Sentences with phrase «ends of national culture»

Not exact matches

The Declaration of Russian Identity, passed at the end of the 2014 Global Russian National Assembly, asserts: «Claims that every Russian must acknowledge Orthodox Christianity as the basis of their national culture are both justified aNational Assembly, asserts: «Claims that every Russian must acknowledge Orthodox Christianity as the basis of their national culture are both justified anational culture are both justified and fair.

Ever keen to provide comprehensive coverage of developments in the Conservative Party, here are details of some proposals outlined by shadow culture minister Ed Vaizey in a speech to the London Libraries Conference at the end of last week, but which have not received any attention in the national press.

The topics are: Introduction to Thailand Language and National Sport (Muay Thai) Festival and festival Culture Buddhism Climate and Weather Brief History of Modern Thailand Food Plants and Animals of Thailand End of Unit Quiz You can make it run longer or short depending on the ability of the class, how often you have Humanities and how much enrichment you add.

Senior Lecturer in the Faculty of Education at Monash University, Dr David Zyngier, has called upon the new Education Minister to dump Christopher Pyne's proposed Higher Education reforms, replace religious chaplains in schools with well - trained and professional welfare officers, and to end the «culture war» over the National Curriculum by replacing education policy adviser Dr Kevin Donnelly.

Recent solo and major notable museum exhibitions include; «Enlightened Princesses; Caroline, Augusta, Charlotte and the Shaping of the Modern World», Yale Center for British Art, New Haven, Connecticut, USA tours to Kensington Palace, London, UK (2016 - 2017); «Paradise Beyond» Gemeentemuseum Helmond, Netherlands (2016); «Recreating the Pastoral», VISUAL Centre for Contemporary Art, Carlow, Ireland (2016); «End of Empire», Turner Contemporary, Margate, England (2016); «Wilderness into a Garden», Daegu Art Museum, Daegu, Korea (2015); «Pièces de Résistance», DHC / ART Foundation for Contemporary Art, Montréal, Québec (2015); «Cannonball Paradise», Herbert - Gerisch - Stiftung, Neumünster, Germany (2014); «Yinka Shonibare MBE: Egg Fight», Fondation Blachère, Apt, France (2014); «Yinka Shonibare MBE: Magic Ladders», The Barnes Foundation, Philadelphia, Pennsylvania, USA (2014); «Selected Works», Gdansk City Art Gallery, Gdansk, Poland; travelled to Wroclaw Contemporary Museum, Wroclaw, Poland; «Selected Works», «Yinka Shonibare MBE», Royal Museums Greenwich, London, England (2013); «FABRIC - ATION», Yorkshire Sculpture Park, Wakefield, UK; travelled to GL Strand, Copenhagen, Denmark (2013 - 2014); «FOCUS: Yinka Shonibare, MBE», Modern Art Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (2011).

1988 Cultural Geometry, Deste Foundation for Contemporary Art, Athens (curated by Jeffrey Deitch, catalogue) Collection Sonnabend: 25 Years of Selection and Activity, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to CAPC Musée d'art contemporain, Bordeaux, France; Art Cologne, Cologne, Germany; Hamburger Bahnhof Museum für Gegenwart, Berlin; Galleria Nazionale d'Arte Moderna, Rome; Museo d'Arte Moderna e Contemporanea, Trento, Italy; Musée Rath, Geneva; Sezon Museum of Art, Tokyo; Miyagi Museum of Art, Sendai, Japan; Fukuyama Museum of Art, Hiroshima, Japan; National Museum of Art, Kyoto, Japan (catalogue) Galerie Lelong, New York A Drawing Show, Cable Gallery, New York Hover Culture, Metro Pictures, New York Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue) Australian Biennale, Art Gallery of New South Wales, Sydney, Australia; travelled to National Gallery of Victoria, Melbourne, Australia (catalogue) La Couleur Seule: L'Experience du monochrome, Musée Saint Pierre, Lyon, France (catalogue) Hybrid Neutral, Modes of Abstraction and the Social, I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, TX; travelled to J.B. Speed Art Museum, Louisville, KY; Alberta College of Art, Alberta, Canada; The Contemporary Arts Center, Cincinnati, OH; Richard F. Brush Art Gallery, Gainesville, FL; Santa Fe Community College Art Gallery, Gainesville, FL (curated by Collins & Milazzo, catalogue) Works Concepts Processes Situations Information, Galerie Hans Mayer, Düsseldorf, Germany (curated by Robert Nickas) American Art of the Late 80s: The Binational, Museum of Fine Arts and Institute of Contemporary Art, Boston, MA; travelled to Städtische Kunsthalle, Düsseldorf, Germany; Kunsthalle, Bremen, Germany; Württembergischer Kunstverein, Stuttgart, Germany (catalogue) Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (catalogue) New Works, Daniel Weinberg Gallery, Los Angeles A Debate on Abstraction: Systems and Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (catalogue) Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum, New York Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art, Chicago (catalogue)

Recent exhibitions include: And The Horizon Was Dying Over The Tourist, 2017, Republic Gallery London, I left Enough Room For Dancing, 2017, Seongbuk Art Commons, International Artists Residency Program, The National Museum of Modern and Contemporary Art Korea, 2017, Between You, Me and The Green, 2017, Hyangsadang Jeju, UCLG Culture Summit South Korea, The Place In The End, 2017, TAF - The Art Foundation, Athens, Ceramic Arts London, April 2017, Ace Hotel, London.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

Made over a period of six years, the series brackets a historical period that saw the much debated Culture Wars and the de-funding of the National Endowment of the Arts, the fall of the Soviet Union and the end of the Cold War, and perhaps most significantly the death of nearly 350,000 Americans to AIDS - related causes prior to the development of an effective combination of antiretroviral medications in 1996.

