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Dóra Maurer (born 1937, lives in Budapest) is considered a prominent figure on the Hungarian neo-avant-garde scene. She is one of the artists who have been taking progressive paths outside of Hungary’ s official state cultural policies since the 1960s. Her work in the mediums of print making, photographs, film, performance art, and painting features a conceptual(...)
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Dóra Maurer (born 1937, lives in Budapest) is considered a prominent figure on the Hungarian neo-avant-garde scene. She is one of the artists who have been taking progressive paths outside of Hungary’ s official state cultural policies since the 1960s. Her work in the mediums of print making, photographs, film, performance art, and painting features a conceptual(...)
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Contemporary Art Monographs
Contemporary Art Monographs
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October 2023
October 2023
Title:
Dóra Maurer: See like this and see differently
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Dóra Maurer (born 1937, lives in Budapest) is considered a prominent figure on the Hungarian neo-avant-garde scene. She is one of the artists who have been taking progressive paths outside of Hungary’ s official state cultural policies since the 1960s. Her work in the mediums of print making, photographs, film, performance art, and painting features a conceptual approach. Major aspects are perception, movement, displacement, and transformation. In the early years of West-Germany, abstract art was introduced as a political new beginning in that it represented the so-called open society. Accordingly, numerous collections in German museums are oriented toward this, including the one at the Kunsthalle Bielefeld, whose building was designed by the US-American architect Philip Johnson. While abstract art in the West was considered " free of ideologies " and instrumentalized as such, abstraction in countries such as Hungary, which was part of the Eastern bloc at the time, certainly had an “ oppositional” connotation. Due to both the non-representational nature of her works as well as her contacts and travels in the West prior to 1989 (permitted thanks to her Hungarian-Austrian dual citizenship), Maurer occupies a special position within the Hungarian art world, which in those days was mainly dominated by Socialist Realism. In her experiments in photography and film in the 1970s, as well as in her abstract, geometric works based on a process of displacement, there are obvious parallels to Western European and US-American post-war art. In fact, however, her oeuvre is inconceivable without her experience of life under the official Hungarian system during the socialist period.
Dóra Maurer: See like this and see differently
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Dóra Maurer (born 1937, lives in Budapest) is considered a prominent figure on the Hungarian neo-avant-garde scene. She is one of the artists who have been taking progressive paths outside of Hungary’ s official state cultural policies since the 1960s. Her work in the mediums of print making, photographs, film, performance art, and painting features a conceptual approach. Major aspects are perception, movement, displacement, and transformation. In the early years of West-Germany, abstract art was introduced as a political new beginning in that it represented the so-called open society. Accordingly, numerous collections in German museums are oriented toward this, including the one at the Kunsthalle Bielefeld, whose building was designed by the US-American architect Philip Johnson. While abstract art in the West was considered " free of ideologies " and instrumentalized as such, abstraction in countries such as Hungary, which was part of the Eastern bloc at the time, certainly had an “ oppositional” connotation. Due to both the non-representational nature of her works as well as her contacts and travels in the West prior to 1989 (permitted thanks to her Hungarian-Austrian dual citizenship), Maurer occupies a special position within the Hungarian art world, which in those days was mainly dominated by Socialist Realism. In her experiments in photography and film in the 1970s, as well as in her abstract, geometric works based on a process of displacement, there are obvious parallels to Western European and US-American post-war art. In fact, however, her oeuvre is inconceivable without her experience of life under the official Hungarian system during the socialist period.
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books
books
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October 2023
October 2023
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Contemporary Art Monographs
Contemporary Art Monographs
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books
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the(...)
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the(...)
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Photography monographs
Photography monographs
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June 2003, Zurich, Berlin and New York
June 2003, Zurich, Berlin and New York
Title:
Robert Frank : London / Wales
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the unique atmosphere of the city. He followed British financiers around the City, capturing them in their traditional top hats and long coats, creating images that depict them in a poetic dance with their fog-shrouded environment. He shot pictures of workers, men delivering coal, children playing on the streets, people waiting or relaxing in the parks, and images of poverty. In these photographs he juxtaposed money and work, wealth and poverty, creating a dynamic photographic project that has never been shown before in its entirety. Then, in March 1953, before the impending nationalization of the country's coal mines, Frank travelled to the town of Careau, in Wales, to photograph the coal miners whose lives revolved around their work. One miner, Ben James, and his family became the subject of a picture essay (originally published in a 1955 issue of U.S. Camera) in which Frank downplayed the classic modernist photographic moment in favor of a more provocative form that offered informal, revealing glances rather than an official document. In "Robert Frank: London/Wales", Frank returns for the first time to these old negatives. The volume explores a stylistic transformation in his work, a period of development which saw his mode of photography move from an innovative romanticism to a highly charged, metaphorical realism.
