Nairy Baghramian has been exhibiting her sculptures and installations since 1999, principally in Germany and elsewhere in Europe (Belgium, Austria, England and the Netherlands). In 2008 she took part in the 5th Berlin Biennial, where she presented a work executed in collaboration with the designer Janette Laverrière (Janette Laverrière: La lampe dans l’horloge, Schinkel pavilion). Subsequent projects undertaken jointly with Laverrière have been shown recently at the Staatliche Kunsthalle Baden-Baden (Entre deux actes — Loge de comédienne, 2009) and as part of a solo exhibition at the Neuer Aachener Kunstverein, in Aachen (Affairen. Ein semiotisches Haus, das nie gebaut wurde, 2008). Other solo shows have also been held at Studio Voltaire, in London (Nairy Baghramian: Butcher, Barber, Angler & others, 2009), the Staatliche Kunsthalle Baden-Baden (Nairy Baghramian. The Walker's Day Off, 2008), the Kunstverein Nürnberg, in Nuremberg (Nairy Baghramian & Jan Timme, 2007) and the Kunsthalle Basel (Nairy Baghramian — Es ist ausser Haus, 2006). Nairy Baghramian is represented by Galerie Christian Nagel, Berlin and Cologne.

A designer of furniture and interiors, Janette Laverrière has been pursuing her practice − shaped by an ingenious, playful and yet remarkably simple aesthetic vision − since the 1930s. Both her furniture (made of such “new” materials as aluminum, Formica and lacquered metal tubes) and her interiors are conceived in a sober, economical and elegant style in which colour (often vivid) and a marked attention to detail predominate. Her mirrors, inspired by a particular character or story, are highly poetic. Since 2008 her joint projects with Nairy Baghramian have led to a rediscovery of her work.

2009
Entre deux actes loge de comédienne. — Köln : Walther König, 2009. — 109 p.

2008
The Walker’s Day Off: Nairy Baghramian. — Baden-Baden : Staatliche Kunsthalle ; Köln : König, 2008. — 77 p.

A graduate of the Emily Carr College of Art and Design (Vancouver, 1983) and of the University of British Columbia (Vancouver, 1990), Arni Haraldsson has been exhibiting his photographic work in Canada and abroad regularly since 1991. His works have been shown at the Maison de l’architecture du Québec, in Montréal (Copan Projects, 2010; in collaboration with spmb); at the Galerie de l’Université du Québec à Montréal (Exister contre les faits : architecture / fiction / photographie, 2008); the Casa Vertigo, in Eindhoven (Zé Lino [Copan Projects], 2007); the Canadian Museum of Contemporary Photography, in Ottawa (Displacement and Encounter: Projects and Utopias Arni Haraldsson and Manuel Piña, 2002); and the Portland Institute for Contemporary Art (Road Movies in a Post-Colonial Landscape, 1997). He has also participated in such international events as the PhotoEspaña festival (2008), the EAST International biennial, in Norwich (2007) and the Johannesburg Biennale. His most recent solo exhibition, The Goldfinger Project, took place in London at SPACE, in 2007. Other major exhibitions of his work have been presented in Vancouver (Up & Down: Downtown Eastside Architecture, Artspeak Gallery, 2003; Contemporary Art Gallery, 2001−2002; Presentation House Gallery, 1995) and at the London Regional Art & Historical Museums (At Last Sight: Arni Haraldsson, 2000). Arni Haraldsson, whose work is included in the collection of the National Gallery of Canada, has been a professor at the Emily Carr University of Art + Design for some twenty years. Part of his production can be viewed at the Centre for Contemporary Canadian Art website (CCCA, Toronto).

A key figure of architectural Modernism in the United Kingdom, an admirer of Auguste Perret and Le Corbusier, Ernö Goldfinger settled in London in 1934. He became known for austere and often controversial constructions of unprecedented aesthetic power. The reinforced concrete apartment blocks that he built during the 1960s − the now famous Alexander Fleming House, Balfron Tower and Trellick Tower − are icons of Brutalism.

