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31.

Ibid., 256.

32.

Ibid.

33.

Ibid., 259.

34.

Ibid., 260.

35.

Ibid., 261.

36.

For an elaboration of this view of photographic meaning, see John Tagg, “Everything and Nothing: Meaning, Sense and Execution in the Archive,” in (Post)Fotografisches Archivieren: Wandel, Macht, Geschichte, Das fotografische Dispositiv, Band eds.

Victoria Von Yvonne Bialek and Marcelina Kwiatkowski Marburg Jonas Verlag , Volume 2 (2016)
Flemming Daniel
37.

Without apparent evidence, Paul Delany claims in Bill Brandt: that Brandt “must have asked the man to look down at the ground before he pressed the shutter.

Pages: 134-37
A
38.

In the interests of full disclosure, I will add that, in my father, Bill Tagg, was entering the second year of his apprenticeship in Hebburn at A.

Reyrolle Companyone of the modern engineering factories to which outraged local officials adamantly drew the attention of Picture Post in reaction to Humphrey Spenders picture story the response appeared in Picture Post 2 no 9 March 4 On any given workday during his trip to Jarrow Brandt might have seen my father peddling hard on his own Raleigh racing bike heading to or from the ferry to North Shields dreaming of Saturday and the weekend cricket match at Tynemouth Cricket Club , Volume 1937 (1939)
39.

Brandt’s investment in surrealism went back not just to his strange semi-apprenticeship with Man Ray in but to the broader encounters during his years in Paris between and .

What engaged him was not Andr Bretons radical disruption of the bourgeois unconscious but the social fantastic as Pierre Mac Orlan described it in the essay that supplies the preface to Atget Photographe de Paris Paris Henri Jonquires New York E Weyhe a copy of which Brandt had purchased in There was also a German edition Eugne Atget Lichtbilder with a preface by Camille Recht Leipzig Verlag Henri Jonquires The reference to Brandts purchase of the volume is in Mellor Brandts Phantasms 96 (1930)