Sentences with phrase «arts and culture strategies»

Not exact matches

This global hub, also known as «Gateway of the Americas», has everything that EB - 5 investor might want besides a growing number of EB - 5 approved projects; largest concentration of foreign banks and multinational corporations, rated Number 2 in Business Friendliness and Number 3 in Foreign Direct Investment Strategy by FDI Intelligence (a division of Financial Times), and is undoubtedly one of fastest growing urban centers of the world in commerce, finance, culture, media, arts, entertainment and international trade.»

Whether travelers use print guidebooks, ebooks, mobile apps, or Fodors.com, Fodor's provides highly curated advice on how to travel smarter, including the best arts and culture offerings, where to eat and stay at every price point, and tips and strategies for an authentic and immersive experience.

Mr. Rotimi Ogunleye from Commerce and Industry to Physical Planning and Urban Development; Mr. Steve Ayorinde from Ministry of Information and Strategy to Ministry of Tourism, Arts and Culture, Mr. Kehinde Bamigbetan from Communities and Communication to Ministry of Information and Strategy; Mr. Babatunde Durosinmi Etti from Ministry of Wealth Creation to Ministry of the Environment; Mrs. Uzamat Akinbile - Yusuf from Ministry of Youth and Social Development to Ministry of Wealth Creation; Mr. Agboola Dabiri from Central Business District to Ministry of Youth and Social Development.

Commissioner for Tourism, Arts and Culture, Mr. Steve Ayorinde in a statement, said the remodelling of the magnificent Gani Fawehinmi statue was part of the State's strategy to enhance the aesthetic beauty of open public spaces and parks across the state and to celebrate and immortalise worthy icons that contributed immensely to the development of Lagos State.

The State's Commissioner for Information and Strategy, Mr. Steve Ayorinde, his fellow in Tourism, Arts and Culture, Mr. Folorunsho Folarin - Coker, while addressing newsmen the Artistic Director Toronto Film Festival, Mr. Cameron Bailey, at the Bagauda Kaltho Press Centre in Alausa, said the evolution would help project tourism potential of Lagos to the team audience at the festival.

At 8:30 a.m., Crain's New York Business hosts its 2017 Arts and Culture Breakfast on new strategies for finding private and public allies featuring a discussion with NYC Councilman Jimmy Van Bramer, Con Edison Conference Center, 4 Irving Place, Manhattan.

The fashion house's grand strategy to align itself with the great names of Italian art and culture was played out in Milan

Commit to embracing arts and arts integration as a long - term (3 + years) strategy to: decrease the achievement gap, increase standardized test scores, and improve school culture and academic improvement simultaneously.

The HOT APPROACH is an innovative delivery system that provides teachers, teaching artists, administrators, parents, and arts organization educators vital professional development, resources, tools and strategies to develop, deepen and expand effective practices in standards based arts education, arts integration, school culture change and leadership development.

The HOT APPROACH is an innovative delivery system that provides teachers, teaching artists, administrators, parents, and arts organization educators vital professional development, resources, tools and strategies to develop, deepen and expand effective practices in arts education, arts integration, school culture change and leadership development.

The HOT Approach is an innovative delivery system that provides teachers, teaching artists, administrators, parents, and arts organization educators vital professional development, resources, tools and strategies to develop, deepen and expand effective practices in arts education, arts integration, school culture change and leadership development.

The Education Endowment Foundation (EEF) and the Royal Society of Arts (RSA) announced five trials to test the impact of different «cultural learning strategies» as part of the «Learning about culture» programme, which is will be rolled out to 9,000 pupils across 400 primary schools from September next year.

This is the first in a series of projects that will see her work simultaneously at Modern Art Oxford with another solo exhibition, Invisible Strategies (21 January — 30 April) and her participation to The Place is Here at Nottingham Contemporary (4 February — 30 April), a major exhibition bringing together around 100 works by over 30 artists and collectives exploring the pivotal 1980s decade for British culture and politics.

This panel explores the politics and legacy of African American artists, both of Charles Gaines's generation and after, who use strategies of conceptual art to investigate identity, representation, and American culture.

Several of these artists engage with strategies of conceptual art, addressing themes about contemporary experiences such as technology and the internet, notions of migration, local and mainstream cultures, or ideas of representation.