2003
Up & Down: Downtown Eastside Architecture / Arni Haraldsson ; Clint Burnham, curator ; Lorna Brown, editor. — Vancouver : Artspeak, 2003. — 11 postcards : col. ill. ; in portfolio

2001
Arni Haraldsson: Firminy. — Vancouver : Contemporary Art Gallery, 2001. — 47 p.

2000
At Last Sight: Arni Haraldsson. — Essay by Anne Brydon. — London, Ont., Canada : London Regional Art & Historical Museums, 2000. — 32 p.

1995
Arni Haraldsson: Projects on Vancouver Architecture and Landscape. — North Vancouver, B.C. : Presentation House Gallery, 1995. — 36 p.

Iñigo Manglano-Ovalle, who is a graduate of Williams College (Williamstown, 1983) and of the School of the Art Institute of Chicago (1989), has been exhibiting his interdisciplinary work (sound, sculpture, photography, film) since 1985. His production has been included in such major events as: Human/Nature: Artists Respond to a Changing Planet, Museum of Contemporary Art San Diego (and other venues, 2008−2009); Ecomedia, Edith-Ruß-Haus für Medienkunst, in Oldenburg (and other venues, 2007−2008); and Documenta, in Kassel (2007). He has also held solo exhibitions at the Art Institute of Chicago (Iñigo Manglano-Ovalle: Always After (The Glass House), 2010; Focus: Iñigo Manglano-Ovalle, 2005); at the MASS MoCA, in North Adams (Gravity is a Force to be Reckoned With, 2009−2010), the Rochester Arts Center (Iñigo Manglano-Ovalle: Blinking Out of Existence, 2006) the Museen Haus Lange und Haus Esters, in Krefeld (The Krefeld Suite, 2005) and the Cranbrook Art Museum, in Bloomfield Hills (2001). Among the public collections featuring Manglano-Ovalle’s work are those of the Museum für Moderne Kunst (Frankfurt), and the Whitney Museum of American Art and the Solomon R. Guggenheim Museum (New York). He has received fellowships from the John Simon Guggenheim Memorial Foundation (2009) and the John D. and Catherine T. MacArthur Foundation (2001), and is a winner of the Media Arts Award from the Wexner Center for the Arts (1997). A professor at the UIC School of Art and Design, in Chicago, he is represented by Max Protetch Gallery, New York; Galería de Arte Soledad, Madrid; Galerie Thomas Schulte, Berlin; and Donald Young Gallery, Chicago.

Architect and furniture designer Mies van der Rohe was also a director of the Bauhaus (Dessau/Berlin, 1930−1933) and of the school of architecture at the Illinois Institute of Technology (Chicago, 1938−1958). In 1922 he designed a glass multi-storey building with a steel structural frame that was the harbinger of the ubiquitous post-World War II skyscraper. His work is characterized by simple geometric forms and a marked concern for proportion and detail. His major works include the German pavilion for the Barcelona World Exposition (1929), the Tugendhat (Brno, 1931) and Farnsworth (Plano, Ill., 1951) houses, Crown Hall (Chicago, 1956), the Seagram Building (New York, 1958) and the Neue Nationalgalerie (Berlin, 1968).

2007
Iñigo Manglano-Ovalle: Blinking Out of Existence / [curator Kris Douglas]. — Rochester : Rochester Art Center, 2007. — 65 p.

2005
Miller, Jonathan. — Iñigo Manglano-Ovalle: The Krefeld Suite / edited by Martin Hentschel ; essays by Jonathan Miller and Stuart Krimko. — Bielefeld : Kerber Verlag, 2005. — 95 p.

2001
Iñigo Manglano-Ovalle. — Bloomfield Hills : Cranbrook Art Museum, 2001. — 66 p.

1998
Iñigo Manglano-Ovalle: The Garden of Delights: Artist and the Community / organized by Ron Platt, curator. — Winston-Salem, N.C. : Southeastern Center for Contemporary Art, 1998. — 40 p.

