Art History Department
TODD CRONAN (Ph.D., University of California, Berkeley, 2005)
European Art between 1880 and 1950; Matisse & Picasso; the international avant-garde between 1914 and 1923; philosophical and theoretical problems around intention, chance, affect, form and skepticism.
Against Affective Formalism: Matisse, Bergson, Modernism (Spring 2014)
Matisse (forthcoming in spring 2015 from Phaidon Books)
Killing "Max Ernst" in Nothing but the Clouds Unchanged: Artists in World War I (Getty Research Institute, 2014).
Response to Kaja Silverman's The Miracle of Analogy, nonsite.org (Spring 2014)
"The Political Ontology of Unemployment: Why No One Need Apply" nonsite.org 10 (Fall 2013)
"`Seeing Differently' and `Seeing Correctly': Bertolt Brecht For and Against Abstraction," Brecht Yearbook, vol. 37, ed. Theodore Rippey (Dec. 2013)
"Art and Political Consequence: Brecht and the Problem of Affect," Special issue on Bertolt Brecht, nonsite.org 10 (Fall 2013)
"On Previsualization," co-written with James Welling, in See the Light: Photography, Perception, Cognition, ed. Britt Salvesen (Los Angeles County Museum of Art, 2013)
"Photography & Chance," entry, Encyclopedia of Aesthetics, new edition, Oxford UP, 2014
"Paul Valéry," entry, Encyclopedia of Aesthetics, new edition, Oxford UP, 2014
"Money is in the Eye of the Beholder," editorial, nonsite.org (Summer 2011)
"Paul Valéry's Blood Meridian, Or How the Reader became a Writer," nonsite.org 1 (February 2011)
"Merleau-Ponty, Santayana and the Paradoxes of Animal Faith," British Journal for the History of Philosophy 18:3 (2010): 487-506
"Georg Simmel's Timeless Impressionism," New German Critique 106 (2009): 83-101
"'Primordial Automatism': George Santayana's Later Aesthetics," Overheard in Seville 25 (2007): 20-27
"Looking Into Surfaces," in David D. Kim (ed.), Georg Simmel in Translation, (Cambridge Scholars Press,2006), 229-261
Translation and Introduction to Max Horkheimer, "Schopenhauer and Society," qui parle 15:1 (2004): 81-96
"Operation Adorno," review of The Challenge of Surrealism The Correspondence of Theodor W. Adorno and Elisabeth Lenk, Radical Philosophy 194 (Nov/Dec 2015): 50-52.
“War and Commas,” review of Hanns Eisler in Conversation with Hans Bunge, Brecht, Music and Culture, Radical Philosophy 189 (Jan./Feb. 2015): 52-55.
"The Meaning of Pain: Paul Scheerbart's Lesabéndio," Radical Philosophy 185 (May/June 2014): 64-65
"Photography at the End of Modernism," review of Aperture Magazine Anthology-The Minor White Years, 1952-1976, History of Photography (spring 2014)
Review of T. J. Clark, Picasso and Truth: From Cubism to Guernica. Los Angeles Review of Books (Spring 2014)
"Literally Conceptual," review of Lisa Siraganian, Modernism's Other Work. Radical Philosophy 177 (Jan./Feb. 2013): 51-54
"The Theater of Censored Poverty," Responses and reply to Cronan, "You are all proletarians," nonsite.org (Fall 2012)
"You are all proletarians," Review of Adorno and Horkheimer, Towards a New Manifesto, Radical Philosophy 174 (July/August 2012), pp. 31-33
"Radically Private and Pretty Uncoded," Review of Affect Theory Reader, Radical Philosophy 172 (March/April 2012), pp. 51-53
"Mysterious Exchange: On Susan Sidlauskas's Cézanne's Other: The Portraits of Hortense," nonsite.org 1 (February 2011)
Review Essay of Michael Fried's Menzel's Realism: Art and Embodiment in 19th Century Berlin, Zeitschrift fur Kunstgeschichte 4 (2006): 578-92
Clement Greenberg's Late Writings, qui parle 14:2 (2004): 205-12
"Shaken Realism," Review Essay of Michael Fried, Menzel's Realism, qui parle 14:1 (2003): 123-58
Contributing Editor to nonsite.org
Translation (with Bridget Alsdorf) of Philippe Lacoue-Labarthe's "Ecrits sur l'art" (forthcoming from Fordham University Press)
Professor Cronan is currently at work on two book projects. The first, Seeing Photographically: Photographic Ontology and the Problem of Audience, looks at photographic debates around the concept of "previsualization" from Alfred Stieglitz to Minor White including new considerations of the work of Edward Weston, Ansel Adams, Harry Callahan and Aaron Siskind. The second project, Art at the End of History: Painting/Photography/Architecture/Theater/Film in the 1920s, examines the claims and results of a vision of art after modernization had achieved its ends. At the center of the latter are the intense debates over which artistic medium was thought to best express the realities of a post-historical world.