Robert Frank : London / Wales
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the unique atmosphere of the city. He followed British financiers around the City, capturing them in their traditional top hats and long coats, creating images that depict them in a poetic dance with their fog-shrouded environment. He shot pictures of workers, men delivering coal, children playing on the streets, people waiting or relaxing in the parks, and images of poverty. In these photographs he juxtaposed money and work, wealth and poverty, creating a dynamic photographic project that has never been shown before in its entirety. Then, in March 1953, before the impending nationalization of the country's coal mines, Frank travelled to the town of Careau, in Wales, to photograph the coal miners whose lives revolved around their work. One miner, Ben James, and his family became the subject of a picture essay (originally published in a 1955 issue of U.S. Camera) in which Frank downplayed the classic modernist photographic moment in favor of a more provocative form that offered informal, revealing glances rather than an official document. In "Robert Frank: London/Wales", Frank returns for the first time to these old negatives. The volume explores a stylistic transformation in his work, a period of development which saw his mode of photography move from an innovative romanticism to a highly charged, metaphorical realism.
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books
books
Publication:
June 2003, Zurich, Berlin and New York
June 2003, Zurich, Berlin and New York
Subject:
Photography monographs
Photography monographs
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journals and magazines
journals and magazines
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Good design has the power to influence and support the human healing process. Because recovery is a process rather than a static state, it requires transitional spaces that foster transformation and facilitate social interaction. In this context, space does not merely serve as a form of complementary medicine; it is an environment with an agency of its own. Often, it(...)
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Good design has the power to influence and support the human healing process. Because recovery is a process rather than a static state, it requires transitional spaces that foster transformation and facilitate social interaction. In this context, space does not merely serve as a form of complementary medicine; it is an environment with an agency of its own. Often, it(...)
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Detail 4 2026 : Healthcare buildings
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Good design has the power to influence and support the human healing process. Because recovery is a process rather than a static state, it requires transitional spaces that foster transformation and facilitate social interaction. In this context, space does not merely serve as a form of complementary medicine; it is an environment with an agency of its own. Often, it is only the absence of health that prompts us to truly examine it. This was the case for Charles Jencks, who, following his wife’s cancer diagnosis, laid the foundations for the therapy centres named after Maggie Keswick Jencks. Jencks described the first Maggie’s Centre, which opened 20 years ago in Edinburgh, as an “architecture of hope”. Similarly, Roger S. Ulrich, most recently a professor of architecture in Sweden, investigated the impact of nature on health in the mid-1980s while facing his own illness. His personal experience of nature’s restorative power led him to publish the seminal study that underpins all subsequent design approaches within the field of “healing architecture”. This issue presents exemplary special-purpose buildings from the healthcare sector that achieve exactly this. The mental health clinic by C. F. Møller in London, Dorte Mandrup Arkitekter’s healthcare centre in Copenhagen, and the Children’s Hospital in Zurich by Herzog & de Meuron are contrasted with smaller-scale pilot projects, such as the health kiosks designed by Pasel-K Architects as rural primary care infrastructure in Thüringen. Healing, it seems, knows no scale. The complex correlations between architecture and life are far from fully understood. As a young discipline, this field of architecture remains in constant flux.
