Hannah Hoch and James Rosenquist --Insiders and Outsiders of Consumerism and Gender

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With the rise of industrialization, globalization, and mass production, the manufacturing productivity has been dramatically increased and accordingly the availability of consumer goods. And with the rise of the mass media, various products have been targeted on broad groups of consumers. Consumerism, which is propelled by a system of mass production and high levels of consumption, has been one of the themes in art works from twentieth century till now. In regard to consumerism and gender, I find two figures—Hannah Hoch and James Rosenquist--connected. Hoch once worked for a women's magazine of the huge Ullstein Press while Rosenquist once earned his living as a billboard painter at Artkraft-Strauss. They had been working within the mass media during the day and using the fragments from the industry to create art works at night before they moved to their own studios. The Beautiful Girl (1919-1920) and The Light That Won’t Fail I (1961) are examples I will use to explore consumerism and the relationship between consumerism and gender. As insiders of the mass culture, Hoch and Rosenquist take both content and technique from the visual vocabulary of mass consumption and transform them into art. Their approaches of creating art pieces witness changes in the consumer world at different time periods of history. As manifested in their works, The Beautiful Girl and The Light That Won’t Fail I, photomontage and billboard-like painting resemble the forms of advertising. And their different kinds of juxtaposition embody the experience of the consumer world and the artists’ allegorical comment on consumerism and gender. Consumerism is not only acting within the works but also through the medium. . The two artists not onl... ... middle of paper ... ...ight That Won’t Fail I is worth studying. Works Cited Ganeva, Mila. 2008. Women in weimar fashion: Discourses and displays in german culture, 1918-1933. Rochester, NY: Camden House. Hemus, Ruth. 2009. Dada's women. New Haven [Conn.] ;London: Yale University Press. Lavin, Maud, and Hannah Höch. 1993. Cut with the kitchen knife: The weimar photomontages of hannah höch. New Haven: Yale University Press. Lobel, Michael, and James Rosenquist. 2009. James rosenquist: Pop art, politics, and history in the 1960s. Berkeley: University of California Press. Philip Singerman of the Sentinel Staff. 1985. Sign language james rosenquist has always painted messages. now they are his own. Orlando Sentinel1985. Sherayko, G. F. (1996). Selling the modern: The new consumerism in weimar germany. (Order No. 9637539, Indiana University). ProQuest Dissertations and Theses, 283-283 p.

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