A
SNICKET, HALIFAX
To begin, This piece of text takes a look Brandt’s photograph (A Snicket, Halifax) it looks at the different perspectives on which his photography of the industrial town is perceived. Firstly Nigel talks about how Brandt’s work can be perceived to be a “simple and bold” portrayal of the town or if you were to look at it in differently it could be perceived as a “dreamscape” however Nigel seems to feel its somewhere in between the two that Brandt’s work lies.
Nigel goes in to a small detail of how Brandt worked as Man Rays assistant in the early 1930’s. Informing us he was never officially part of the surrealist movement but that seemed to have adopted an attitude towards the surrealist approach and this reflected in his work.
To begin, This piece of text takes a look Brandt’s photograph (A Snicket, Halifax) it looks at the different perspectives on which his photography of the industrial town is perceived. Firstly Nigel talks about how Brandt’s work can be perceived to be a “simple and bold” portrayal of the town or if you were to look at it in differently it could be perceived as a “dreamscape” however Nigel seems to feel its somewhere in between the two that Brandt’s work lies.
Nigel goes in to a small detail of how Brandt worked as Man Rays assistant in the early 1930’s. Informing us he was never officially part of the surrealist movement but that seemed to have adopted an attitude towards the surrealist approach and this reflected in his work.
Looking further
into the narrative I have picked up on another key point raised about this
photograph and his work as a whole. Which is perspective with an outcome to
“intensify the atmosphere of the photograph”, this goes back to point raised
about the documentary or dreamscape approach. Nigel explains how his
photography was more than “merely formal” It was shot in a certain way to
express something more than just documentation of this industrial town. Using a
different perspective rather than shooting it at Eye level to create something
totally new.
The Final point I want to go over in this narrative is how Brandt was analysed by Wilhelm Stekel, A pupil of Sigmund Freud. It goes into detail of how our subconscious plays a part in our photography, how it lies in our work without us objectively placing it in there. I feel this Fits well into the narrative and gives the reader a better understanding of how surrealist work does not “strive to depict the content of dreams, Rather they freely move about in the borderlands between the internal and external worlds”. Being able to Subconsciously add into a photograph what they see and feel.
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| Bill Brandt, A Snicket, Halifax 1937 |
original Text Written by: Nigel Warburton
Taken From the Following book: Howarth, S and Alexander, M. D. 2005 Singular Images:
Essay on
Remarkable Photographs. New York Aperture
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