Detail 4 2026 : Healthcare buildings
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Good design has the power to influence and support the human healing process. Because recovery is a process rather than a static state, it requires transitional spaces that foster transformation and facilitate social interaction. In this context, space does not merely serve as a form of complementary medicine; it is an environment with an agency of its own. Often, it is only the absence of health that prompts us to truly examine it. This was the case for Charles Jencks, who, following his wife’s cancer diagnosis, laid the foundations for the therapy centres named after Maggie Keswick Jencks. Jencks described the first Maggie’s Centre, which opened 20 years ago in Edinburgh, as an “architecture of hope”. Similarly, Roger S. Ulrich, most recently a professor of architecture in Sweden, investigated the impact of nature on health in the mid-1980s while facing his own illness. His personal experience of nature’s restorative power led him to publish the seminal study that underpins all subsequent design approaches within the field of “healing architecture”. This issue presents exemplary special-purpose buildings from the healthcare sector that achieve exactly this. The mental health clinic by C. F. Møller in London, Dorte Mandrup Arkitekter’s healthcare centre in Copenhagen, and the Children’s Hospital in Zurich by Herzog & de Meuron are contrasted with smaller-scale pilot projects, such as the health kiosks designed by Pasel-K Architects as rural primary care infrastructure in Thüringen. Healing, it seems, knows no scale. The complex correlations between architecture and life are far from fully understood. As a young discipline, this field of architecture remains in constant flux.
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journals and magazines
journals and magazines
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April 2026
April 2026
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Magazines
Magazines
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Ce livre a un personnage et un seul. Ce personnage est une ville, ce qui n'est pas si fréquent pour un livre : Montpellier, ancestrale cité du Languedoc, huitième ville française, dynamique pôle méditerranéen, référence scientifique de niveau mondial. Montpellier est allée plus loin et plus vite que ne l'espéraient ceux qui la favorisèrent dans les années 1960. Car sa(...)
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Ce livre a un personnage et un seul. Ce personnage est une ville, ce qui n'est pas si fréquent pour un livre : Montpellier, ancestrale cité du Languedoc, huitième ville française, dynamique pôle méditerranéen, référence scientifique de niveau mondial. Montpellier est allée plus loin et plus vite que ne l'espéraient ceux qui la favorisèrent dans les années 1960. Car sa(...)
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
Publication:
February 2007, La Tour d'Aigues
February 2007, La Tour d'Aigues
Title:
Montpellier, une ville au coeur qui bat
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Ce livre a un personnage et un seul. Ce personnage est une ville, ce qui n'est pas si fréquent pour un livre : Montpellier, ancestrale cité du Languedoc, huitième ville française, dynamique pôle méditerranéen, référence scientifique de niveau mondial. Montpellier est allée plus loin et plus vite que ne l'espéraient ceux qui la favorisèrent dans les années 1960. Car sa vieille culture de la diversité et de la tolérance, son savoir - lier entreprises et sciences, son cadre architectural et naturel, tout concourt, avec une gestion municipale ambitieuse et portée vers l'avenir, à ce que la cité prenne en main sa propre transformation. La ville depuis croît en hommes mais aussi en savoir et en capacité à faire rêver. Ce livre est écrit pour les jeunes et les moins jeunes, ceux qui sont nés ici, ceux qui viennent d'ailleurs, les arrivants anciens ou récents qui chaque année migrent par milliers. Un livre aussi pour les estivants fidèles et les exilés qui voudraient revenir, et peut-être un peu aussi pour les vacanciers, ne serait-ce que les touristes d'une nuit, et pour ce gros tiers de la population française qui prétend vouloir vivre un jour à Montpellier, parfois sans même avoir visité une seule fois la ville. Ce livre est écrit pour tous ceux qui aiment Montpellier, qu'ils y vivent ou qu'ils en rêvent. Il dresse un portrait de la ville, cherche à en saisir l'histoire, le peuplement, la morphologie, les enjeux, mais aussi l'esprit, car je crois qu'on peut parler, ici particulièrement, d'un singulier esprit des lieux. A partir de là, on pourra essayer de saisir une part de l'avenir, si on peut le prévoir.
