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The quote is attributed to Brandt in David Mellor’s essay, “Brandt’s Phantasms,” in Mark Behind the Camera: Photographs , Aperture, no. 99 (Summer : 73.

Haworth-Booth Bill

Bill at Home (London: Batsford, and in London (London: Country Life, . The staging of the scenes in Brandt’s first two photographic collections is extensively discussed in Behind the Camera, , and in Paul (London: Jonathan Cape, . See also Charles Hagen, “Bill Brandt’s Documentary Fiction,” Artforum International no.

1 September 12 , Volume 24 (1985)
Brandt The , A , Haworth-Booth Bill , Delany Bill , A

For Brandt’s denials, see Brandt, “s London,” in Camera in London, . In correspondence with the collector James Hyman in members of the family recalled Brandt arranging the furniture and subjects to suit his purpose, including the tipped-over high chair in the foreground.

Volume 2012 (1937)

This is clearly, therefore, not anthropology, as Raymond Mortimer claimed in his introduction to at Home, . And it is equally clearly not social documentary as suggested by Paul Delany in Bill Brandt: and by Sarah Hermanson Meister in her essay, “Shadow and Light: The Life and Art of Bill Brandt,” in Bill Brandt: Shadow and Light (New York: The Museum of Modern Art, . For an analysis of documentary’s civic project, in which Brandt, unlike Humphrey Spender, was never invested, see John Tagg, “The Plane of Decent Seeing: Documentary and the Rhetoric of Recruitment,” chap 2.

in The Disciplinary Frame Photographic Truths and the Capture of Meaning Minneapolis University of Minnesota Press , Volume 133 (2009)
Brandt The , A

Brandt, “s London,” reprinted in Selected Texts, 87.

A , Warburton Bill

Ibid., 89.


Brandt, artist’s statement, Album 2 (March , reprinted in Selected Texts, 30. The relocation of the scene to “East Durham” is significant, taking us back to the literary source of Brandt’s narrative.

18 Where Stands BritainHow Did We get into This Mess Picture Post no 3 April 19 15 , Volume 35 (1947)
Warburton Bill

Michael Roberts, “Tyneside,” Picture Post no.

12 December 17 Cf also Spenders earlier view of the Tyne Bridge at dusk in Deborah s Humanist Landscapes PhotoDocuments New Haven Yale Center for British ArtPaul Mellon Centre for Studies in British Art cat no 14 , Volume 1 (1997)
Frizzell Humphrey

For descriptions of Brandt’s extensive and often quite brutal techniques of retouching, see Lee Daffner, “‘No Rules’: An Illustrated Glossary of Bill Brandt’s Retouching Techniques,” in Hermanson Shadow and Light, .

Pages: 186-93
Meister Bill

See Raymond and the City ( Oxford University Press, , esp. chap. “Cities of Darkness and of Light.

Volume 19 (1972)
Williams The , UK Oxford