This thesis focuses on how photomontage has been used by certain artists during periods of political unrest and artistic revolution. For the purposes of this study, "photomontage" is defined as any artwork into which a photograph is collaged in order to construct a political narrative. The photograph(s) may come from the mass media, or it can be privately created. This thesis is concerned with more than photomontage as a means of creating overtly political art, however. Specifically, Chapter One provides a general overview of the artwork and writing of the most politically motivated of the Dadas in Berlin, with particular attention to the work of Heartfield. Chapter Two examines the differing styles and goals of Hannah Höch versus the other Berlin Dadas, including Raoul Hausmann, with whom she worked closely from 1915 until 1922. Chapter Three is given to Kurt Schwitters, whose strong opinions about mixing art and politics provide a useful foil to the prevailing attitudes among his fellows. The final chapter considers photomontage as practiced by Martha Rosler in her "Bringing the War Home" works.
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