John Massey, who studied at the Ontario College of Art (Toronto, 1974), has been exhibiting his work internationally since the early 1980s. The cities where his photographic and video production has been shown include Melbourne (Cinema Paradiso, Australian Centre for Contemporary Art, 2007); Berlin (Beyond Cinema: The Art of Projection, Hamburger Bahnhof, 2006); Montréal (Sound and Vision: Photographic and Video Images in Contemporary Canadian Art, The Montreal Museum of Fine Arts, 2006); and Frankfurt (Adorno, Frankfurter Kunstverein, 2003). In 1996 Massey took part in the 10th Biennale of Sydney. In recent years, solo exhibitions of his work have been held at Georgia Scherman Projects, in Toronto (This Land / Studio Projections, 2008); the Morris and Helen Belkin Art Gallery, in Vancouver (The House That Jack Built, 2007, organized in 2004 by the Canadian Museum of Contemporary Photography, in Ottawa); the Canadian Cultural Centre, in Paris (John Massey - "This Land", 2005); the Contemporary Art Gallery, in Vancouver (John Massey: As the Hammer Strikes (A partial illustration), 2005); and at Baily Fine Arts, in Toronto (John Massey: Phantoms of the Modern, 2004). Massey is represented in a number of collections, including those of the Art Gallery of Ontario and the Ydessa Hendeles Art Foundation (Toronto); the Canadian Museum of Contemporary Photography (Ottawa); the Stedelijk Museum (Amsterdam); and the Fonds National d’Art Contemporain (Paris). Recipient of the Gershon Iskowitz Prize in 2001, John Massey has been teaching at the University of Toronto since 2003. He is represented by Georgia Scherman Projects, Toronto.

Hart Massey began his Ottawa-based career in the early 1950s, designing buildings strongly influenced by the modern functionalist aesthetic of Walter Gropius and Mies van der Rohe. Among his relatively small corpus of works, which includes private houses and public buildings, are the Ignatieff (1955) and Rockcliffe (1958) residences (the latter also known as Hart Massey House), a pavilion in Vincent Massey Park (1957) and the Sir John Carling Building (1967). Hart Massey also collaborated on the original plans for the Carleton University campus.

2006
John Massey: This Land / avec un essai de Danièle Cohn. — Paris : Centre culturel canadien, 2006. — 95 p. (Esplanade du Centre culturel canadien)

2004
John Massey: Phantoms of the Modern / [essay by David Rimanelli]. — Toronto : Bailey Fine Arts, 2004. — [24] p.

Hanna, Martha. — John Massey: The House that Jack Built / Martha Hanna ; with an essay by Didier Ottinger = La Maison que Jack a bâtie / Martha Hanna ; avec un essai de Didier Ottinger. — Ottawa : Canadian Museum of Contemporary Photography = Musée canadien de la photographie contemporaine, [2004]. — 115 p.

1994
John Massey. — Hamilton, Ont. : Art Gallery of Hamilton, [1994]. — 79 p.

Dorit Margreiter received her higher education at the University of Vienna (1986−1990) and the University of Applied Arts Vienna (1988−1992). She has been exhibiting her photographs and her film and video installations since 1991, mostly in Europe and the United States. She represented Austria at the 53rd Venice Biennale (2009) and at the 11th Cairo Biennale (2008, with Roberta Lima). Major monographic exhibitions of her work have been held at MAK Center for Art and Architecture, in Los Angeles (Locus Remix. Three Contemporary Positions: Dorit Margreiter, 2009) and MAK Vienna (Poverty Housing. Americus, Georgia, 2008, with Rebecca Baron); the Stampa gallery, in Basel (Original Condition, 2006); the Galerie für Zeitgenössische Kunst, in Leipzig (Analog, 2006); the Kiesler Foundation, in Vienna (zentrum, 2005); the Museum Moderner Kunst Stiftung Ludwig Wien, in Vienna (10104 Angelo View Drive, 2004); the Galerie im Taxispalais, in Innsbruck (Everyday life, 2001); and the Grazer Kunstverein, in Graz (Short Hills, 1999). Margreiter has also created an online work for the Dia Art Foundation, in New York (Alphabeth, 2009), as well as undertaking the design of the European Kunsthalle c/o Ebertplatz, in Cologne (2008). Among the collections featuring her work are the Museum Moderner Kunst Stiftung Ludwig Wien and the Generali Foundation (Vienna). The winner of numerous awards, including the renowned Otto Mauer Preis (2001), Margreiter teaches at the Academy of Fine Arts, in Vienna. She is represented by the Krobath gallery, Vienna; and the Stampa gallery, Basel.

