Sentences with phrase «collective identity for»

These and other pioneering texts and shows, plus his influential 1969 book, created a collective identity for Arte Povera, which was promoted as a revolutionary genre, liberated from convention and the market place.

His pioneering efforts created a collective identity for the artists whose materials, though «poor», were use to make conceptually rich works that sought to provoke change.

As a result of this cultural ambivalence, class has generally not been a good source of collective identity for political activity.

As Edward Said argued in the wake of the 9/11 attacks in his 2003 preface to his seminal work, Orientalism, «the terrible conflicts that herd people under falsely unifying rubrics such as «America,» «the west» or «Islam» and invent collective identities for large numbers of individuals who are actually quite diverse, can not remain as potent as they are, and must be opposed.»

Not exact matches

In return for a collective identity, the European Union offered prosperity and the promise of peace.

Precisely because the identities of the damned are unknown, it remains possible to «hope for all» (all the individuals) without necessarily having a «hope for all» (the collective).

These wars have variously been understood as Western aggression against pacific Islam, a necessary defense against Islamic attack, a conduit for cultural and commercial exchange, a form of early colonialism, an expression of collective religious identity or social anxiety, and a symptom and vehicle of economic expansion.

Alternate frameworks for collective living in India must be in the business of detecting the elements of distinctiveness (even if through difference) of Dalit and Adivasi culture and religion, which are inscribed into the communicative practices of the community, in order to represent its collective identity to itself as well as to the nation - state.

The foreign debt continues to be an issue and new voices have began to sound the need to look for ways to face it; (ii) At the national level two questions are concentrating increasing attention: one is the reassessment of the necessary role of the state to correct the distortions of a runaway market (currently discussed in Europe and in the discussions about the role the initiatives of «an active state has played in the economic development of Asian countries); the other is the need for a «participative democracy over against a purely representative formal democracy: in this sense the need to strengthen civil society with its intermediate organizations becomes an important concern; (iii) the struggle for collective and personal identity in a society in which forced immigration, dehumanizing conditions in urban marginal situations, and foreign cultural aggression and massification in many forms produce a degrading type of poverty where communal, family and personal identity are eroded and even destroyed.

When the purpose is to revive a broad collective identity, the danger is to regress into an «us» versus «them» mentality, entailing troubling exclusion and discrimination As for the use of identity politics inside a protest movement, one of its dangers is to create artificial divisions hampering the emergence of a common project.

Importantly, it will be a strong determinant of whether we break free from the counter-developmental and destructive Akan / non-Akan identity politics that only serves the interests of a small class of political entrepreneurs and party elites or remain mired in it for the forseeable future to our collective detriment.

The loveliest moments of Cowboy Bebop are the ones most scented by melancholy for what's been lost of our collective history and our individual identity to the metronome inexorability of time.

The truth about these crimes needs to be provided for the protection of victims of those crimes but also people and society (national and international) in general: the identity formation taking place in schools touches upon individual and collective (national) identities at the same time, the objectives of education under international human rights law demand putting a student, an individual, in the centre of the learning process to fully develop his personality and at the same time take into account the demands of democratic society in state and in the world — the world in which a person needs to manage and which needs good peaceful citizens.

For over half a decade, Europe has struggled to construct a coherent or at least relatable collective Identity.

[6] After working with charter schools for some 20 - plus years, I've found that the strongest «collective identity» is for all members to be independent — to essentially have no collective identity.

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.

A collective sense of belonging for those living with these circumstances provides psychological identity with, and commitment to, others (Beck and Foster, 1999).

Dundee - based creative studio Fleet Collective has designed the bold, bright and rather chipper identity for this year's Dundee Design Festival.

Drawing from the National Museum of Women in the Arts collection, this show features photography and video works by 17 artists focusing their camera on the female body as a vital medium for storytelling, expressing identity and reflecting individual and collective experience.

Roiter's aversion to collective mentality stems in part from his childhood in Soviet Russia and the country's policies designed to negate individual pursuits in favor of a common national identity, its suppression of basic freedoms and public forums for thought and creativity.

As seen in his iconic neon work Give Us a Poem (2007), which hangs in the atrium of the Studio Museum, the artist is known for exploring the relationship between the self and collective identity.

By turning their camera to women, including themselves, these artists embrace the female body as a vital medium for expressing identity, reflecting individual and collective experience, and forming narratives.

He writes: «Continents reject mixings whereas archipelic [sic] thought makes it possible to say that neither each person's identity, nor a collective identity, are fixed and established once and for all.»

A public garden and cultural center located in the Bronx, Wave Hill's spring show acknowledges the continued need for activism and cultural production that builds bonds across lines of identity and difference, informing and empowering individual and collective memory.

The Ogden's display materialises through its acknowledgment of this tension: those who have considered their art as framing their own unique sense of self, and those who have used it for the purposes of forging a collective black identity.

A figurehead of a millennial, internet - savvy generation whose search for gender and identity nonconformism took them online, multimedia artist, DJ, poet, and member of queer artist collective House of Ladosha, Huxtable made her name in the downtown Manhattan nightlife scene, co-founding SHOCK VALUE, a weekly club night.

The catalogue for Confronting Identities in German Art turns to art works, artists, and their audiences to explore how Germans of the past two centuries have confronted issues of identity, both individual and collective.

