Brian Dillon

  • Photographic memory (No. 12)
    What we do with photographs [review-essay]
  • The invisible man (No. 13)
    The elusive genius of Chris Marker’s films [review-essay]
  • Giddiness and desperation (No. 16)
    The photographs of Jacques Henri Lartigue [review-essay]
  • Lost time accidents (No. 19)
    A walk amongst the stones and ruins of Dungeness, Kent [essay]
  • Mad Tracey from Margate (No. 22)
    A seaside town and its most notorious daughter [review-essay]
  • Objects in the mirror (No. 23)
    To Passaic, New Jersey, in the footsteps of Robert Smithson [essay]
  • The enemy within (No. 24)
    The idiot Georges Bataille [review-essay]
  • Atomized (No. 26)
    The ruins of England’s gunpowder belt [essay]
  • Golden hours (No. 27)
    The films of Tacita Dean [review-essay]
  • Very important man (No. 29)
    Adventures in the art world [diary]
  • Whatever (No. 31)
    The genius of Duchamp and his remade readymades [review-essay]
  • A cinema of happiness (No. 34)
    The films of Andy Warhol [review-essay]
  • Future anterior (No. 38)
    The time-travelling art of Gerard Byrne [review-essay]
  • RB and me: an education (No. 41)
    Becoming a reader, and a writer [personal history]
  • Points along the edge of a Kentish marsh (No. 44)
    A walk around the mysterious Isle of Grain [essay]
  • Notes on Bowie (No. 53)
    How David Bowie invented me, and may have invented you [essay]
  • Vigilance (No. 59)
    On cycling in London [essay]
  • Vaguenesses (No. 62)
    The uses of error in the work of a great Victorian photographer, Julia Margaret Cameron [review-essay]
  • A mirror’d be better (No. 64)
    William Eggleston¹s exercises in style [review-essay]