90 can collector Albert Barnes, who had purchased it from Paul Guillaume, the same source as the Rietberg Museum piece that Han Coray had once owned. African art is often perceived to be the work of anonymous artists, but in the case of these two masks, the hand of a single individual, known as the Master of Bouafl é, is clearly apparent in many details: the rounded profi le, high forehead, oblique eyes, and smiling mouth. Along with the image of the mask in her collage, Höch used a photo of the statue of the goddess Taweret of Thebes, also extracted from Der Querschnitt. The left leg wearing a white sock comes from the photo of an actress that appeared in the Berliner Illustrirte Zeitung (1928). With its multiple references, all treated with the same care on a visual level, this collage, like all of Höch’s work, manifests an artistic approach that takes a stand against the idea of a hierarchy between cultures. DADA CONTROVERSY In the fourth part of the exhibition, Carl Einstein’s Western vision of African art is contrasted with the post-colonial African position. This juxtaposition serves the exhibition’s and the accompanying publication’s goal of investigating the relationship with the “Other” from the standpoint of academic theory and refl ection,
T80E
To see the actual publication please follow the link above