There is an interest in defining a period of our collective history and cultural understanding through objects of symbolic meaning used for ritual and cultural identity.

A group exhibition focusing mankind's passion for sport and how it has defined our individual and collective identities.

In their passport project Antarctica, British - Argentine artist duo Lucy + Jorge Orta will envisage new possibilities for community and environment, by inviting visitors to symbolically transfer their individual national identity into that of a collective world citizen.

Constantly seeking new territories for expression, the Goldsmiths University alumnus weaves fictional and real - life narratives together in order to shed new light on personal and collective identities, whilst calling upon the viewer as an active participant.

Gutiérrez uses a range of media to investigate how the conditions of everyday life set the stage for our experiences and in doing so shape our individual and collective identities.

By capturing photographs of women, including themselves, the artists explore the female body as a medium for expressing identity and telling a story of individual and collective experience.

, an exhibition about our passion for sport and how it has defined our individual and collective identities.

The painting can be seen as a meditation on personal and national identity, both distinctly and jointly — jointly because the act of striving for personal independence in art during the 1950s was a collective project in the United States.

For the past few years, Shiraz Bayjoo's work has been exploring collective identities and the symbols, flags and emblems that groups use to represent themselves.

In turning their cameras to women — including themselves — they embrace the female body as a practical and vital medium for expressing identity, reflecting individual and collective experiences, and forming narratives.

Unconventionally, for a degree show, the four artists curated a space that conveyed a strong collective identity, placing the group over the individual at a time when «showcasing» is the name of the game.

«A New American Flag,» Max Protetch Gallery, New York, NY, 1992 «Malcolm X: Man, Ideal, Icon,» Walker Art Center, Minneapolis, MN, 1992; traveled to the Institute of Contemporary Art, Boston, MA; The Valentine, The Museum of Life and History of Richmond, VA; Anacostia Museum, Washington DC; Nexus Contemporary Art Center, Atlanta, GA; Center for the Arts, Yerba Buena Gardens, San Francisco, CA «Mistaken Identities,» University Art Museum, University of California at Santa Barbara, Santa Barbara, CA, 1992; traveled to the Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremenim Forum Langenstrasse, Bremen, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark; catalogue «Update «92,» White Columns, New York, NY, 1992 «Slow Art: Painting in New York, PS1 Museum,» Long Island City, NY, 1992 «Dream Singers,» Story Tellers: An African American Presence, coorganized by Fukui City Japan, and New Jersey State Museum, Trenton, NJ, 1992; traveled to the Tokushima Modern Art Museum, Tokushima City, and Otani Memorial Art Museum, Nishinomiya City, Japan; catalogue «All Words Suck,» Anders Tornberg Gallery, Lund, Sweden, 1992 «Allegories of Modernism: Contemporary Drawings,» Museum of Modern Art, New York, NY, 1992; catalogue «Doubletake: Collective Memory and Current Art,» Hayward Gallery, The South Bank Centre, London, UK, 1992; traveled to the Santa Monica Museum of Art, Santa Monica, CA; North Carolina Museum of Art, Raleigh, NC; catalogue «Knowledge: Aspects of Conceptual Art,» University Art Museum, University of California at Santa Barbara, Santa Barbara, CA; traveled to the Santa Monica Museum of Art, Santa Monica, CA; North Carolina Museum of Art, Raleigh, NC; catalogue

Drawing its title from allusions to Robert P. T. Coffin's celebration of American Culture in his «Primer for America» and from Gwendolyn Brooks» poem «Primer for Blacks,» the piece takes an interdisciplinary approach to collective and specifically documented identities from Afro American and Euro American inheritance.

By bringing their collective work back to its geographic «source,» so to speak, the exhibition hopes to deal with themes of identity for those who have dual cultural allegiances, explore the melding and fusion of artistic influences, and foster the discussion of the work when brought into local context when comparing audiences in the East and West.

Aoife added: «As our National Museum for Modern Art, IMMA makes a huge contribution to the communication of contemporary Irish life and our collective identity, both in Ireland and Internationally.

As well as delving into the nostalgia for collective memories that have inspired to recreate and highlight what she believe is crucial to her identity.

Tomorrow at 7PM at The Art Institute of Chicago, join Glenn Ligon, Studio Museum chief curator and director Thelma Golden, Lynette Yiadom Boakye, and Cauleen Smith for a discussion on their work and how it examines individual and collective histories along with questions of cultural, social, sexual, and racial identity.

But the initial impression for viewers is likely to be of cogent collective identity — a shared refinement and technical precision, as well as a ubiquitous coolness of tone.

The plaintiff asked the court to find, as a matter of public policy, that for policy reasons, the lawyer should nevertheless be treated as either a partner or employee of the firm, because lawyers «practising in association» should be treated as part of a «collective identity.»

The study utilized a measure for cumulative traumas that is based on the DBTF and measures of post-traumatic stress disorder (PTSD), cumulative trauma related disorders (CTD), depression, anxiety, collective annihilation anxiety (AA), identity salience, and fear of death.

His main area of research focuses on the psychological benefits and consequences of nostalgia, both for one's personal and collective identities.

The Declaration sets out the individual and collective rights of the world's 370 million indigenous peoples; calls for the maintenance and strengthening of their cultural identities; and emphasises indigenous peoples» right to pursue development in keeping with their own needs and aspirations.