A year earlier she had met and started a relationship with Dadaist activist Rauol Hausmann and it was her time in this fiery, tempestuous affair that she developed her photomontage style. Despite the Dadaist statement of revolutionary progress and their nods towards feminist liberation, it was with great reluctance that Hoch was accepted into the group. Hans Richter describing her as a hostess, “the girl who procured sandwiches, beer and coffee, on a limited budget”.
och’s style meanwhile continued to evolve; with disjointed, decapitated and juxtaposed images created from magazine cuttings. She became master of these disturbing and compelling montages. Her piece “Cut With the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany (1919-20)” was included in the 1st International Dada Fair. She clearly expresses her distrust and suspicion of Weimar Germany in this and pieces like “Dada Panorama” (1919).
A complex and creative person whose effects and processes are still felt in the art rooms of today. She was so much more than, as an obituary described her on her death in 1978 as “the blonde bobbed, androgynous muse of the bad boys Dada club of 1919”.
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