Montpellier, une ville au coeur qui bat
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Ce livre a un personnage et un seul. Ce personnage est une ville, ce qui n'est pas si fréquent pour un livre : Montpellier, ancestrale cité du Languedoc, huitième ville française, dynamique pôle méditerranéen, référence scientifique de niveau mondial. Montpellier est allée plus loin et plus vite que ne l'espéraient ceux qui la favorisèrent dans les années 1960. Car sa vieille culture de la diversité et de la tolérance, son savoir - lier entreprises et sciences, son cadre architectural et naturel, tout concourt, avec une gestion municipale ambitieuse et portée vers l'avenir, à ce que la cité prenne en main sa propre transformation. La ville depuis croît en hommes mais aussi en savoir et en capacité à faire rêver. Ce livre est écrit pour les jeunes et les moins jeunes, ceux qui sont nés ici, ceux qui viennent d'ailleurs, les arrivants anciens ou récents qui chaque année migrent par milliers. Un livre aussi pour les estivants fidèles et les exilés qui voudraient revenir, et peut-être un peu aussi pour les vacanciers, ne serait-ce que les touristes d'une nuit, et pour ce gros tiers de la population française qui prétend vouloir vivre un jour à Montpellier, parfois sans même avoir visité une seule fois la ville. Ce livre est écrit pour tous ceux qui aiment Montpellier, qu'ils y vivent ou qu'ils en rêvent. Il dresse un portrait de la ville, cherche à en saisir l'histoire, le peuplement, la morphologie, les enjeux, mais aussi l'esprit, car je crois qu'on peut parler, ici particulièrement, d'un singulier esprit des lieux. A partir de là, on pourra essayer de saisir une part de l'avenir, si on peut le prévoir.
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books
books
Publication:
February 2007, La Tour d'Aigues
February 2007, La Tour d'Aigues
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
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books
books
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$38.00
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Fifty years after the British annexed the Punjab and made Lahore its provincial capital, the city—once a prosperous Mughal center that had long since fallen into ruin—was transformed. British and Indian officials had designed a modern, architecturally distinct city center adjacent to the old walled city, administered under new methods of urban governance. In Making(...)
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Fifty years after the British annexed the Punjab and made Lahore its provincial capital, the city—once a prosperous Mughal center that had long since fallen into ruin—was transformed. British and Indian officials had designed a modern, architecturally distinct city center adjacent to the old walled city, administered under new methods of urban governance. In Making(...)
Title:
Making Lahore Modern: constructing and imagining a colonial city
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Fifty years after the British annexed the Punjab and made Lahore its provincial capital, the city—once a prosperous Mughal center that had long since fallen into ruin—was transformed. British and Indian officials had designed a modern, architecturally distinct city center adjacent to the old walled city, administered under new methods of urban governance. In Making Lahore Modern, William J. Glover investigates the traditions that shaped colonial Lahore. In particular, he focuses on the conviction that both British and Indian actors who implemented urbanization came to share: that the material fabric of the city could lead to social and moral improvement. This belief in the power of the physical environment to shape individual and collective sentiments, he argues, links the colonial history of Lahore to nineteenth-century urbanization around the world. Glover highlights three aspects of Lahore’s history that show this process unfolding. First, he examines the concepts through which the British understood the Indian city and envisioned its transformation. Second, through a detailed study of new buildings and the adaptation of existing structures, he explores the role of planning, design, and reuse. Finally, he analyzes the changes in urban imagination as evidenced in Indian writings on the city in this period. Throughout, Glover emphasizes that colonial urbanism was not simply imposed; it was a collaborative project between Indian citizens and the British. Offering an in-depth study of a single provincial city, Glover reveals that urban change in colonial India was not a monolithic process and establishes Lahore as a key site for understanding the genealogy of modern global urbanism. William J. Glover is associate professor of architecture at the University of Michigan.
Making Lahore Modern: constructing and imagining a colonial city
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Fifty years after the British annexed the Punjab and made Lahore its provincial capital, the city—once a prosperous Mughal center that had long since fallen into ruin—was transformed. British and Indian officials had designed a modern, architecturally distinct city center adjacent to the old walled city, administered under new methods of urban governance. In Making Lahore Modern, William J. Glover investigates the traditions that shaped colonial Lahore. In particular, he focuses on the conviction that both British and Indian actors who implemented urbanization came to share: that the material fabric of the city could lead to social and moral improvement. This belief in the power of the physical environment to shape individual and collective sentiments, he argues, links the colonial history of Lahore to nineteenth-century urbanization around the world. Glover highlights three aspects of Lahore’s history that show this process unfolding. First, he examines the concepts through which the British understood the Indian city and envisioned its transformation. Second, through a detailed study of new buildings and the adaptation of existing structures, he explores the role of planning, design, and reuse. Finally, he analyzes the changes in urban imagination as evidenced in Indian writings on the city in this period. Throughout, Glover emphasizes that colonial urbanism was not simply imposed; it was a collaborative project between Indian citizens and the British. Offering an in-depth study of a single provincial city, Glover reveals that urban change in colonial India was not a monolithic process and establishes Lahore as a key site for understanding the genealogy of modern global urbanism. William J. Glover is associate professor of architecture at the University of Michigan.
