Office: M27 Carlos Hall
Todd Cronan (Ph.D., University of California, Berkeley, 2005)
Mid-Century Modern Los Angeles; 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)
“More Neoliberal Aesthetics: Pamela M. Lee's September 11, 1973” (with Charles Palermo), nonsite.org 23 (Winter 2018)
"Class into Race: Brecht and the Problem of State Capitalism," Critical Inquiry 44, no. 1 (Autumn 2017): 54-79. (Click here for PDF)
"Between Culture and Biology: Schindler and Neutra at the Limits of Architecture," Émigré Cultures in Design and Architecture, eds. Alison Clarke and Elana Shapira (Bloomsbury, 2017).
"Rodchenko's Photographic Communism," Photography and Failure: One Medium's Entanglement with Flops, Underdogs and Disappointments, ed. Kris Belden-Adams (Bloomsbury, 2017).
"Why Architecture Matters as Art as Never Before: Le Corbusier, Tony Smith and the Problem of Use," nonsite.org 21 (Summer 2017)
"Orthodoxy" (with Charles Palermo), World Picture 12 (2017)
"Does the Left Need Spinoza?," Politics, Religion & Ideology 17:1 (Jan. 2016): 90-92. Reply to Knox Peden.
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): 96-120
"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
"Wölfflin and the Promise of Anonymity," review of Principles of Art History: The Problem of the Development of Style in Early Modern Art, 100th Anniversary edition, CAA Reviews (May 11, 2018).
“One Way Cul-de-Sac: Benjamin Buchloh's Art History,” review of Formalism and Historicity, Art History 41:2 (April 2018): 392-94.
“Architects in the Hands of an Angry God: Charles and Ray Eames on Things,” Los Angeles Review of Books (May 25, 2016)
"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): 204-206.
"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)
Todd Cronan is the author of Against Affective Formalism: Matisse, Bergson, Modernism (Univ. of Minnesota Press, 2014) and articles on photographic "previsualization," orthodoxy, Brecht, Adorno, Merleau-Ponty, Santayana, Simmel, Valéry, Max Ernst, Rodchenko, Minor White, Le Corbusier, R.M. Schindler, Richard Neutra and the Eameses. He recently drafted a book on art and politics between the Wars—Between Affect and Alienation: Rodchenko/Eisenstein/Brecht—and is finishing up a study of The Meaning of California Modern on the mid-century architecture of Schindler, Neutra, Raphael Soriano and the Eameses. He is in the early stages of a book (co-written with Charles Palermo) on the films of Billy Wilder and a catalog essay on Vincent Van Gogh. Certain basic theoretical issues are focusing elements in his work including the nature of intentionality, meaning, chance, and autonomy. He is also a founder and editor-in-chief of nonsite.org. He advises topics on all aspects of the European avant-garde (painting, sculpture, photography, architecture and film) as well as North American painting, photography and architecture.