Sentences with phrase «american national identity»

By Sara Schnadt, July 3, 2012 In his work he sparks an awareness of the contrast between an American national identity that was developed at the start of the country and communicated around the world through landscape painting with imagery from contemporary American post-industrial cities.

If we take Anglo - Protestantism as the root of American national identity, we have to consider European Catholicism, which we all consider fully assimilated into whatever the American identity may be.

Not exact matches

The Conservatives are in a full identity crisis now, and will have to figure out if they want to play tough with the U.S. and go back to the Sir John A. MacDonald days of a National Policy — essentially copying Trump's Buy American stance with a Buy Canadian — or if they want to follow the pro-free trade Mulroney - Harper path, which is more likely but offers less differentiation from the Liberals.

As Henry Kissinger emphasizes in his new book World Order, the fundamental building block of all American and international engagement over the past hundred years — namely, the nation state and the Westphalian system in which states are embedded — is particularly weak in the Middle East due to fragile national roots and competing local and universalist identities, including pan-Arabic movements and messianic religious calls from the likes of Iran's ayatollahs and ISIS.

The American workplace is both a seat of national identity and a site of chronic upheaval and shame.

Consider a partial list of developments since just World War II: a broad national decline in denominational loyalty, changes in ethnic identity as hyphenated Americans enter the third and subsequent generations after immigration, the great explosion in the number of competing secular colleges and universities, the professionalization of academic disciplines with concomitant professional formation of faculty members during graduate education, the dramatic rise in the percentage of the population who seek higher education, the sharp trend toward seeing education largely in vocational and economic terms, the rise in government regulation and financing, the great increase in the complexity and cost of higher education, the development of a more litigious society, the legal end of in loco parentis, an exponential and accelerating growth in human knowledge, and so on.

Yet though neither being gay nor being American, nor even having «sexual» or «national» identities, is essential to what it means for Jack to be human, those things may be part of what makes Jack the particular human we call «Jack.»

Before getting into the resources, though, let's be happy that once again, President Obama was LGBTQ inclusive in his National Adoption Month proclamation, saying, «Regardless of sexual orientation, gender identity, race, or religion, devoted Americans who adopt help give more children the upbringing they deserve.»

This meant giving a specific national identity to that umbrella, and thus the organization changed its name to the American School Food Service Association.

The notion of foreign oil dependence, for instance, has always been intimately connected with threats that have far exceeded the traditional realm of «national security» and include threats to American identity.

Offering no evidence to back up his claim, the president said former national security adviser Susan Rice may have committed a crime by seeking the identities of Trump associates who were swept up in the surveillance of foreign officials by American spy agencies and that other Obama administration officials may also have been involved.

Drawing on Rogers Smith's «The American Creed and American Identity: the limits of liberal citizenship in the United States» (1988) and Yoav Peled and Gershon Shafir's «Being Israeli: the dynamics of Multiple Citizenship» (2002) the paper seeks to scrutinise the dynamics between three prominent discourse in Israeli identity: ethno - national, liberal and repIdentity: the limits of liberal citizenship in the United States» (1988) and Yoav Peled and Gershon Shafir's «Being Israeli: the dynamics of Multiple Citizenship» (2002) the paper seeks to scrutinise the dynamics between three prominent discourse in Israeli identity: ethno - national, liberal and repidentity: ethno - national, liberal and republican.

A survey of the national mood found that, while a majority of Americans believes the nation has lost its identity, that their values are under attack and that they are falling behind economically, those who support Trump are «by far the most dissatisfied,» the survey says.

According to a 2001 paper on probiotics published in the Journal of the American Dietetic Association, there are currently no national standards of identity for levels of bacteria required in yogurt or other fermented products.

Rachel Bilson at the Costume Institute Gala Benefit to celebrate the opening of the «American Woman: Fashioning a National Identity» exhibition held at The Metropolitan Museum of Art.

(36) But however personal the film, Santa Sangre still bears a smattering of political critique, whether in the American stars - and - stripes splashed around the gringo circus, the emblematic eagle symbolising American currency instead of Mexican national identity (as on the Mexican flag), starving slum dwellers feeding off the waste (a dead elephant symbolising Christ) of the gringo circus, the syncretic Santa Sangre church being destroyed by Catholic officials and greedy developers, etc..

