’ ”
Over the past couple of weeks, The Internet Archive has already been uploading content behind the scenes, and today we are very excited to officially launch them into The Commons.
The Internet Archive is best known for its historical library of the web, preserving more than 400 billion web pages dating back to 1996. Yet, its 19 petabytes include more than 600 million pages of digitized texts dating back more than 500 years. What would it look like if those 600 million pages could be “read” completely differently? What if every illustration, drawing, chart, map, or photograph became an entry point, allowing one to navigate the world’s books not as paragraphs of text, but as a visual tapestry of our lives? How would we learn and explore knowledge differently? Those were the questions that launched a project to catalog the imagery of half a millennium of books. [read more]
The PAD/D archive is comprised of over 2,700 items, split into two sections: Regular files made up of documents, flyers, photographs and slides, and large flat files for posters, prints, and stencils.
Aside from material related directly to PAD/D, countless files are dedicated to socially conscious arts organizations active between 1979–1990. Alongside familiar names such as the Guerrilla Girls, Group Material, Gran Fury, and the Art Workers Coalition (AWC), one will discover a myriad of lesser known collectives such as Angry Arts and Carnival Knowledge. Were it not for the efforts of PAD/D, the histories of many of these groups would have gone undocumented. The archive was formally donated to MoMA in 1994 by PAD/D members Barbara Moore and Mimi Smith. The photographs below represent a tiny portion of the archive. [see photo essay on highlights from the collection]
I’ve been thinking a lot about collage later and it’s relation to our remix culture. and today came across this article about one of my favorite aritsts, Hannah Hoch
Subversive Desires – on Hannah Hoch retrospective in London by Isabel Stevens via Aperture Foundation blog
In the early twentieth century, photo and text snippets could be found everywhere, from film posters and political propaganda to magazine covers and artworks. Dadaists were most taken with intervening with photography specifically: photomontage was the closest thing to visual anarchy and in their eyes, the perfect tool for satire and social commentary. With so many artists mocking society with scissors and scalpels, what makes the photo scraps of German artist Hannah Höch so radical, even now, ninety-odd years later? read more
From the introduction by Deborah Willis to her interview with Wangechi Muti at her studio:
Wangechi Mutu was born in Nairobi, Kenya, in 1972. Mutu’s work explores the interplay between “the real” and fiction, combining ideas found in literature, history, and fables to examine female identity and women’s roles throughout history. She has made sketches and created collages and video about the female body since her days at Cooper Union. In my view, allegory is central to her work and is made apparent through the use of collage, and fragmented or constructed imagery. The complexity of her layering of objects, mark-making, and collage is achieved through her use of translucent materials, photography, and drawing. She also works with performance, a central component of her video installations. For some 15 years now, I have had the distinct pleasure of seeing Mutu pose for the camera for other artists. As I’ve followed Mutu over the years, I have had opportunities to see her work in museums here in New York City, in Toronto, and in galleries in cites both large and small. I love watching people engage and question as they view her work. My own writing and artwork also focuses on the black female body, and I am intrigued by the way Mutu manages to successfully focus her vision on sexuality, desire, and colonialism—while also incorporating girl culture, as well as popular and art historical references. She keeps her viewers engaged as she delves into and visually illuminates universal stories about ritual and myth. In this oral history, I hope to introduce new readings of how her work is viewed, consumed, collected, appreciated, and critiqued. [read interview]
…A quick glance at Flickr’s Commons listingsshows that the British Library joins other institutions like the Vancouver Public Library Historical Photographs, Mississippi Department of Archives and History, the Brooklyn Museum, the Library of Congress, and many more in offering their holdings to the public this way. [read entire article]
I’m Google is an interesting Tumblr blog started in 2011 by Baltimore-based artist Dina Kelberman. It’s a running blog collage comprising Google Image Search photographs and YouTube videos. Kelberman writes that the content is compiled into a “long stream-of-consciousness”: as you scroll down through the seemingly-never-ending flow of imagery, you’ll notice that the sections of similar images flow seamlessly from one to another based on form, composition, color, and theme. [check out her website too]