Sentences with phrase «identities in a global world»

Not exact matches

To truly be a global leader in digital technology, innovation needs to become a significant part of the city's identity — how the world sees it and how it sees itself.

In their deliberations, they agreed to 20 specific actions to address global economic and social problems, ranging from building a corps of community health workers in poor regions of the world, to creating digital identities for the 2 billion people who lack access to financial services, to educating and training displaced, unemployed and underemployed workerIn their deliberations, they agreed to 20 specific actions to address global economic and social problems, ranging from building a corps of community health workers in poor regions of the world, to creating digital identities for the 2 billion people who lack access to financial services, to educating and training displaced, unemployed and underemployed workerin poor regions of the world, to creating digital identities for the 2 billion people who lack access to financial services, to educating and training displaced, unemployed and underemployed workers.

Perhaps the most interesting moment of the prestigious event transpired late in the afternoon when one attendee asked, «How core is solving identity to expanding digital currency or solving some of the frictions in our existing system, and how do you foresee an identity world that's based on a national or — in the US's case — subnational system working or integrating in a global financial system?»

We have our identity in a world where by necessity we live in the city — in neighborhoods, towns, cities, countries, continents, and, ultimately, in the entire «global village.»

Gary Westlake, founder of design agency Purple Creative, along with Sarah Macaulay, global marketing manager, at Glenfiddich will draw on their personal experience to identify the key factors in creating a new visual identity for a long established brand, like Glenfiddich, the world's most awarded single malt whisky.

Recognized around the world as a leading source of colour information through seasonal trend forecasts, custom colour development, and palette recommendations for product and corporate identity, Pantone Color Institute partners with global brands to leverage the power, psychology and emotion of colour in their design strategy.

As the world has become «compressed in time and space» (26), this participation also includes global level and the identity building of one country influences the whole world.

In a 2006 article, Citizenship, Identity and Education: Examining the public purposes of schools in an age of globalization, Harvard Graduate School of Education Professor Fernando Reimers stressed the importance of teaching tolerance and global values, as well as developing foreign language skills and knowledge of world history, cultures, and geographIn a 2006 article, Citizenship, Identity and Education: Examining the public purposes of schools in an age of globalization, Harvard Graduate School of Education Professor Fernando Reimers stressed the importance of teaching tolerance and global values, as well as developing foreign language skills and knowledge of world history, cultures, and geographin an age of globalization, Harvard Graduate School of Education Professor Fernando Reimers stressed the importance of teaching tolerance and global values, as well as developing foreign language skills and knowledge of world history, cultures, and geography.

Books: Global Citizenship, A Path to Building Identity and Community in a Globalized World, by Ron Israel; a basic introduction to the principles and practices of global citizGlobal Citizenship, A Path to Building Identity and Community in a Globalized World, by Ron Israel; a basic introduction to the principles and practices of global citizglobal citizenship

As the world's car builders — aided by computers, wind tunnels and marketing surveys — reach toward optimum satisfaction of the global community's transportation needs, perhaps individual auto models will lose their corporate and national identities and become universal items, equally familiar in different cultures.

«Tourism Australia's YouTube channel, which was first launched in 2010, looks to tap in to this global audience through rich video content including our latest broadcast ad and clips featuring well known identities telling the world why there's nothing like Australia for a holiday.

Both Istanbul and New Orleans have existed as exotic relics of a colonial past, and both have undergone extraordinary transformations over the past 100 years, which have brought them back from a marginal position to centrality in world culture with completely new identities shaped by the global economy.

A Global Gathering presents the diversity and thematic hallmarks of 21c's permanent collection, with works in a broad range of media looking at contemporary conditions through a lens of power and politics, the environment and the evolution and decay of the natural world, intersectionality and the nature of gender, and portraiture and identity, from both emerging and established artists from around the world.

His work deals with issues which are as relevant to London as Lhasa: global warming, environmental degradation, overpopulation, alcoholism among the young, and the desire to form one's own identity in a world of mass media and the erosion of culture and tradition.

A specialist in modern and contemporary art Lowery Stokes Sims is known for her particular interest in a diverse and inclusive global art world and has supported a variety of artists whose identities and work reflect those values.

Whether videotaping pirated film screenings in developing countries or staging a performance drawing together a city's guest workers and its art world, Milica Tomic addresses the global complexities of identity.

«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

The subjects include Admiral Nelson and his key position in British colonialism, the significance of globalization for the formation of modern man's identity, multiculturalism, global food production and the revolutions of the past few years in the Arab world.

[4] He has also curated numerous exhibitions in many other distinguished museums around the world, including Events of the Self: Portraiture and Social Identity, The Walther Collection, Germany; Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography; The Short Century: Independence and Liberation Movements in Africa, 1945 — 1994, [14] Villa Stuck, Munich, Martin - Gropius - Bau, Berlin, Museum of Contemporary Art Chicago, and P.S. 1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror's Edge, Bildmuseet, Umeå, Sweden, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In / Sight: African Photographers, 1940 — Present, [15] Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbachhaus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdain many other distinguished museums around the world, including Events of the Self: Portraiture and Social Identity, The Walther Collection, Germany; Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography; The Short Century: Independence and Liberation Movements in Africa, 1945 — 1994, [14] Villa Stuck, Munich, Martin - Gropius - Bau, Berlin, Museum of Contemporary Art Chicago, and P.S. 1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror's Edge, Bildmuseet, Umeå, Sweden, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In / Sight: African Photographers, 1940 — Present, [15] Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbachhaus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdain Contemporary Art, International Center of Photography; The Short Century: Independence and Liberation Movements in Africa, 1945 — 1994, [14] Villa Stuck, Munich, Martin - Gropius - Bau, Berlin, Museum of Contemporary Art Chicago, and P.S. 1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror's Edge, Bildmuseet, Umeå, Sweden, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In / Sight: African Photographers, 1940 — Present, [15] Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbachhaus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdain Africa, 1945 — 1994, [14] Villa Stuck, Munich, Martin - Gropius - Bau, Berlin, Museum of Contemporary Art Chicago, and P.S. 1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror's Edge, Bildmuseet, Umeå, Sweden, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In / Sight: African Photographers, 1940 — Present, [15] Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbachhaus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, RotterdaIn / Sight: African Photographers, 1940 — Present, [15] Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbachhaus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdam.

Whether performing and exhibiting in a gallery, museum, or town square, in her homeland or around the world, Galindo's success stems in part from her ability to perform her own reality, while at the same time contextualizing her identity within a global framework.

Extensive in scale, Esther Shalev - Gerz's exhibition «Factory is Outside» at the Serlachius Museums in Finland, comprises four interweaving series of works that investigate how cultural identities are constructed and examine the role and status of traditional professions in a world that is global and undergoing a rapid digital transformation.

Bourriaud avoids this by choosing artists from a global and macrocosmic viewpoint; he looks at how they function and interrelate within the world and how this is reflected in their work rather than how their work is a direct reflection of their identity.

Inspired by his own experiences living between the Netherlands and Benin, his birthplace in West Africa, the artist's work questions codes of identity and value by playfully restructuring relationships between «first» and «third» worlds, the local and the global, art and the everyday.