The United States» national identity is eroding, according to a majority of respondents in a new survey, many of whom say divisions between Americans are too deep to unify the country.

In this view, immigrants were to be stripped of language, customs, national identities, to become like all other Americans, who were assumed to be near - identical.

In this lesson, students will analyze a reading from Lesson 6 of Facing History and Ourselves» My Part of the Story and watch a short clip from the film American Creed in order to explore the relationship between individual identity and the national identity of the United States.

In accordance with Title VI of the Civil Rights Act of 1964 («Title VI»), Title IX of the Education Amendments of 1972 («Title IX»), Section 504 of the Rehabilitation Act of 1973 («Section 504»), Title II of the Americans with Disabilities Act of 1990 («ADA»), and the Age Discrimination Act of 1975 («The Age Act»), applicants for admission and employment, students, parents, employees, sources of referral of applicants for admission and employment, and all unions or professional organizations holding collective bargaining or professional agreements with Capital City Public Charter School («Capital City») are hereby notified that Capital City Public Charter School does not discriminate on the basis of race, color, religion, national origin, sex, age, marital status, personal appearance, sexual orientation, gender identity or expression, familial status, family responsibilities, political affiliation, source of income, or disability in admission or access to, or treatment or employment in, its programs and activities.

The Aspen Institute Citizenship and American Identity Program (CAI), Facing History and Ourselves, and The Allstate Corporation announce the launch of the Better Arguments Project, a national series of town hall meetings to encourage Americans to engage each other in better, more productive debates about core American ideals.

Immigrants were encouraged to let go of the past to become American We all know the story of how our national identity was founded on the idea of a nation of immigrants, a golden gate typified by the Statue of Liberty, dedicated in 1886.

The American Kennel Club provides equal employment opportunities to all employees and applicants for employment without regard of race, color, gender, gender identity, sexual orientation, marital status, domestic partnership status, pregnancy, religion, creed, genetic condition or information, disability, national origin, ancestry, citizenship, military status, or on the basis of age with respect to persons 18 years or older and any other status protected by law.

This major touring exhibition organized by the National Gallery of Art (Washington, DC) examines the shifting identity of American self - taught artists and offers an unprecedented overview of their profound impact on the evolution of modern and contemporary art.

Exploring the role of craft and war in the construction of national identity, Smith's works are often sites of interaction, which provide a context for expression and dialogue among audiences about American history.

EB In the case of my film it's more about national identity, because I'm talking about American politics in my ending.

Multiple Identity: American Art 1975 - 1995, from the Whitney Museum of American Art, National Gallery, Alexandros Soutzos Museum, Athens [itinerary: Museu d'Art Contemporani, Barcelona; Kunstmuseum Bonn, Bonn, Germany; Castello di Rivoli - Museo d'Arte Contemporanea, Turin][catalogue published in 1997]

Amidst the roiling national debate about American identity, veteran California Latina artist Linda Vallejo creates a realm in which US popular culture is overlain with a Mexican - American sensibility.

Alonzo Davis makes the most explicit statements of race and identity, with Native American forms and a map of Africa, painted in proper national colors.

Three of the High Museum's curatorial departments collaborated on this exhibition to represent the true inclusivity of American art during this period of changing national identity.

This multi-disciplinary exhibition of 150 of some of the Americas most celebrated visual artists, musicians, poets, playwrights, and filmmakers is designed to spark a national conversation about American identity through the arts.

«As home to one of the most comprehensive American art collections, we have an incredible opportunity to engage students and the public in ways that advance the national dialogue around American identity in context of the full sweep of U.S. history represented in our holdings.

2015 Interventions in Printmaking: Three Generations of African American Women, Allentown Art Museum of The Lehigh Valley, Pennsylvania, USA SELF: Portraits of Artists in Their Absence, National Academy Museum of Art, New York, USA Piece by Piece: Building a Collection, Selections from the Christy & Bill Gautreaux Collection, Kemper Museum of Contemporary Art, Kansas, USA Status Quo, The School, Jack Shainman Gallery, New York, USA Breath / Breadth: Contemporary American Black Male Identity, Maier Museum of Art at Randolph College, Lynchburg, USA To Be Young, Gifted, and Black, Goodman Gallery, Cape Town, South Africa

Recent and upcoming museum exhibitions include America in View: Landscape Photography 1865 to Now at the RISD Museum in Providence, RI; Into the Sunset: Photography's Image of the American West at the Museum of Modern Art, NY; and Role Models: Feminine Identity in Contemporary American Photography at the National Museum of Women in the Arts in Washington, D.C..

