Sentences with phrase «institutions of national culture»

The essays in Smith's persuasive book mostly concern how one collection of influential males (the new academic secularists) successfully wrested control of the institutions of national culture from another collection of influential males (the old Protestant leaders).

Not exact matches

Enlightenment thought not only affected specifically political institutions, it also influenced the way the religious tradition would be formulated at the level of national culture.

Achebe stated further that the minimum in that regard would be the recognition by the constitution of the role of the traditional institution in communal life, such as mobilising the community for enlightenment, education, economic empowerment, peace building, safety and security; custodianship of and leadership in advancing «our culture; and the creation of National council of Traditional Rulers at the federal level.

of 1997 on the protection of cultural property and museum - type institutions, the provision of public library services and culture, the Library is a special national research library.

The National Cowboy Western Heritage Museum in Oklahoma City is Americas premier institution of Western history, art and culture.

During the Obama administration, this office charged full speed ahead into the nation's culture wars by imposing on every educational institution in the country novel and detailed mandates based on very broad interpretations of Title VI of the Civil Rights Act of 1964 (which prohibits discrimination on the basis of race and national origin) and Title IX of the Education Amendments of 1972 (which prohibits discrimination on the basis of sex).

When the culture of the East, its chief characteristic, is added to the strength of body and the strength of mind of the agricultural center, its special contribution, and these two great characteristics are constantly imbued with the spirit of independence and love of liberty which lives in the hearts of the dwellers of the mountains, their main quality added to the national character, there is every reason to believe that we shall have a people and institutions such as will be permanent; with such wealth of resources, of such high education and intelligence, and of such vitality, of such longevity, of such devotion to freedom and hostility to centralization and tyranny as shall enable this Nation of ours to stand indefinitely; and to maintain in the future years its manifest destiny of leading the peoples and nations of earth in the principles of free government, constitutional security and individual liberty.

One of his proudest recent accomplishments is the welded bronze sculpture Swing Low (2016), which hangs in the lobby of the National Museum of African American History and Culture in Washington, DC, the newest Smithsonian institution.

Golden is a recognized authority in contemporary art by artists of African descent and an active lecturer and panelist speaking about contemporary art and culture at national and international institutions.

Major institutions with work by Chase - Riboud in their permanent collections include the Berkeley Art Museum, University of California; The Metropolitan Museum of Art (New York, NY); Ministry of Culture, France; The Museum of Modern Art (New York, NY); National Collections of France; Newark Museum (NJ); New Orleans Museum of Art (LA); New - York Historical Society Museum (NY); the Philadelphia Museum of Art (PA); and The Studio Museum in Harlem (New York, NY).

Major institutions with work by Chase - Riboud in their permanent collections include the Berkeley Art Museum, University of California; The Metropolitan Museum of Art (New York, NY); Ministry of Culture, France; The Museum of Modern Art (New York, NY); National Collections of France; Newark Museum (NJ); New Orleans Museum of Art (LA); New - York Historical Society Museum (NY); the Philadelphia Museum of Art (PA); the Smithsonian African American Museum, (DC); and The Studio Museum in Harlem (New York, NY).

The Institute for Research in Art is recognized by the State of Florida as a major cultural institution and receives funding through the State of Florida, Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture, and the National Endowment for the Arts.

This price is issued by the INBA, the Institute National of Bellas Artes, a pivotal institution in Mexican culture.

Binion has also participated in many group exhibitions, including Prospect.3 in New Orleans (2015), and his work is in the collections of the Detroit Institute of the Arts, Metropolitan Museum of Art, The Phillips Collection, Smithsonian National Museum of African American History & Culture, and Whitney Museum of American Art, among other institutions.

Or how about helping those on your list to support art institutions and enhance their cultural life with a gift of membership to the forthcoming Smithsonian National Museum of African American History and Culture, the Studio Museum in Harlem or their favorite local art museum?

Ithra is active in promoting and cultivating the culture and arts of Saudi Arabia, launching the Bridges initiative that promotes national talent in global cultural institutions.

Vezzoli's work has been exhibited at many institutions including Castello di Rivoli Museo d'Arte Contemporanea, Turin (2002); Fondazione Prada, Milan (2004 and 2005); Museu Serralves, Porto (2005); Le Consortium, Dijon (2006); Tate Modern, London (2006); Moderna Museet, Stockholm (2009 — 2010); Kunsthalle Wien (2009); the Garage Center for Contemporary Culture, Moscow (2010); and the MAXXI — National Museum of the 21st Century Arts, Rome (2013).

The Centre national d'art et de culture Georges Pompidou was the brainchild of President Georges Pompidou who wanted to create an original cultural institution in the heart of Paris completely focused on modern and contemporary creation, where the visual arts would rub shoulders with theatre, music, cinema, literature and the spoken word.

As an institution with a year - round contemporary art program, SITE hosts an Art & Culture series of lectures and performances, as well as an extensive education and outreach program for local schools, all of which attract over 20,000 local, national and international visitors annually.

Like the Organization of Black American Culture in the same city, which had created the Wall of Respect, the first of many murals by community arts organizations, AFRI - COBRA sought «to liberate its audience and define a national Black consciousness «9 This effort was in part a response to a climate that permitted what now seem acts of amazing insensitivity by mainstream institutions.

Perhaps no institution better embodies the con - straints of German memory culture than Munich's Haus der Kunst, completed in 1937 as a leading example of National Socialist architecture and a showcase for yearly Great German Art Exhibitions.

His work is included in the permanent collection of several international institutions, including the North Carolina Museum for Art, Raleigh, North Carolina; the Zabludowicz Collection, London, England; and the National Museum of African American History and Culture, Washington, DC.