John Lautner owes his renown to his spectacularly futuristic buildings. After moving to Los Angeles in 1938 he developed a simultaneously geometric and organic architectural style that, in his more ambitious projects, made full use of the extraordinary potential of concrete. Googie’s Coffee Shop and the Chemosphere (Los Angeles, 1949; 1960), the Sheats-Goldstein Residence (Beverly Hills, 1963), the Elrod House (Palm Springs, 1968), the Casa Marbrisa (Acapulco, 1977) and the Concrete Castle (Malibu, 1990) are some of his most outstanding works.

2009
Elke Krystufek, Dorit Margreiter, Franziska & Lois Weinberger / [herausgeberinnen = edited by] Valie Export und Silvia Eiblmayr. — Köln : Verlag der Buchhandlung Walther König, 2009. — 205 p.

Rebecca Baron, Dorit Margreiter: Poverty Housing, Americus, Georgia / herausgegeben von Peter Noever ; mit einem beitrag von Juli Carson = edited by Peter Noever ; with a contribution by Juli Carson. — Wien : MAK : Schlebrügge, 2009. — 34 p.

Synchronicity: Roberta Lima, Dorit Margreiter / Felicitas Thun-Hohenstein (ed.). — Köln : Verlag der Buchhandlung Walther König, 2009. — 70, 37 p.

2006
Dorit Margreiter: Analog / Julia Schäfer (ed.). — Frankfurt am Main : Revolver ; Leipzig : Museum of Contemporary Art, 2006. — 135 p.

2004
Dorit Margreiter: 10104 Angelo View Drive / herausgegeben von Museum Moderner Kunst Stiftung Ludwig Wien, Matthias Michalka. — Cologne : Walther König ; Wien : Museum Moderner Kunst Stiftung Ludwig Wien, [2004]. — 131 p.

2002
Stadler, Eva Maria. — Dorit Margreiter: Short Hills / [text Eva Maria Stadler, Yvonne Volkart]. — Frankfurt am Main : Revolver ; Graz : Grazer Kunstverein, 2002. — 87 p.

Trained at the Glasgow School of Art (1991−1995) and the School of the Art Institute of Chicago (1993), Toby Paterson has been exhibiting his paintings, photographs, reliefs and constructions in the United Kingdom, elsewhere in Europe and in the United States since 1996. A survey exhibition of his work was presented recently in Edinburgh (Toby Paterson, The Fruitmarket Gallery, 2010). Other solo shows include those held in Glasgow (Toby Paterson: Ever Growing Never Old, The Modern Institute/Toby Webster Ltd, 2009), The Hague and Middelburg, in the Netherlands (Toby Paterson: Generosity, Stroom Den Haag, 2007; Broken Arabesque, de Vleeshal & de Kabinetten van de Vleeshal, 2006), and in London (After the Rain, Curve Gallery, Barbican Centre, 2005). Paterson has executed a number of public art projects, both permanent and temporary. Among his most recent public works are Powder Blue Orthogonal Pavilion (2008), seen at Portavilion 2008 (Potters Fields Park, London), and Poised Array (2007), a work made for the BBC Scotland headquarters in Glasgow. He is currently part of the design team for the Stratford International Extension (SIE), a major project commissioned by the Docklands Light Railway (DLR Art), in London. Winner of the Beck’s Futures Award (2002) and the Creative Scotland Award (2006), he is represented by Sutton Lane, London; and The Modern Institute, Glasgow.

