9783039421725 - Assembled Worlds di Hoch, Hannah; Waldmeier, Martin; Makholm, Kristin (33 risultati)

paperback. Condizione: Acceptable. Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. PAPERBACK Standard-sized.

Condizione: New.

Paperback. Condizione: New. Hannah Höch (1889-1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume.

Condizione: As New. Unread book in perfect condition.

Condizione: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Condizione: NEW.

Paperback. Condizione: new. Paperback. Poetic, radical, and ironic: Hannah Hoech's montages and the visual culture of Modernism. Hannah Hoech (18891978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Hoech broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Hoech kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor. Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Hoech's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Hoech's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, Laszlo Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume. AUTHORS: Martin Waldmeier is a curator at the Zentrum Paul Klee in Bern. Nina Zimmer is director of the Kunstmuseum Bern and its affiliate Zentrum Paul Klee. SELLING POINTS: . A groundbreaking book on Hannah Hoech's montages in the context of film and the visual culture of Modernism . Sheds light for the first time on Hannah Hoech's significance as a pioneering artist to confront the industrial age's flood of images . Richly illustrated, featuring also numerous prints and other documents from Hoech's estate, and film stills . With a text-collage on the history of montage, assembling excerpts by Hannah Hoech, Sergej Eisenstein, Raoul Hausmann, Laszlo Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow . Exhibition: Hannah Hoech - Assembled Worlds at the Zentrum Paul Klee, Bern (10 November 2023-25 February 2024) 147 colour, 12 b/w illustrations A groundbreaking, richly-illustrated book on Hannah Hoechs montages in the context of film and the visual culture of Modernism. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback or Softback. Condizione: New. Hannah H�ch: Assembled Worlds. Book.

Paperback. Condizione: New. Hannah Höch (1889-1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume.

Condizione: New.

Condizione: new.

Condizione: New.

Condizione: New.

Condizione: New. In.

Paperback. Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New. 2024. 1st Edition. paperback. . . . . .

Paperback. Condizione: Brand New. 192 pages. 9.06x6.70x0.79 inches. In Stock.

Condizione: New. 2024. 1st Edition. paperback. . . . . . Books ship from the US and Ireland.

Condizione: New.

Condizione: New. Brand New.

paperback. Condizione: New. Special order direct from the distributor.

Paperback. Condizione: Brand New. 192 pages. 9.06x6.70x0.79 inches. In Stock.

Condizione: NEW.

Paperback. Condizione: new. Paperback. Poetic, radical, and ironic: Hannah Hoech's montages and the visual culture of Modernism. Hannah Hoech (18891978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Hoech broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Hoech kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor. Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Hoech's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Hoech's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, Laszlo Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume. AUTHORS: Martin Waldmeier is a curator at the Zentrum Paul Klee in Bern. Nina Zimmer is director of the Kunstmuseum Bern and its affiliate Zentrum Paul Klee. SELLING POINTS: . A groundbreaking book on Hannah Hoech's montages in the context of film and the visual culture of Modernism . Sheds light for the first time on Hannah Hoech's significance as a pioneering artist to confront the industrial age's flood of images . Richly illustrated, featuring also numerous prints and other documents from Hoech's estate, and film stills . With a text-collage on the history of montage, assembling excerpts by Hannah Hoech, Sergej Eisenstein, Raoul Hausmann, Laszlo Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow . Exhibition: Hannah Hoech - Assembled Worlds at the Zentrum Paul Klee, Bern (10 November 2023-25 February 2024) 147 colour, 12 b/w illustrations A groundbreaking, richly-illustrated book on Hannah Hoechs montages in the context of film and the visual culture of Modernism. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Kartoniert / Broschiert. Condizione: New. Poetisch, radikal und ironisch - Hannah Hoechs Montagen und die visuelle Kultur der ModerneSie bewegte sich zwischen den Welten - als Redaktionsmitarbeiterin bei einem grossen Zeitschriftenverlag und als einzige Frau, die sich in der Berliner Dada-Sze.

Paperback. Condizione: New. Hannah Höch (1889-1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume.

Paperback. Condizione: new. Paperback. Poetic, radical, and ironic: Hannah Hoech's montages and the visual culture of Modernism. Hannah Hoech (18891978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Hoech broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Hoech kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor. Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Hoech's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Hoech's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, Laszlo Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume. AUTHORS: Martin Waldmeier is a curator at the Zentrum Paul Klee in Bern. Nina Zimmer is director of the Kunstmuseum Bern and its affiliate Zentrum Paul Klee. SELLING POINTS: . A groundbreaking book on Hannah Hoech's montages in the context of film and the visual culture of Modernism . Sheds light for the first time on Hannah Hoech's significance as a pioneering artist to confront the industrial age's flood of images . Richly illustrated, featuring also numerous prints and other documents from Hoech's estate, and film stills . With a text-collage on the history of montage, assembling excerpts by Hannah Hoech, Sergej Eisenstein, Raoul Hausmann, Laszlo Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow . Exhibition: Hannah Hoech - Assembled Worlds at the Zentrum Paul Klee, Bern (10 November 2023-25 February 2024) 147 colour, 12 b/w illustrations A groundbreaking, richly-illustrated book on Hannah Hoechs montages in the context of film and the visual culture of Modernism. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Taschenbuch. Condizione: Neu. Neuware - Hannah Höch (1889-1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor. Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text on photomontage by Hannah Höch, written in 1948, and text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, round out this volume.; Sie bewegte sich zwischen den Welten - als Redaktionsmitarbeiterin bei einem grossen Zeitschriftenverlag und als einzige Frau, die sich in der Berliner Dada-Szene behaupten konnte. Hannah Höch (1889-1978) brach in den 1920er-Jahren mit Darstellungs- und Sehgewohnheiten: Ihre Werke zerlegten eine Welt, die von der Katastrophe des Ersten Weltkriegs und der Konsumkultur gezeichnet war, und setzten sie auf revolutionäre, poetische und oft auch ironische Weise neu zusammen. Höch blieb ihren künstlerischen Mitteln und ihrer poetisch-radikalen, zwischen Gesellschaftsbeobachtung und Traumwelt schillernden Imagination aber auch nach Ende des Zweiten Weltkriegs treu. Schere und Klebstoff waren die Waffen ihrer Kunst der Montage, als deren Miterfinderin sie gilt. Schnitt und Montage wiederum prägten auch den Film als damals junges Medium, das Höchs Schaffen immens beeinflusste: Sie verstand Montagen als statische Filme. Dieses reich illustrierte und kundig kommentierte englischsprachige Buch geht erstmals Höchs Faszination für den Film und die Bildkultur des modernen Industriezeitalters nach und zeigt, wie sich die Montage im Spannungsfeld von künstlerischem Experiment, kommerzieller Verwertung und politischer Vereinnahmung entwickelte. Abgerundet wird der Band durch einen Text über Fotomontage von Hannah Höch, geschrieben 1948, sowie durch eine Textmontage zur Montage als künstlerische Technik: Zu Wort kommen Filmschaffende und Künstler, u. a. Dsiga Wertow, Sergej Eisenstein, László Moholy-Nagy, Raoul Hausmann und Kurt Schwitters.

Paperback. Condizione: New. Hannah Höch (1889-1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital's vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch's art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch's fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume.