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Annamaria Szőke

(b Budapest, July 4, 1928; d Budapest, May 22, 1986).

Hungarian architect, sculptor, conceptual and performance artist, teacher, theorist and film maker. He came from a Jewish–Christian family, many of whom were killed during World War II. In 1947 he began training as a sculptor at the College of Fine Arts in Budapest, but he left and continued his studies in the studio of Dezső Birman Bokros (1889–1965), before training as an architect from 1947 to 1951 at the Technical University in Budapest. During the 1950s and early 1960s he worked as an architect and began experimenting with painting and graphic art, as well as writing poems and short stories. During this period he became acquainted with such artists as Dezső Korniss, László Latner and, most importantly, Béla Kondor and Sándor Altorjai (1933–79), with whom he began a lifelong friendship. In 1959 and 1963 he also enrolled at the Budapest College of Theatre and Film Arts but was advised to leave both times....

Article

Richard Dagenhart

(b Rotterdam, Nov 17, 1944).

Dutch architect, architectural theorist, and urbanist. Brought up in Rotterdam, Jakarta, and Amsterdam, Koolhaas studied script writing at the Netherlands Film and Television Academy in Amsterdam and was a film scriptwriter in Amsterdam and Los Angeles. He studied architecture at the Architectural Association in London (1968–72), where his ideas were shaped by the architectural neo-avant-garde of the 1960s. He continued his architectural studies at Cornell University (1972–5) and initiated conceptual design projects focused on contemporary metropolitan culture and New York City, including The City of the Captive Globe (1974), Hotel Sphinx (1975), and New Welfare Island/Palace Hotel (1975-6). He founded the Office of Metropolitan Architecture (OMA) in Rotterdam in 1975 and wrote Delirious New York (1978) while he was a visiting scholar at the Institute for Architecture and Urban Studies in New York City. These experiences combined to set out a critical framework for his design practice by engaging and revealing the contradictions between architecture and urbanism—one humanist, human-scaled, and moral; the other technocratic, amoral, and global. This is the context that has framed his prolific writing and architecture/urban design practice in OMA and its media based twin, AMO....

Article

Marita Sturken

Culture of images and visuality that creates meaning in our world today. This includes media forms such as photography, film, television, and digital media; art media such as painting, drawing, prints, and installations; architecture and design; comic books and graphic novels; fashion design, and other visual forms including the look of urban life itself. It also encompasses such social realms as art, news, popular culture, advertising and consumerism, politics, law, religion, and science and medicine. The term visual culture also refers to the interdisciplinary academic field of study that aims to study and understand the role that images and visuality play in our society; how images, gazes, and looks make meaning socially, culturally, and politically; how images are integrated with other media; and how visuality shapes power, meaning, and identity in contemporary global culture.

The emergence of the concept of visual culture as a means to think about the role of images in culture and as an academic field of study is a relatively recent phenomenon, emerging in the late 1980s and becoming established by the late 1990s. There were numerous factors that contributed to the idea that images should be understood and analysed across social arenas rather than as separate categories, including the impact of digital media on the circulation of images across social realms, the modern use of images from other social arenas (such as news and advertising) in art, and the cross-referencing of cultural forms displayed in popular culture and art. It was also influenced by the increasingly visible role played by images in political conflict and a general trend toward interdisciplinarity in academia....