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books
books
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January 1900, Miineapolis, London
January 1900, Miineapolis, London
Subject:
Urban Theory
Urban Theory
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320 pages : illustrations, maps ; 24 cm.
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320 pages : illustrations, maps ; 24 cm.
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Dublin : Four Courts Press, ©2008.
Dublin : Four Courts Press, ©2008.
Title:
Dublin docklands reinvented : the post-industrial regeneration of a European city quarter / Niamh Moore.
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320 pages : illustrations, maps ; 24 cm.
Dublin docklands reinvented : the post-industrial regeneration of a European city quarter / Niamh Moore.
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320 pages : illustrations, maps ; 24 cm.
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Dublin : Four Courts Press, ©2008.
Dublin : Four Courts Press, ©2008.
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xvii, 263 pages : illustrations, maps ; 24 cm
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xvii, 263 pages : illustrations, maps ; 24 cm
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New York, NY : Oxford University Press, [2025], ©2025
New York, NY : Oxford University Press, [2025], ©2025
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North : the future of post-climate America / Jesse M. Keenan.
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xvii, 263 pages : illustrations, maps ; 24 cm
North : the future of post-climate America / Jesse M. Keenan.
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xvii, 263 pages : illustrations, maps ; 24 cm
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books
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New York, NY : Oxford University Press, [2025], ©2025
New York, NY : Oxford University Press, [2025], ©2025
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178 pages : illustrations ; 21 cm
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178 pages : illustrations ; 21 cm
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London ; New York : Verso, 2025.
London ; New York : Verso, 2025.
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Medium hot : images in the age of heat / Hito Steyerl.
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178 pages : illustrations ; 21 cm
Medium hot : images in the age of heat / Hito Steyerl.
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178 pages : illustrations ; 21 cm
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books
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London ; New York : Verso, 2025.
London ; New York : Verso, 2025.
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515 pages : illustrations (certaines en couleur) ; 24 cm.
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515 pages : illustrations (certaines en couleur) ; 24 cm.
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[Québec] : Presses de l'Université Laval, [2025], ©2025
[Québec] : Presses de l'Université Laval, [2025], ©2025
Title:
Le dispositif Teyssot : un relevé intellectuel / sous la direction de Samuel Bernier-Lavigne, Ariane Ouellet-Pelletier ; avec la collaboration de Martin Bressani, Antoine Picon, Alessandra Ponte, Paulo Providência, Aaron Sprecher, Laurent Stalder, Georges Teyssot.
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515 pages : illustrations (certaines en couleur) ; 24 cm.
Le dispositif Teyssot : un relevé intellectuel / sous la direction de Samuel Bernier-Lavigne, Ariane Ouellet-Pelletier ; avec la collaboration de Martin Bressani, Antoine Picon, Alessandra Ponte, Paulo Providência, Aaron Sprecher, Laurent Stalder, Georges Teyssot.
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515 pages : illustrations (certaines en couleur) ; 24 cm.
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books
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[Québec] : Presses de l'Université Laval, [2025], ©2025
[Québec] : Presses de l'Université Laval, [2025], ©2025
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viii, 337 pages : illustrations ; 23 cm
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viii, 337 pages : illustrations ; 23 cm
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©2015, Chicago : The University of Chicago Press, 2018.
©2015, Chicago : The University of Chicago Press, 2018.
Title:
Seeing green : the use and abuse of American environmental images / Finis Dunaway.
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viii, 337 pages : illustrations ; 23 cm
Seeing green : the use and abuse of American environmental images / Finis Dunaway.
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viii, 337 pages : illustrations ; 23 cm
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books
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©2015, Chicago : The University of Chicago Press, 2018.
©2015, Chicago : The University of Chicago Press, 2018.
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