«a / drift: Scenes from a Penetrable Culture,» curated by Josh Decter, Bard Center for Curatorial Studies, Annandale - on - Hudson, NY, October 26, 1996 — January 5, 1997 «On Paper II,» Schmidt Contemporary Art, St Louis, MO, January 23 — February 20, 1996 «Tangles,» Otis College of Art and Design, Los Angeles, CA, November 2 — December 21, 1996 «Community of Creativity: A Century of MacDowell Colony Artists,» Currier Gallery of Art, Manchester, NH, 1996; traveled to the New York School of Design, New York, NY; Wichita Art Museum, Wichita, KS «The Inner Eye: Art Beyond the Visible,» Manchester City Art Galleries, Manchester, UK, 1996; traveled to the Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, UK; Dulwich Picture Gallery, London, UK; catalogue «Hotter Than July,» Margo Leavin Gallery, Los Angeles, CA, 1996 «a / drift,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogue

Scientists at the National Snow and Ice Data Center, in Boulder, Colorado measured the sea ice at the end of the 2012 summer period of melting and the measurements do not bode well for the extraordinary wildlife, ecology and cultures of the region.

In the national survey of more than 1,800 human resources (HR) professionals, people managers, and employees, responses indicate employee engagement should not end once the working relationship is over — especially between high - performing alumni and organizations with a strong corporate culture.

The General Assembly, Guided by the purposes and principles of the Charter of the United Nations, and good faith in the fulfilment of the obligations assumed by States in accordance with the Charter, Affirming that indigenous peoples are equal to all other peoples, while recognizing the right of all peoples to be different, to consider themselves different, and to be respected as such, Affirming also that all peoples contribute to the diversity and richness of civilizations and cultures, which constitute the common heritage of humankind, Affirming further that all doctrines, policies and practices based on or advocating superiority of peoples or individuals on the basis of national origin or racial, religious, ethnic or cultural differences are racist, scientifically false, legally invalid, morally condemnable and socially unjust, Reaffirming that indigenous peoples, in the exercise of their rights, should be free from discrimination of any kind, Concerned that indigenous peoples have suffered from historic injustices as a result of, inter alia, their colonization and dispossession of their lands, territories and resources, thus preventing them from exercising, in particular, their right to development in accordance with their own needs and interests, Recognizing the urgent need to respect and promote the inherent rights of indigenous peoples which derive from their political, economic and social structures and from their cultures, spiritual traditions, histories and philosophies, especially their rights to their lands, territories and resources, Recognizing also the urgent need to respect and promote the rights of indigenous peoples affirmed in treaties, agreements and other constructive arrangements with States, Welcoming the fact that indigenous peoples are organizing themselves for political, economic, social and cultural enhancement and in order to bring to an end all forms of discrimination and oppression wherever they occur, Convinced that control by indigenous peoples over developments affecting them and their lands, territories and resources will enable them to maintain and strengthen their institutions, cultures and traditions, and to promote their development in accordance with their aspirations and needs, Recognizing that respect for indigenous knowledge, cultures and traditional practices contributes to sustainable and equitable development and proper management of the environment, Emphasizing the contribution of the demilitarization of the lands and territories of indigenous peoples to peace, economic and social progress and development, understanding and friendly relations among nations and peoples of the world, Recognizing in particular the right of indigenous families and communities to retain shared responsibility for the upbringing, training, education and well - being of their children, consistent with the rights of the child, Considering that the rights affirmed in treaties, agreements and other constructive arrangements between States and indigenous peoples are, in some situations, matters of international concern, interest, responsibility and character, Considering also that treaties, agreements and other constructive arrangements, and the relationship they represent, are the basis for a strengthened partnership between indigenous peoples and States, Acknowledging that the Charter of the United Nations, the International Covenant on Economic, Social and Cultural Rights (2) and the International Covenant on Civil and Political Rights, 2 as well as the Vienna Declaration and Programme of Action, (3) affirm the fundamental importance of the right to self - determination of all peoples, by virtue of which they freely determine their political status and freely pursue their economic, social and cultural development, Bearing in mind that nothing in this Declaration may be used to deny any peoples their right to self - determination, exercised in conformity with international law, Convinced that the recognition of the rights of indigenous peoples in this Declaration will enhance harmonious and cooperative relations between the State and indigenous peoples, based on principles of justice, democracy, respect for human rights, non-discrimination and good faith, Encouraging States to comply with and effectively implement all their obligations as they apply to indigenous peoples under international instruments, in particular those related to human rights, in consultation and cooperation with the peoples concerned,