Challenging Traditional Identities, The National Museum of American Jewish History, Philadelphia, PA

SELECTED GROUP SHOWS: 2018 Open SpacesKansas City, MO 2018 Color of the Year Presented by Pantone and X-RiteUrban Institute for Contemporary Art, Grand Rapids, MI 2017 Solar Flair: Celestial Bodies in MotionAlbrecht Kemper Museum of Art, St. Joseph, MO 2017Light and ShadowMildred M. Cox Gallery Kemper Center for the Arts William Woods University, Fulton, MO 2017The 19th Annual National Juried Competition,: «Works of Paper» 2017Long Beach Foundation of the Arts & Sciences, Long Beach Island, NJ 2017 - 2018 Teardrops That Wound: the Absurdity of War, George Tsutakawa Art Gallery, Wing Luke Museum of the Asian and Pacific American Experience, Commission Work «Break Into Blossom», In collaboration with Phong Nguyen and Justin Shaw 2016 Vision: An Artist's Perspective, Gutfeund Cornett Art Kaleid Gallery San Jose, CA 2016 Novus Conceptum, Hannah Bacol Busch Gallery Bellaire, TX 2015 Generations: Forty Hues Between Black and White, OCCCA (Orange County Center for Contemporary Art), Santa Ana, CA 2015 Somewhere Between Black and White, Fiber Art Network, Arizona State University, Tempe, AZ 2015 Old Enough To Know Better, Cranes Art Gallery 105, Philadelphia, PA 2014 The 2nd Annual Juried Artist's Book Exhibition, WoCA Projects, Fort Worth, Texas 2014 The Living Mark Verum Ultimum Art Gallery, Portland OR 2014 Subconscious, Flow Art Gallery, St Louis MO 2014 A Dream and a Memory, St. Louis Artist Guild, St. Louis MO 2013 Missouri 50, Fine Art Building Sedalia, MO 2013 Art / Identity, Gallery 263, Cambridge, MA 2013 26th Annual Women's Work, Old Court House, Woodstock, IL 2012 Contemporary Women Artists XVI, Saint Louis University Art Museum, St. Louis MO 2012 UCM Faculty Show, UCM Gallery of Art and Design, Warrensburg, MO 2012 Color!

The idea that American democracy is government «by the people, for the people» is fundamental to our national identity, yet the history of who has access to the ballot box in America is troubled.

Since graduating from the Historical and Contemporary Photography MA at Sotheby's Institute of Art, London, he has developed exhibition programmes with national and international artists, more recently Essence of Place, a group show of three generations of Latin American artists working with photography, identity and place, for Mummery + Schnelle Gallery in London.

Art and the Feminist Revolution, 1965 - 1980, Los Angeles Museum of Contemporary Art, Los Angeles, CA; National Museum of Women in the Arts, Washington D.C.; P.S. 1 Contemporary Art Center, New York, NY; Vancouver Art Gallery, Vancouver, British Columbia, Canada Landscape of Slavery: The Plantation in American Art, Gibbes Museum of Art, Charleston, SC; University of Virginia Art Museum, Charlottesville, VA Modern Times: Alumni Collect, Bowdoin College Museum of Art, Brunswick, ME Image and Identity in African American Art, Highlights from the Collection, Norton Museum of Art, West Palm Beach, FL Beyond the Mountaintop, Wadsworth Atheneum Museum of Art, Hartford, CT Blacks: In and Out of the Box, California African American Museum, Los Angeles, CA Southern California Art of the 1960s and 70s from LACMA's Collection, Los Angeles County Museum of Art, Los Angeles, CA West Coast Masters of Assemblage & Collage, Salt Lake Art Center, Salt Lake City, UT ART in Embassies Exhibition, United States Ambassador Maurice Parker Residence, Mbabane, Swaziland

In compliance with Title IX of the Education Amendments of 1972, Title VI and VII of the Civil Rights Act of 1964, and Section 504 of the Rehabilitation Act of 1973, the Americans with Disabilities Act, as amended, the Age Discrimination Act of 1975 and applicable federal, state, and local laws, and our institutional values, The Cooper Union does not discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity or expression, age, disability, national or ethnic origin, military status, marital status, partnership status, familial status or any other legally protected characteristic, in admissions, financial aid, or employment practices, or in the administration of any Cooper Union educational program or activity, including athletics.

