Sentences with phrase «cultural economy of the city»

Not exact matches

Here are five cities that look particularly welcoming, based on the fastest - growing sectors of their economies and the cultural amenities they offer to a veteran professional who's looking forward to some free time.

The easiest thing to grasp about the City of God is that it is not the City of Man — that is to say, that all existing moral - political authority is all - too - human, and that every individual represents some promise, some meaning, some destiny far beyond anything that can be represented in the economy of an actual political - cultural world.

We simply do not know what community would look like in a modern city because our deepest cultural experience with it comes from the 19th century, in the small - town, face - to - face relationships of an agrarian economy.

According to a report from Bourscheidt's Alliance that is meant to encourage policy makers to help the arts industry play a role in rebuilding New York City's economy, nonprofit cultural organizations in the city had an economic impact of $ 5.8 billion in 2005 and generated more than 40,000 jobs and $ 2.2 billion in waCity's economy, nonprofit cultural organizations in the city had an economic impact of $ 5.8 billion in 2005 and generated more than 40,000 jobs and $ 2.2 billion in wacity had an economic impact of $ 5.8 billion in 2005 and generated more than 40,000 jobs and $ 2.2 billion in wages.

1 Etymology 2 History 2.1 Prehistory 2.2 Medieval kingdoms 2.3 European contact (15th century) 2.4 Independence (1957) 2.5 Operation Cold Chop and aftermath 2.6 21st century 3 Historical timeline 4 Geography 4.1 Climate 4.2 Rivers 4.3 Wildlife 5 Government 5.1 Foreign relations 5.2 Law enforcement and Police 5.3 Military 5.4 Administrative divisions 6 Transportation 7 Economy 7.1 Key sectors 7.2 Manufacturing 7.3 Petroleum and natural gas production 7.4 Industrial minerals mining 7.5 Real estate 7.6 Trade and exports 7.7 Electricity generation sector 7.8 Economic transparency 8 Science and technology 8.1 Innovations and HOPE City 8.2 Space and satellite programmes 8.3 Cybernetics and cyberwarfare 8.4 Health and biotechnology 9 Education 9.1 Overview 9.2 Enrollment 9.3 Foreign students 9.4 Funding of education 9.5 Provision of educational material 9.6 Kindergarten and education structure 9.7 Elementary 9.8 High school 9.9 University 10 Demographics 10.1 Population 10.2 Legal immigration 10.3 Illegal immigration 10.4 Language 10.5 Religion 10.6 Fertility and reproductive health 11 Universal health care and health care provision 12 Culture 12.1 Food and drink 12.2 Literature 12.3 Adinkra 12.4 Traditional clothing 12.5 Modern clothing 12.6 Music and dance 12.7 Film 12.8 Media 12.9 Sports 12.10 Cultural heritage and architecture 13 National symbols 14 Tourism 15 See also 16 References 17 Further reading 18 External links

In many towns across the UK independent eateries, many varieties of restaurants from Vietnamese to Italian to English, as well as pop - up food stalls and Michelin starred establishments act as a focal point for the town's economy and contribute to the cultural diversity of these towns and cities.

Over 40 years ago, CAC began as a small group of artists advocating for rights, support and visibility in the city's cultural landscape and economy.

Through living and working in Detroit, Barr and Rice have identified Detroit's collapsed economy as the first post-industrial American city, yet simultaneously a breeding ground for new strategies of cultural production.

Prospect New Orleans and Prospect.4: The Lotus in Spite of the Swamp is made possible through generous support from Founding Benefactor Toby Devan Lewis and our generous supporters including: The Helis Foundation; the Lambent Foundation; the Ford Foundation; The Andy Warhol Foundation for the Visual Arts, Inc.; Nancy A. Nasher; David J. Haemisegger; VIA Art Fund; Whitney Bank; Susan and Ralph Brennan; W.K. Kellogg Foundation; David Workman; the National Endowment for the Arts; Bloomberg Philanthropies; Wagner Foundation; the Joan Mitchell Foundation; the Zemurray Foundation; Kevin G. Clifford and Michele T. Reynoir; The Brown Foundation, Inc. of Houston; the Ed Bradley Family Foundation; Jones Walker LLP; the Knight Foundation; Pan American Life Insurance Group; Paul J. Leaman, Jr.; the Reily Foundation / Stephen Reily Family Fund; Tommy and Dathel Coleman; the Downtown Development District; Arts Council New Orleans; the Keller Family Foundation; City of New Orleans Mayor's Office of Cultural Economy; Edward Wisner Donation / City of New Orleans; Gustaf W. McIlhenny Foundation; Peake BMW; Project &; RosaMary Foundation; Regions Bank; Mondriaan Fonds; New Orleans Jazz and Heritage Foundation; ArtCenter South Florida; the Ruth U. Fertel Foundation; Accion Cultural Española (AC / E); the National Art Gallery of the Bahamas; the Blue Rider Group at Morgan Stanley; Dashboard U.S.; iaspis; the Joan Mitchell Center; the National Council of Jewish Women / New Orleans Chapter; and the Jewish Endowment Foundation of Louisiana.

Later, Gris Gris Lab grew and formed a team of social scientists who began cultural consulting to further support and strengthen the local economies of non-profits and small businesses in New Orleans, Washington D.C., Detroit and New York City.

Funding for the 2018 Otis Report on the Creative Economy has been provided by the California Arts Council, City of Los Angeles Department of Cultural Affairs, City National Bank, Marsh, Mattel, and Moss Adams.

The Pennsylvania Academy of Fine Arts welcomed six new members to its board of trustees, including Kelly Lee, chief cultural officer of the City of Philadelphia's Office of Arts, Culture, and the Creative Economy.

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

The bilingual, nomadic, online, event - based radio transmission will host a temporary cultural platform inviting female local voices to represent the city with sound, music, conversation, and language experiments, addressing topics of movement, migrations and economy.

While the city's economy is heavily dependent on tourism, it is also the financial and cultural hub of central Oregon.

As the seat of San Jon Joaquin County, the city has an active port economy, a thriving cultural arts community, and promotes a green and renewable energy economy.