| Eleanor Anton's nomadic itineraries
|
2023 |
Crary, Jonathan |
| Fitful tracings : David Hockney on art and optics
|
2023 |
Crary, Jonathan |
| Paul Virilio's "Aesthetics of Disappearance"
|
2023 |
Crary, Jonathan |
| Terminal radiance
|
2023 |
Crary, Jonathan |
| Gretchen Bender's "Total Recall"
|
2023 |
Crary, Jonathan |
| Marcel Duchamp's "The Passage from Virgin to Bride"
|
2023 |
Crary, Jonathan |
| J.G. Ballard and the promiscuity of forms
|
2023 |
Crary, Jonathan |
| Bridget Riley's activations of the eye
|
2023 |
Crary, Jonathan |
| John Berger, art critic in dark times
|
2023 |
Crary, Jonathan |
| Uta Barth: "The Singularity of the Everyday"
|
2023 |
Crary, Jonathan |
| Eclipse of the spectacle
|
2023 |
Crary, Jonathan |
| Psychopathways : horror movies and technology of erveryday life
|
2023 |
Crary, Jonathan |
| Spectacke, attention, counter-memory
|
2023 |
Crary, Jonathan |
| Notes on Rem Koolhaas and modernization
|
2023 |
Crary, Jonathan |
| "Bade Runner", artifact of the 1980s
|
2023 |
Crary, Jonathan |
| On Jean-Luc Godard's "Histoire(s) du cinéma"
|
2023 |
Crary, Jonathan |
| Ed Ruscha's "Real Estate Opportunities"
|
2023 |
Crary, Jonathan |
| Dennis Oppenheim's "Delirious Operations"
|
2023 |
Crary, Jonathan |
| Peter Fend's global architecture
|
2023 |
Crary, Jonathan |
| Allan Kaprow's "Activities"
|
2023 |
Crary, Jonathan |
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