Such landscapes supported the formation of an American identity and fueled a sense of national pride, even though European precedents largely inspired the style.

In a guide to intriguing art exhibitions nationwide, Judith Dobrzynski features the High Museum of Art's «Walker Evans: Depth of Field», a major international retrospective of Evans» work, including images taken of the American South during the Great Depression; the Denver Art Museum's «Women of Abstract Expression», celebrating the contributions of female artists who helped shape the movement in the 1940s and 1950s; the Met Breuer's «Unfinished: Thoughts Left Visible», the Museum's inaugural exhibition examining works that were never finished by the artists from the 15th century to today; the Asian Art Museum's «Emperors» Treasures: Chinese Art From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.»

The Nude Man in Art from 1800 to the Present Day Musèe d'Orsay, Paris, France «Eye to I... 3,000 years of Portraits» Katonah Museum of Art, Katonah, NY 30 Americans, Milwaukee Art Museum, Milwaukee, WI Through the Eyes of Texas: Masterworks from Alumni Collections, The Blanton Museum of Art, Austin, TX 2012 Looped, Utah Museum of Contemporary Art, Salt Lake City, UT The Human Touch: Selections from the RBC Wealth Management Art Collection, RedLine Gallery, Denver, CO The Soul of a City: Memphis Collects African American Art, Memphis Brooks Museum of Art, Memphis, TN 30 Americans, Chrysler Museum of Art, Norfolk, VA All I Want is a Picture of You, Angles Gallery, Los Angeles, CA BAILA con Duende: Group Art Exhibition, Watts Towers Arts Center and Charles Mingus Youth Arts Center, Los Angeles, CA The Bearden Project, The Studio Museum in Harlem, New York, NY The Human Touch: Selections from the RBC Wealth Management Collection, The Scottsdale Museum of Contemporary Art, Scottsdale, AZ 2011 Parallel Perceptions, NYC Opera, New York, NY Who, What, Wear: Selections from the Permanent Collection, Studio Museum Harlem, New York, NY Capital Portraits: Treasures from Washington Private Collections, National Portrait Gallery, Smithsonian Institution, Washington, D.C. Becoming: Photographs from the Wedge Collection, The Nasher Museum of Art at Duke University, Durham, NC Human Nature: Contemporary Art from the Collection, Broad Contemporary Art Museum (BCAM) at Los Angeles County Museum of Art, (LACMA) Los Angeles, CA Beyond Bling: Voices of Hip - Hop in Art, Ringling Museum of Art, Sarasota, FL 30 Americans: Rubell Family Collection, Corcoran Gallery of Art, Washington, D.C.. For a Long Time, Roberts & Tilton, Culver City, CA RE-Envisioning the Baroque, I.D.E.A. at Colorado College, Colorado Springs, CA 2010 Size Does Matter, FLAG Art Foundation, New York NY Passion Fruits, Collectors Room, Berlin The Global Africa Project Exhibition, Museum of Arts and Design, New York, NY Personal Identities: Contemporary Portraits, Sonoma State University Art Gallery, Sonoma, CA Patter ID, Akron Art Museum, Akron, OH Wild Thing, Roberts & Tilton, Culver City, CA Summer Surprises, Pennsylvania Academy of the Fine Arts, Philadelphia, PA Individual to Icon: Portraits of the Famous and Almost Famous from Folk Art to Facebook, Plains Art Museum, Fargo, ND The Library of Babel / In and Out of Place, 176 Zabludowicz Collection, London, England Searching for the Heart of Black Identity: Art and the Contemporary African American Experience, Kentucky Museum of Art and Craft, Louisville, KY The Gleaners: Contemporary Art from the Collection of Sarah and Jim Taylor, Victoria H. Myhren Gallery, Denver, CO From Then to Now: Masterworks of Contemporary African American Art, Cleveland Art Museum, Cleveland, OH 2009 Enchantment, Joseloff Gallery, Hartford, CT Reconfiguring the Body in American Art, 1820 - 2009, National Academy Museum, New York Creating Identity: Portraits Today, 21C Museum, Louisville, KY Other People: Portraits from Grunwald and Hammer Collections, Curated by Cindy Burlingham and Gary Garrels, Hammer Museum, Los Angeles, CA 2008 30 Americans, Rubell Family Collection, Miami, FL Recognize: Hip Hop amd Contemporary Portraiture, Smithsonian Institution National Portrait Gallery, Washington, D.C. Macrocosm, Roberts & Tilton, Culver City, CA 21: Contemporary Art at the Brooklyn Museum, The Brooklyn Museum, Brooklyn, NY Selected Drawings, Museum of Contemporary Art, Cleveland, Cleveland, OH Down, Museum of Contemporary Art, Detroit, Detroit, MI