A versatile and prolific Scottish architect, Basil Spence was the author of numerous projects in the United Kingdom during the 1950s, 1960s and 1970s. His eclectic style was influenced by Sir Edwin Lutyens and Le Corbusier’s late work. Spence’s major commissions include the new Coventry Cathedral (1962) and Falmer House (University of Sussex, Brighton, 1962). Considered icons of Brutalism, his high-rise apartment buildings in Hutchesontown (Glasgow, 1965; demolished 1993) and Hyde Park (Hyde Park Cavalry Barracks, London, 1970), the British Embassy in Rome (1971) and the Home Office building (London, 1976), were nonetheless severely criticized.

2010
Sadler, Simon. — Toby Paterson: Consensus and Collapse. — Edinburg : The Fruitmarket Gallery, 2010. — 152 p.

2003
Toby Paterson / essay by Steven Gartside, Lars Bang Larsen and Caroline Woodley. — Glasgow : CCA, 2003. — 63 p.

Paulette Phillips, a multidisciplinary artist (performance, sculpture, video, photography) who is a graduate of the Canadian Film Centre (Toronto, 1992) and York University (Toronto, 2008), has been exhibiting since the early 1980s. Her works and video installations have been shown at numerous national and international festivals (including the São Paulo Film Festival; the Australian Video Festival, in Sydney; the Images Festival, in Toronto; and the Babajaga Festival, in Rome). Recent installations by Phillips were presented at the National College of Art & Design Gallery, in Dublin, in 2010 (“History appears twice, the first time as tragedy, the second time as farce”, 2008), and at Tatton Park, in England, in 2008 (Walking Ferns, 2008). Phillips has also shown work at the Canadian Cultural Centre, in Paris, in 2007 (Lisa Klapstock / Paulette Phillips) and at Diaz Contemporary, in Toronto, in 2006 (Monster Tree). Her works are featured in a number of collections, including those of the Museum of Modern Art (New York) and the Canada Council for the Arts Art Bank (Ottawa). Winner of the prestigious Chalmers Award in 2005, she is an associate professor at the Ontario College of Art and Design. Paulette Phillips is represented by Danielle Arnaud Contemporary Art, London; and Diaz Contemporary, Toronto.

As a furniture designer, decorator and architect, Eileen Gray was a leading figure in the French decorative arts milieu during the 1910s and 1920s, and a pioneer of the International Style. Known initially for her lacquer work, she became famous in the mid-1920s for her decorative objects (carpets, mirrors, lamps) and tubular steel furniture. Her villa E-1027 (Roquebrune-Cap-Martin, 1926−1929) is considered a gem of Modernist architecture.

2007
Lisa Klapstock, Paulette Phillips / avec un essai de Gérard Wajcman. — Paris : Centre culturel canadien, 2007. — 99 p. (Collection Esplanade)

2004
Paulette Phillips: The Secret Life of Criminals: Clues and Curiosities. — Oakville, Ont. : Oakville Galleries ; Cambridge, Ont. : Cambridge Galleries, [2004]. — 63 p.

Trained at the Academy of Fine Arts of Ljubljana (1997) and the Kunstakademie in Düsseldorf (1997−1998), Tobias Putrih has been exhibiting for about a decade. His sculptures, installations and drawings have been shown in Berlin (Megastructure Reloaded, Ehemalige Staatliche Münze, 2008); London (Psycho Buildings: Artists Take on Architecture, Hayward Gallery, 2008); Brussels (Anachronism, Argos, 2007); Luxemburg (Eldorado, Musée d’Art Moderne Grand-Duc Jean, 2006); New York (Greater New York, P.S.1, 2005); and San Francisco (Monuments for America, CCA Wattis Institute for Contemporary Arts, 2005). In 2007 he represented Slovenia at the 52nd Venice Biennale. His most recent installations, executed in collaboration with MOS, a collective of architects and designers, have been exhibited at the MIT List Visual Arts Center, in Cambridge (Tobias Putrih & MOS: Without Out, 2009); the Museum Boijmans Van Beuningen, in Rotterdam (Intervention #10 Tobias Putrih & MOS, 2009); and the BALTIC Centre for Contemporary Art, in Gateshead (Overhang - TOBIAS PUTRIH & MOS, 2009). Other projects, realized jointly with the British artist Runa Islam, have been shown at the Kunsthaus Zürich and the Museum Folkwang, in Essen (Restless Subject, 2008−2009); White Cube, Hoxton Square, in London (Runa Islam: featuring Tobias Putrih, 2008); and the Galleria Civica di Modena (Runa Islam LOST CINEMA LOST Tobias Putrih, 2008). Among the collections that feature Putrih’s works are those of the Museum of Modern Art (New York), the Musée d’Art Moderne Grand-Duc Jean (Luxemburg) and the Queensland Art Gallery (Australia). Winner of the Vordemberge-Gildewart Foundation Award (2002), he is represented by Max Protetch, New York; Galerija Gregor Podnar, Berlin and Ljubljana; Galerie Almine Rech, Paris; and Pinksummer, Genoa.

