Sentences with phrase «against white racism»

These are among the items promoted for Holy Week: two polemics against white racism, an attack on the tobacco industry, three murder mysteries, one story about a serial murderer, a comedy about soap operas, a story on the sexual abuse of children, and a drama about vampire families in San Francisco.

Not exact matches

white evangelicals, would speak up nationally against racism.

To me, it's just a messy mix of between racism and hypocrisy — they just don't like the guy because he's less than 100 % white and they're all still bitter about it, and they're fighting against many of the principles that is taught in their own New Testament.

Casting the discussion in these terms allows liberals to deplore black crime with a clear conscience; the focus on black victims establishes a connection between their new stand against crime and the older excoriation of the effects of white racism.

Thus, in the political calculus that flowed from portraying racism as the central fact of American life, no white effort to redress the transgressions against the blacks was ever adequate, and no black challenge to the privileges or sensibilities of whites was ever excessive.

Durant joins a growing number of professional athletes who have spoken out against racism and disagreed with President Trump's comments on white supremacists and Confederate statues in the aftermath of Charlottesville.

The demonstration will be a show of unity against bigotry, hate and racism in the wake of a white nationalist protest protecting a Confederate statue in Charlottesville, Va..

Without Evidence If a person of colour has the misfortune of suffering acts of racism without recorded evidence — which is 99 % of the time as we don't go about with the recording features of our mobile phones turned on in anticipation of capturing racial abuses against us — then it is our word against those of our abusers before the person of authority who is most likely to be white.

Gov. Andrew Cuomo took direct aim at the president for his Charlottesville remarks, name checking him in a Daily News OpEd, and writing: «No, President Trump, there can be no moral equivalence between white nationalists and activists who protest against racism.»

When white supremacists posted racist flyers around the town of Pittsford, residents rallied against racism and pushed for change.

Rosa's personal struggle against institutionalized racism reaches its zenith on the night of December 1, 1955, when, bone - weary after a long day's work as a seamstress at a Montgomery department store, she refuses to give up her seat on a bus to a white man — and is promptly arrested.

After all, you can't comment on the racism committed against black men without commenting on the fact that the white cops would be horrified by the fact that white women were at the motel having sex with black men.

The continuation, through Warren, of the retribution against white brutality exacted by Django is offered as cathartic, and Tarantino's sincere commitment to fighting racism is welcome given the current tensions provoked by police killings of black citizens in the United States.

It is, in fact, the eldest son, Louis (a great David Oyelowo)-- a rebel who refuses to accept his father's acquiescence to white power and becomes a Freedom Rider and, later, a Black Panther — who drives the story forward through his battles against racism and subsequent tension with Cecil.

When they do get to the topic of the movie, he has to deal with the barely concealed racism of questions about how many white people are killed in this movie about a uprising against slave owners (His response, pointing out that the anger about the depiction of killing in a movie is misguided compared to real - world killing, is spot - on).

Of course I fully agree with many of the more accepted goals of the liberal variants of critical pedagogy whose arch-categories include the following — to foment dialogue, to deepen our appreciation of public life, to create spaces of respect and appreciation for diversity, to encourage critical thinking, to build culturally sensitive curricula, to create a vibrant democratic public sphere, to try to change the hardened hearts and minds of our increasingly parasitic financial aristocracy, to build knowledge from the experiences and the histories of students themselves, to make knowledge relevant to the lives of students, and to encourage students to theorize and make sense of their experiences in order to break free from the systems of mediation that limit their understanding of the world and their capacity to transform it, to challenge racism, sexism, homophobia, ableism, to fight against white supremacy, etc..

Since racism only works against people who are already oppressed, white people can not possibly be its victims — no matter how poor they are.

«The fact that a majority of white Americans believe discrimination against whites is as much of a problem as discrimination against minorities means we increasingly have to field questions that attempt to demonstrate the existence of reverse racism.

Aruna D'Souza's new book Whitewalling: Art, Race & Protest in 3 Acts (Badlands Unlimited) presents, in reverse chronology, three events that sparked protest against racism at New York art institutions: the inclusion of Dana Schutz's painting of Emmett Till in the 2017 Whitney Biennial, the white artist Donald Newman's solo show titled «The Nigger Drawings» at Artists Space in 1979, and «Harlem On My Mind,» an exhibition of all - white artists at the Metropolitan Museum of Art in 1969.

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

At Hammonds House Museum in Atlanta, Weems's photographic series From Here I Saw What Happened and I Cried, along with selected works and her 2016 film People of A Darker Hue, demonstrates the artist's strength as a storyteller, and as a powerful voice against racism, white nationalism, and the white - washed narrative of our country.

«AIDS, A Community in Crisis,» Jamaica Arts Center, Jamaica, NY, 1991 «Language: Body and Dream,» PS 122, New York, NY, 1991 «1991 Biennial Exhibition,» Whitney Museum of American Art, New York, NY, 1991; catalogue «We Interrupt Your Regularly Scheduled Programming,» White Columns, New York, NY, 1991 «Interrogating Identity, Grey Art Gallery and Study Center,» New York, NY 1991; traveled to the Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Center for the Fine Arts, Miami, FL; Allen Memorial Art Museum, Oberlin College, Oberlin, OH; catalogue «Positions of Authority,» Art in General, New York, NY, 1991 «Color Theory,» Amelie A Wallace Gallery, State University of New York at Old Westbury, Old Westbury, NY, 1991 «Text Out of Context,» SoHo Center, New York, NY, 1991 «New Work,» PS 122, New York, NY, 1991 «Spent: Currency, Security and Art on Deposit,» The New Museum of Contemporary Art at Marine Midland Bank, New York, NY, 1991 «Works on Paper,» Selena Art Gallery,» Long Island University, Brooklyn, NY, 1991 «Rutgers National «90: Works on Paper, Stedman Art Gallery,» Camden, NJ, 1991; brochure «Art of Resistance,» El Bohio, New York Public Mirror, Art against Racism, The Clocktower Gallery, New York, NY, 1991

George Williams points out that Australia's Constitution was drafted against a backdrop of racism that led to the White Australia policy and a range of other discriminatory laws and practices.