Highlighting, and perhaps bridging, the gap between dissimilar realms, Pruitt draws upon black popular culture as he employs strategies of conceptual art and conventions of art history.

Alexandra Munroe Alexandra Munroe, Ph.D. is a curator, Asia scholar and author focusing on art, culture and institutional global strategy.

Fisher frequently explores this culture clash in her work through the lens of feminist theory and strategies derived from Surrealist art.

The Climate Change Solutions Fund broadens this arts - centered strategy to equally support the work of non-arts organizations tackling the root causes of global warming in ways that both engage the public and recognize the catalytic roles culture and creativity can play in these endeavors.

While the artists allied with this understanding of institutional critique were certainly central to our thinking, we recognized that those dedicated to appropriation as a strategy — to borrowing forms and images in order to reveal how they operate within our culture — were making similar calls for changes to the structures and definitions of art.

The bulletin boards that Tom Burr has been arranging since the late 1990s reference not only art historian Aby Warburg's Mnemosyne Atlas strategy of employing a black panel backdrop in order to heighten thematic arrangements of photographic images — including reproductions from books, and visual materials from newspapers and popular culture — but also reflect a setting typical of early cinematic and photographic motion studies.

His strategies often include the manipulation of scale, which can be traced to René Magritte, Oldenburg, and Robert Gober, and a Pop - inflected appropriation of bits of consumer culture, invoking the (sometimes) ambivalent relationship to the religion of capitalism / consumption that lies at the heart of American life and art.

Animated by flânerie — the idle, detached observation of street life that 19th - century writers associated with the rise of modern cities, that was an important strategy of the French Impressionists — and making reference to African tribal art, Ward's oeuvre resonates with the Barnes collection and speaks with penetrating insight and imagination to a broad range of subjects, including black history and culture, the dynamics of power and politics, and Caribbean diaspora identity.

Recycling ready - made materials, repurposing common household items and creating art from the refuse of everyday life are classic strategies of the modern and postmodern avant - garde, from early - 20th - century Cubist collages of newspaper clippings and the ephemera of popular culture to today's recycling...

These cultures (their tactics and strategies) return control to the users and remodels relationships between the individual and the institutional edifice: in academia, in the arts, technological fields of practice, and as part of everyday life.

«Creative Time Global Residency: Reports From the Field», New York, NY, December 3, 2013 «Urban Imprint: The Art and Science Shaping Our Cities,» hosted by The University of Chicago, Jazz at Lincoln Center's Frederick P. Rose Hall, New York, NY, November 14, 2013 «Cultural Investment: Creating a Civic Identity Through the Arts,» CityLab: Urban Solutions for Global Challenges, NYU Skirball Center for the Performing Arts, New York, NY, October 7, 2013 «One State Together in the Arts» One State Illinois Conference, Quad Cities, IL, June 24, 2013 «Theaster Gates in Conversation with Romi Crawford,» Black Collectivities, Museum of Contemporary Art, Chicago, Chicago, IL, May 4, 2013 «LINC Legacy and Advancements in the Field,» hosted by the Ford Foundation, May 2013 «Constituency Engagement — Culture - Initiated Redevelopment: Strategies in Innovative Constituent Engagement,» Association of Black Foundation Executives, Palmer House Hilton Hotel, Chicago, IL, April 6, 2013 «Creating Heat - The Artist as Catalyst: Theaster Gates at TEDxUNC,» University of North Carolina at Chapel Hill, Chapel Hill, NC, February 9, 2013 «Building CapaCity Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 26, 2013 «Creative Resilience Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 25, 2013 «Transformative Art: Theaster Gates,» World Economic Forum Annual Meeting, Davos, Switzerland, January 23, 2013

Executive Director Kristin Sakoda is Executive Director of the Los Angeles County Arts Commission providing leadership for Arts Commission strategies in arts and culture countywArts Commission providing leadership for Arts Commission strategies in arts and culture countywArts Commission strategies in arts and culture countywarts and culture countywide.

In the year ahead, the museum will travel an exhibition for the first time in its history when A Decolonial Atlas: Strategies in Contemporary Art of the Americas moves to Tufts University in Boston, and we will bring from Arizona State University the exhibition Soul Mining which considers the influence of Asian labor and culture in the Americas.