Buckminster Fuller was a transdisciplinary researcher and an autodidact of visionary genius who operated in a wide range of fields, including architecture, design, philosophy and mathematics. An early proponent of sustainable development, he used advanced technologies to devise viable solutions to the problems of his era, notably in the realms of transport and housing. The many large multifunctional geodesic domes that he constructed across the world during the 1950s brought him international fame.

2008
Runa Islam: Empty the Pond to Get the Fish. — Wien : Museum Moderner Kunst Stiftung Ludwig Wien ; London : White Cube, 2008. — 142 p.

Runa Islam: Lost Cinema Lost: Tobias Putrih / [curated by Milovan Farronato ; texts by Milovan Farronato ... [et al.]]. — Modena : Galleria Civica, 2008. — 80 p.

Runa Islam: Restless Subject. — Zürich : Kunsthaus Zürich : Kehrer Verlag Heidelberg ; Essen : Museum Folkwang, 2008. — 167 p.

2007
Tobias Putrih: 99-07. — Ljubljana : gugur editions ; Zurich : JRP/Ringier, 2007. — 183 p.

Simon Starling, who studied at Trent Polytechnic, in Nottingham (1987−1990), and at the Glasgow School of Art (1990−1992), has been exhibiting his work for some twenty years. He has participated in numerous biennials (including Venice, 2009; Brussels, 2008; Lyon, Sharjah, Moscow, 2007; São Paulo, 2004) and other major events (Tate Triennial [see Viatorisation], London, 2008−2009; Manifesta 3, Ljubljana, 2000). In 2003 he represented Scotland at the 50th Venice Biennale. Solo shows of his work have been held recently at the following venues: MAC/VAL, Vitry-sur-Seine and Parc Saint Léger — Centre d’art contemporain, Pougues-les-Eaux (THEREHERETHENTHERE (œuvres 1997 — 2009), 2009); Kunsthallen Brandts, Odense (BLACKOUT, 2009; with Superflex); Temporäre Kunsthalle Berlin (Simon Starling — Under Lime, 2009); MASS MoCA, North Adams (The Nanjing Particles, 2008); Galleria Franco Noero, Turin (Three Birds, Seven Stories, Interpolations and Bifurcations, 2008); Ludwig Múzeum, Budapest (Simon Starling — Three Birds, Seven Stories, Interpolations and Bifurcations, 2008); The Power Plant, Toronto (Cuttings (Supplement), <2008). His works figure in a number of prestigious collections, including those of Tate Modern (London), Moderna Museet (Stockholm) and the Solomon R. Guggenheim Museum (New York). Winner of the 2005 Turner Prize, Starling teaches at the Staatliche Hochscule für Bildende Künste (Städelschule), in Frankfurt. He is represented by Casey Kaplan Gallery, New York; The Modern Institute, Glasgow; Galleria Franco Noero, Turin; and Neugerriemschneider, Berlin.

The architect, writer, critic and publisher Poul Henningsen is best known as a pioneer in the field of 20th-century Danish lamp design. His first PH lamps, created in 1924−1925, were technically and socially innovative, and he subsequently re-exploited their system of nested shades to create many different forms and models. As of 1929 his works were produced and marketed internationally by Louis Poulsen.

