Brian Dillon

Brian Dillon is director of the creative writing programme at Queen Mary University of London, and before that ran the critical writing programme at the Royal Academy of Art. He is the UK editor of Cabinet magazine and has written a book about essays, Essayism, and one on the pleasures of the sentence, Suppose a Sentence.

Letter

Ruin Lust

3 April 2014

In her review of Ruin Lust – an exhibition at Tate Britain that I curated with Emma Chambers and Amy Concannon – Rosemary Hill writes: ‘Among the most recent works … there is … little direct engagement with ruins’ (LRB, 3 April). It’s a shame she doesn’t mention Rachel Whiteread’s photographs of the demolition of a tower block in Hackney, Laura Oldfield Ford’s drawings and paintings...
From The Blog
16 December 2013

‘I always assumed I would simply be forgotten and disappear from view,’ Saul Leiter said late in life, at a time when the colour photographs he had taken half a century earlier were hardly ever off the pages of magazines, and countless online slideshows celebrated his ‘lost’ views of mid-century New York. Leiter, who died on 26 November (a week short of his 90th birthday), spent his last decade genially playing up to his new status as rediscovered colour pioneer.

In Herne Bay: Duchamp

Brian Dillon, 29 August 2013

‘I am not dead; I am in Herne Bay,’ Marcel Duchamp wrote to the painter Max Bergmann in August 1913. If you know the north Kent resort today – its decayed seafront and sad amusements – Duchamp’s presence there may seem absurd, his reassurance not entirely convincing. But the postcard he sent Bergmann shows the town in its prime: a place lately promoted from a staging...

At Tate Britain: ‘Phantom Ride’

Brian Dillon, 4 July 2013

Simon Starling’s film installation Phantom Ride, commissioned by Tate Britain for its vast Duveen Galleries, takes its title from a cinematic fad of the early 1900s. Cameras and cameramen were hitched to the buffers of trains, and latterly trams, and filmed the track and scenery as they hurtled along. An early phantom ride was typically a single shot, just a few minutes long, which...

The best-known photograph of Eileen Gray was taken in 1926 by Berenice Abbott, whose sitters had lately included Cocteau, Gide and Joyce. Gray was 48, but looks younger: her hair is cropped, and she seems to be wearing a tailored suit. It is hard to imagine anybody looking more sleekly tuned to the modern than Gray does here. The perfect profile, the flying-helmet of dark hair, the slightly...

The essay​ can seem to be the cosy heartland of belles-lettres, a place where nothing urgent is ever said. Recently, though, publishers have seemed willing to take on and even promote this...

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What is going on in there? Hypochondria

Hilary Mantel, 5 November 2009

I once knew a man, a Jamaican, who when he first came to England always answered truthfully when asked ‘How are you?’ A bit sniffly, he might reply; or he would describe his...

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