The institution announced in 2015 that it would work with British star architect Sir David Adjaye, who also designed the recently opened National Museum for African American History and Culture in Washington, D.C.. On September 26, director and chief curator Thelma Golden officially announced in that the designs have been completed and fundraising to the tune of $ 175 million has been achieved.

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.

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.

Following the much buzzed - about opening of the National Museum of African American History and Culture, Sir David Adjaye will soon count another American cultural institution on his project roster.

Celebrated for its frank industrial aesthetic (in structure and materials) marked by its unique free - spanning architecture, The Pompidou Centre (full name: «Centre National d'Art et de Culture Georges Pompidou»)- designed by Renzo Piano and Richard Rogers, and built 1971 - 77 - is a civic cultural institution which stands in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles.

Noland's work is included in the collections of prominent institutions worldwide including: the Art Institute of Chicago; Asheville Art Museum, North Carolina; Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Kunsthaus, Zurich; Kunstmuseum, Basel; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Musée National d'Art Moderne, Centre National d'Art et de Culture Georges Pompidou, Paris; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; National Gallery of Australia, Canberra; National Gallery of Canada, Ottawa; Philips Collection, Washington, D.C.; Smithsonian American Art Museum, Washington, D.C.; Stedelijk Museum, Amsterdam; Tate, London; Walker Art Center, Minneapolis; Whitney Museum of American Art, New York.

Hired by the Whitney Museum in 1988 as a curator, Golden became the Studio Museum's director in 2005 and has since focused on strengthening the institution's status as a cultural anchor and, recently, spearheading a $ 122 million expansion by architect David Adjaye (of DC's recently opened National Museum of African American History and Culture) that will increase gallery space by almost half.

He has participated in group exhibitions at the following institutions: The Barbican, London, United Kingdom (2015); The Brandts - Museum of Art and Visual Culture, Odense, Denmark (2014); Quai Branly Museum, Paris, France (2014); Museo Nacional de Arte, Guadalajara, Mexico (2014); Museo de Arte Carrillo Gil, Mexico City, Mexico (2013); Nordiska Akvarellmuseet, Skärhamn, Sweden (2012); Centro de las Artes San Agustín Etla, Oaxaca, Mexico (2011); Manila Contemporary, Makati, Phillippines (2010); Museum of Contemporary Art San Diego, San Diego, United States (2010); Museo Universitario del Chopo, Mexico City, Mexico (2010); FLAG Art Foundation, New York, United States (2010); Museau da Cidade, Lisbon, Portugal (2009); The Alameda National Center, San Antonio, United States (2008); Yokahama Museum of Art, Yokahama, Japan (2007); Museum of Modern Art MoMA, New York, United States (2007); Museum of Contemporary Art, Chicago, United States (2007); Museum of Modern Art, Copenhagen, Denmark (2007), among others.

Zhou Tiehai's art works have been exhibited in a number of international exhibitions and art institutions, including major exhibitions as The 48th Venice Biennial, The 5th and 7th Asia Pacific Triennial of Contemporary Art, etc.; and major institutions as Centre National d'art et de Culture Georges Pompidou, Paris; Whitney Museum of American Art, New York; Kunst Museum Bern, Bern; Hamburger Bahnhof - Museum für Gegenw art Berlin, Berlin; Hara Museum, Tokyo; Mori Museum, Tokyo; Shanghai Art Museum, Shanghai; MOCA Shanghai, Shanghai; Yuz museum, Shanghai, etc..

«Our plan will provide a national focal point for Aboriginal and Torres Strait Islander art and cultures, as well as new spaces for major exhibitions, and the opportunity to unlock the hidden treasures of South Australia's cultural institutions,» said Steven Marshall, the premier of South Australia.

Golden is an authority on contemporary art by artists of African descent and an active lecturer and panelist speaking about contemporary art and culture at national and international institutions.

She has been the subject of one - artist exhibitions at numerous institutions including The Jewish Museum, New York (1965, 2007); Whitney Museum of American Art, New York (1967, 1970, 1980, 1987, 1998); Galleria Civica d'Arte Moderna, Turin (1969); The Museum of Fine Arts, Houston (1969); Moderna Museet, Stockholm (1973); Walker Art Center, Minneapolis (1973); Dallas Museum of Art (1974); High Museum of Art, Atlanta (1974); Galleria Nazionale d'Arte Moderna, Rome (1976); Grey Art Gallery, New York University (1983); Storm King Art Center, Mountainville, NY (1984); List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA (1986); Solomon R. Guggenheim Museum, New York (1986); Palazzo delle Esposizioni, Rome (1994); Centre national d'art et de culture Georges Pompidou, Paris (1997); Fondazione Roma Museo, Rome (2013).

He led the creation of Tate St Ives and has also sought to strengthen the role of Tate as a national institution through the further development of Tate Liverpool in taking a leading part in the celebration of the city as European City of Culture in 2008 and by establishing partnerships with galleries across the country through the Plus Tate programme.

«The objectives of democide include the disintegration of the political and social institutions of culture, language, national feelings, religion, and the economic existence of national groups; the destruction of the personal security, liberty, health, dignity; and even the lives of the individuals belonging to such groups.

As well as seeking approval from the ethics committee of the academic institution or hospital where the research will take place, the National Health and Medical Research Council (NHMRC) stipulates that for Aboriginal health research, the ethics approval process must include an assessment by, or advice from, people who have connections with Aboriginal and Torres Strait Islander peoples or knowledge of research in the area, and who are familiar with the culture and practices of Indigenous participants in the study.9 Most states and territories have their own dedicated ethics committee for Aboriginal health research proposals (Box 2).

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,