2009
Simon Starling: The Nanjing Particles / edited by Susan Cross. — Massachusetts : Massachusetts Museum of Contemporary Art, 2009. — 85 p.

Under Lime: Simon Starling. — Köln : Verlag der Buchhandlung Walther König, 2009. — 128 p.

2008
Simon Starling: Cutting (Supplement) / Gregory Burke, Mark Godfrey. — Toronto : Power Plant, 2008. — 80 p. in multiple pag.

Simon Starling: Plant Room. — Nürnberg : Verlag für moderne Kunst Nürnberg, 2008. — 31 p.

2007
Simon Starling: Nachbau / [text Bruno Haas]. — Essen : Museum Folkwang; Göttingen : Steidl, 2007. — 2 v.

1998
Moderna museets projekt: Simon Starling. — Stockholm : Moderna Museet, [1998?]. — 32 p. (Moderna museets utställningskatalog ; nr 284)

David Tomas, a multidisciplinary artist (photography, performance, new media), anthropologist and theoretician, has been exhibiting in Canada, the United States and Europe since 1980. His last solo show, Œuvres filmiques + un objet de contemplation, was held at Montréal’s Galerie Joyce Yahouda, in 2006. The numerous group exhibitions in which he has participated include Resonance. The Electromagnetic Bodies Project (Galerie Oboro, Montréal, 2005, and other venues: ZKM, Karlsruhe; Conde Duque Medialab, Madrid; V2/TENT, Rotterdam; Ludwig Múzeum, Budapest; Maison européenne de la Photographie/Festival @rt Outsiders, Paris, 2005−2006) and L’architecture de Wittgenstein : La Maison de Margaret (Galerie Monopoli, Montréal, 2005). Among the collections that include his work are those of the National Gallery of Canada (Ottawa) and the Musée d’art contemporain de Montréal. Professor at the École des arts visuels et médiatiques of the Université du Québec à Montréal since 1998, he has published articles in a number of catalogues, anthologies and specialized periodicals, including Public, Parachute, Visual Anthropology Review, Cultural Studies and Semiotica. David Tomas is also the author of Beyond the Image Machine: A History of Visual Technologies (London: Continuum, 2004); A Blinding Flash of Light: Photography Between Disciplines and Media (Montréal: Dazibao, 2004); Duction (Montréal: Ed. Carapace, 2001); The Encoded Eye, the Archive, and its Engine House (Internet book/website, 1998−2000); and Transcultural Space and Transcultural Beings (Boulder, Colo.: Westview Press, 1996).

The highly influential 20th-century philosopher Ludwig Wittgenstein played a foremost role in the development of analytic philosophy. In his view, the function of philosophy is to analyze language rather than attempt to explain the world. His main works are Tractatus Logico-Philosophicus (1921) and Philosophical Investigations (1936−1949). The latter, published posthumously in 1953, questions the principles set forth in the Tractatus. Between 1926 and 1928, Wittgenstein collaborated with the architect Paul Engelmann on the design of Stonborough House, in Vienna (also known as the Wittgenstein House), built for his sister, Margaret Stonborough.

2004
A Blinding Flash of Light: Photography Between Disciplines and Media / David Tomas. — Montréal : Dazibao, [2004]. — 367 p. (Les études)

2001
Duction / Michèle Thériault, David Tomas avec la collaboration de Lucie Chevalier, Brian Holmes et Emmelyne Pornillos ; [traduction vers le français, Lucie Chevalier ; traduction vers l’anglais, Brian Holmes]. — [Montréal] : Éditions Carapace, 2001. — 112 p.

1996
Theory Rules: Art as Theory, Theory and Art / edited by Jody Berland, Will Straw and David Tomas. — Toronto : YYZ Books and University of Toronto Press, 1996. — 320 p.

1994
David Tomas: Chemical Skins. — Oakville : Oakville Galleries, 1994. — 63 p.