The daughter of a botanist, Naomi Fisher was born and raised in Miami, where the wild / untamed tropical environment serves as a backdrop to explore the american culture clash in her work through the lens of feminist theory and strategies derived from surrealist art.

Working across design, art, and culture, her projects take shape as organizations, stories, and strategies that transform sites and scenarios of consumption into platforms for co-production.

The Freedom of Information is a concise survey of artworks that employ strategies of appropriation, from repurposing and rephotographing mass - media images to referencing and copying objects from art history or American consumer culture.

Aiming to reassess abstract art's critical role as aesthetic idiom, perceptual process, and research form, this project considers how abstraction's constant re-makings keep it crucial, a strategy to think contemporary culture and to incite ongoing critical dialogues with everyday reality.

His art conflates the mournful, quotidian sensibility of consumer culture, with both high modernist strategies and geo - political models.

Through such tactics Dahn's suggests there is no distinction between high and low culture: «You can transform the low, the most shitty and obvious things, into high quality art, recycle them into an art context where they take on different meanings... That's my strategy, working with these kinds of mass or working class icons.

Noted for his unfixed and non-prescriptive views of geography and identity, imagery and pictorial strategies, Rana has exhibited at various public and private institutions, including Mohatta Palace Museum, Karachi; Singapore Art Museum; Hong Kong Art Center; Cornerhouse, Manchester; Musée Guimet, Paris; Queensland Art Gallery, Brisbane; Fotomuseum Winterthur; Whitechapel Gallery, London; Saatchi Gallery, London; Lower Belvedere, Vienna; the Asia Society, New York; National Fine Arts Museum, Taichung; House of World Cultures, Berlin; and Fukuoka Museum of Art.

An act of cultural translation, Ofili's painting resonates with the allusive strategies of Basquiat and Hammons, contemplating the American import culture that saturated his childhood in pursuit of an art that subverts the pre-existing languages of multiculturalism and painting.

This open - hearted and stimulating interchange was organized around three themes: the conceptual process that led up to the new installation plan and its outcomes regarding questions of narrative, chronology and mediation; the plan itself and the choices that have been made regarding possible clusters of works and themes, as well as the actual works to be displayed; and, finally, the position of the Stedelijk Museum in the contemporary debates surrounding the canon, curatorial strategies, the relationship between fine art and visual culture, and the influence of non-museological display formats on museum practice.

Evonne has hands - on leadership experience in arts management and programming, curatorial and public art projects, board development and fundraising strategies, organization management, as well as cultural equity, inclusion, and diversity in the arts and culture sector.

A veteran of the Los Angeles conceptual art scene, Kelley used deconstructive strategies in order to challenge the established norms of contemporary culture, both high and low.

Viera also teaches museum and curatorial studies, the history of photography, visual thinking strategies and Latino art and culture.

Pop Life: Art in a Material World argues that Warhol's most radical lesson is reflected in the work of artists of subsequent generations who, rather than simply representing or commenting upon our mass media culture, have infiltrated the publicity machine and the marketplace as a deliberate strategy.

Best known as Neo-Geo (and also called Neo-Conceptualism and Simulationism), the 1980s East Village movement involved a redeployment of minimal strategies from conceptual art in relation to popular culture, melding aspects of pop art and conceptualism.

The Strategy covers 13 industry sectors and identifies specific opportunities for development in construction, tourism, community services, mining and production, retail and services, pastoral, horticultural, natural resources management, government, forestry and agri - business, arts, knowledge and culture, and aquaculture and fisheries.

Culture: Promoting importance of cultural, ceremonial and contemporary activities in the practice of Indigenous culture and tradition via strategies such as establishing a Cultural Centre that reflects the broader Indigenous community through activities and exhibitions, and supporting the growth, self - management and protection of the Indigenous art inCulture: Promoting importance of cultural, ceremonial and contemporary activities in the practice of Indigenous culture and tradition via strategies such as establishing a Cultural Centre that reflects the broader Indigenous community through activities and exhibitions, and supporting the growth, self - management and protection of the Indigenous art inculture and tradition via strategies such as establishing a Cultural Centre that reflects the broader Indigenous community through activities and exhibitions, and supporting the growth, self - management and protection of the Indigenous art industry.

Strategies: Heritage and Culture Plan; art centres; language centres.