Sentences with phrase «crisis aid response»

Not exact matches

Traditionally, the response of aid agencies and governments to refugee crises has been to set up camps and distribute supplies, like rice or bedding.

If, however, our scenario had been a different topic — say, a student had experienced extreme poverty for the first time, or realized the magnitude of the global AIDS crisis and wanted to talk to her pastor about how her faith speaks to that — I imagine the response would have been easier for our students to get out and distinctly Christian.

A U.S. government study of response to a 2002 southern Africa drought and food crisis found that food aid contributed to a marked drop in the price of corn.

For instance, during the 1980s, the least acceptable response to the AIDS crisis was the promotion of abstinence.

The circuit of mass communication: media strategies, representation and audience responses in the AIDS crisis.

Although Kristalina Georgieva, the E.U. commissioner for international cooperation, humanitarian aid and crisis response, tweeted a pledge of E.U. assistance in the early days of the flooding, a report in Der Spiegel provided a far less sanguine outlook about the prospect that the European Union would provide financial aid for the cleanup.

«With the rising treatment bill, countries in economic crisis, and increasing prevention needs, the world is demanding change in the AIDS response,» said Paul De Lay, a deputy executive director at UNAIDS.

As the fundraising achievement was announced, authors Caitlin Moran, Mark Haddon, Victoria Hislop and Tracy Chevalier have also called on wealthy governments to do more to resettle refugees from the crisis and ramp up their aid responses.

Engaging in civil disobedience and demonstrations, the group garnered much awareness about the AIDS crisis and demanded government response and medical advancement.

One of his most iconic works, Amazing Grace, was produced as part of his 1993 residency at The Studio Museum in Harlem in response to the AIDS crisis and drug epidemic of the early 1990s.

I, YOU, WE features artwork from the 1980s and early 1990s and explores collective issues that concerned artists working during this period, including artists» responses to the AIDS crisis.

In a book of watercolors, the Swedish artist and illustrator turns away from his fashion work for more intimate portraits that reflect the fragility of the human body as a protest against the slow response to the AIDS crisis.

Exhibition highlights from the 1990s through today reflect artistic responses to developments like the emergence of the AIDS crisis, the decoding of the human genome, the repercussions of September 11th, and the increasing prominence of human rights concerns raised by the LGBT community, all of which have profoundly affected the expectations, demands, and even the politics of the self and its representation.

Inspired by protest - art groups like ACT UP spinoff Gran Fury — which produces «campaigns» like «Kissing Doesn't Kill: Greed and Indifference Do,» «Art is Not Enough» and, most famously, «Silence = Death,» a neon sign which hangs in the window of the New Museum — the activist group Visual AIDS persuades hundreds of art organizations to institute a «day without art,» and shroud work in «mourning and action in response to the AIDS crisis.»

In this key piece, Leonard stitched together banana and orange peels as a response to the losses caused by the early AIDS crisis.

A leading artist of the 1980s, David Wojnarowicz is known for the richly aesthetic and strongly activist works that he made in response to the AIDS crisis.

Visual AIDS launched Day With (out) Art as a World AIDS Day initiative in 1989 as the national day of action and mourning in response to the AIDS crisis.

On December 1, 1989, Visual AIDS organized the first of what was then - called Day Without Art — a national day of action and mourning in response to the AIDS crisis.

The wide date - range of the show allows for a diverse selection of global concerns to emerge, including protests against the Vietnam War, such as in the work of Nancy Spero and Edward Kleinholz, protests aimed at the governments» response to the AIDS crisis, such as in the work of AA Bronson, General Idea, and Felix Gonzalez - Torres.

In response, Silano's Tear Sheets explores the visual culture and iconography of his queer predecessors to reconcile the loss and longing that permeates those affected by the AIDS crisis.

Art AIDS America Chicago is a monumental exhibition that explores how the AIDS crisis had an impact on American art and culture.The works on display, from the early 1980s to the present, explore a wide spectrum of artistic responses to AIDS — from political anger and social activism to personal grieving.

A response to the AIDS crisis of the 1980s, Kayode's late, neo-romantic studio photographs combine Yoruba and Christian imagery and are an affirmation of beauty and eros in the face of his own terminal diagnosis.

During that decade, artists engaged the language of advertising and media, feminist and identity politics, and as the decade wore on, an increasingly urgent response to the AIDS crisis, to produce work that commented on the power and the fragility of the human body.

The exhibition broadly considers the work of the artists in the context of significant artistic and cultural movements: mail art and artist correspondences; the rise of Chicano, gay, and feminist print media; the formation of alternative spaces; fashion culture; punk music and performance; and artist responses to the AIDS crisis.

Artist Michael Nesline and Blanton curator Evan Garza talk about artists» responses to the AIDS crisis as depicted in the exhibition Come as You Are: Art of the 1990s.

«Let the Record Show...,» one of the first major art world responses to the AIDS crisis, is organized by Curator William Olander with ACT - UP, sparking the organization of Gran Fury, an activist artists collective that used graphic design strategies to raise awareness about AIDS.

For this presentation, additional works from The Bronx Museum permanent collection will broaden the offering of artistic responses to the AIDS crisis by artists particularly connected to the Bronx, such as Willie Cole, Glenn Ligon, Whitfield Lovell, and others.

The traveling exhibition brings a comprehensive survey of artworks made in response to the AIDS crisis, showing how the emergence of AIDS have changed the path of contemporary art, shifting from conceptualism and theoretical approaches to the autobiography, experience, and politics.

Trained in emergency response, CPR, first aid, tactical combat, guns, crisis intervention and hostage communications.