A self proclaimed «American painter of signs,» his work explores touchstones of our national culture and identity, focusing on the overt and subconscious power of language.

Traveled to: Musée de l'Elysée, Lausanne; Victoria and Albert Museum, London; Hamburger Kunsthalle; Museo de Arte Contemporáneo de Caracas, Venezuela, 1988 — 1989 Three Decades; The Oliver Hoffmann Collection, Museum of Contemporary Art, Chicago, December 17, 1988 — February 5, 1989 (Catalogue) Identity: Representations of the Self, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, December 14, 1988 — February 10, 1989 (Catalogue) Gianfranco Gorgoni: Altered Images, The Penson Gallery, New York, November 15 — December 10, 1988 (Catalogue) Drawing on the East End: 1940 — 1988, The Parrish Art Museum, Southampton, New York, September 18 — November 13, 1988 (Catalogue) The Instant Likeness: Polaroid Portraits, National Portrait Gallery, Washington, D.C., August 27 — December 4, 1988 Aldo Crommelynck, Master Prints with American Artists, Whitney Museum of American Art at the Equitable Center, New York, August 3 — November 7, 1988 (Catalogue) Fifty - Second National Midyear Exhibition, The Butler Institute of American Art, Youngstown, Ohio, June 26 — August 21, 1988 (Catalogue) Life Like, Lorence Monk Gallery, New York, June 4 — 25, 1988 1988, The World of Art Today, Milwaukee Art Museum, May 6 — August 28, 1988 (Catalogue) Self As Subject, Katonah Gallery, New York, January 24 — March 6, 1988

Her work also appeared in numerous group exhibitions including: Beyond the Border: Art by Recent Immigrants, Bronx Museum; Asia / America: Identities in Contemporary Asian American Art, Asia Society, New York; Olympiad of Art (in conjunction with the 24th Olympics), National Museum of Contemporary Art in Seoul, Korea; 2nd Asian Art Show, Fukuoka Art Museum, Japan; La Bienal de la Habana, Museo Nacional de Bellas Artes, Habana, Cuba; Art for Africa, traveling exhibition to Oslo, Cologne, Algiers, London and Rome; UNESCO: 40 Years, 40 Countries, 40 Artists, traveling exhibition to 15 museums around the world; Filipino Artists Abroad, Metropolitan Museum of Manila; and At Home and Abroad: 21 Contemporary Filipino Artists, traveling exhibition to the Asian Art Museum of San Francisco, the Contemporary Arts Museum, Houston and the Metropolitan Museum of Manila, among others.

Constructing Identity includes works by 11 artists whose artwork is also held in the collection of the recently opened National Museum of African American History and Culture in Washington, D.C., as well as Northwest artists such as Portland painter Arvie Smith (whose own exhibition at PAM has been extended through March 12).

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Stemming from her South American heritage and migration to Europe, Calero constructs social spaces that use sensory engagement as a democratic entry point for audiences to investigate socio - political themes of cultural representation and national identity.

Recent museum exhibitions have included «Into the Sunset: Photography's Image of the American West» at the Museum of Modern Art, NY; and «Role Models: Feminine Identity in Contemporary American Photography» at the National Museum of Women in the Arts in Washington, D.C..