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Use of Gallery and Non-Gallery Forest by Ungulates Inhabiting the Loma Mountains Non-Hunting Forest Reserve, Sierra Leone, West AfricaKortenhoven, Aaron Peter 01 January 2009 (has links)
This 11-month study examined rates of encountering dung pellet groups, dung piles and ungulates in gallery forests and non-gallery forests during diurnal surveys in the Loma Mountains Non-Hunting Forest Reserve (LMNHFR) in Sierra Leone, West Africa. These indices of relative abundance were then used to infer relative habitat use by the seven ungulate species on which data were collected. This study also examined the differences in rates of encountering duikers during nocturnal surveys with rates of encountering duikers during diurnal surveys to determine which time of day produces higher rates of encounter, and thereby a more accurate estimate of duiker abundance. The dung of four of the seven species, namely Cephalophus niger, Philantomba maxwelli, Tragelaphus scriptus, and Potamochoerus porcus is encountered at a higher rate in gallery forest than in non-gallery forest. Rates of encountering the dung of three species, C. silvicultor, C. dorsalis and Syncerus caffer nanus, do not differ between forest types. Rates of encountering four species, namely C. niger, P. maxwelli, T. scriptus, and C. silvicultor are higher in gallery forest than in non-gallery forest. Rates of encountering three species, namely C. dorsalis, S. caffer nanus, and P. porcus do not differ between forest types. Rates of encountering duikers ranged from three to six times higher during nocturnal surveys than during diurnal surveys for C. niger and P. maxwelli and 20 times higher for C. dorsalis. Survey timing did not affect the rate of encounter for C. silvicultor. Forest ungulates in the LMNHFR utilize gallery forests regularly. Possible reasons for the higher rates of encounter for six of the species in gallery forests compared with non-gallery forests are access to water, readily available browse resulting from annual fire damage on the periphery and interior of gallery forests, and easy access to cover for ungulates when foraging in adjacent grassland. Given the current rate of forest loss in West Africa, studies examining how forest mammals are able to persist in small forest fragments should be high priority for both government and conservation groups. The findings here give evidence that forest ungulates can and do use small areas of forest. Most importantly, the findings from this study show the global value of the LMNHFR for the conservation of large mammals endemic to the Upper Guinea Forests.
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Loners : working from a patternPapp, Shanell Brooke 27 September 2010
MFA Thesis for Shanell B. Papp on Loners, textiles, video/film, re-purposing and pattern breaking.<p>
w/ work from Marcel Duchamp, Edward Keinholz, Rene Magritte, Joseph Beuys, Eugene Atget, Arthur Fellig (Weegee), David Hoffos, Sarah Lucas, Tracey Emin, Mike Kelly, Allyson Mitchell, Madonna, Weird Al.
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Loners : working from a patternPapp, Shanell Brooke 27 September 2010 (has links)
MFA Thesis for Shanell B. Papp on Loners, textiles, video/film, re-purposing and pattern breaking.<p>
w/ work from Marcel Duchamp, Edward Keinholz, Rene Magritte, Joseph Beuys, Eugene Atget, Arthur Fellig (Weegee), David Hoffos, Sarah Lucas, Tracey Emin, Mike Kelly, Allyson Mitchell, Madonna, Weird Al.
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Graffiti : kontextualitet, platsbundenhet och innehållBachelder, Miranda January 2010 (has links)
The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself. Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.
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Tradition and innovation : Rorke's Drift ceramics in the collection of the Durban Art Gallery, KwaZulu-Natal.Hosking, Sarah. January 2005 (has links)
The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005
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Former av politik : Tre utställningssituationer på Moderna Museet 1998-2008 / Forms of Politics : Three Exhibition Situations at Moderna Museet 1998-2008Lundström, Anna January 2015 (has links)
This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution. The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern. This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.
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Zwischen Aufbruch und Agonie09 March 2011 (has links) (PDF)
Aus dem Text:
"Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) bewahrt zahlreiche Nachlässe von Künstlern, Schriftstellern und Musikern, die in Sachsen gewirkt haben. Mit der Schenkung des Archivs der Galerie Nord 1974 bis 1991 wird nun eine weitere interessante Spezialsammlung der Dresdner Kunst- und Kulturgeschichte hinzugefügt, dauerhaft gesichert und für die Öffentlichkeit zugänglich gemacht. ... Die Galerie Nord verjüngte die gründerzeitliche, grau gewordene Häuserzeile in der Leipziger Straße. Die in diesem Band abgedruckten Fotografien – ergänzt durch Erinnerungen von Künstlern, Musikern und Dichtern – verdeutlichen, welchen Zuspruch die insgesamt 117 Ausstellungen und weiteren Veranstaltungen fanden, die weit über den Stadtteil Pieschen hinausstrahlten. Auch heute, nach der städtebaulichen Sanierung, leben und arbeiten zahlreiche Künstler in diesem elbnahen Stadtteil."
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LA FOTOGRAFIA E I CANTIERI DELLA MILANO POSTUNITARIA 1861-1911MAGISTRELLI, GIACOMO 06 June 2014 (has links)
La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia.
Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione.
Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano. / The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911.
Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization.
Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium.
The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.
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Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970sJarzebska, Aneta January 2018 (has links)
This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
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Lidové selské baroko tvorba dokumentárního videa / Education short movie FOLK BAROQUEŽLÁBKOVÁ, Šárka January 2016 (has links)
This thesis deals with the theme of folk baroque. The aim of this thesis is to introduce this theme to pupils of secondary school in vivid and entertaining form and thus achieve bigger efficiency of educational process and acquisition of newly acquired information. As the best form of teaching i have considered watching a documentary video. The theoretical part of this thesis describes the history and formation of folk baroque, the most important areas in South Bohemia and also the life and work of Master bricklayer Jakub Bursa. This thesis also summarizes the history of documentary videos, its individual categories, the basics of film language, but also the essential aspects of the usage of video as a methodological aid for teaching. The practical part of this thesis deals with the implementation of an educational documentary video with the theme of folk baroque. The thesis also describes the creation of a supplementary animation program, which is completed by an artistic output in the form of artistic techniques of frottage.
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