Sentences with phrase «on white identity»

Part 2 — New White Consciousness Seminar (15 1/2 hours) using simulation, small group interaction, and lectures to cultivate new perspectives on White identity gained from the exposure.

Not exact matches

In a recently resurfaced 2016 article from The Atlantic, award - winning director Ava DuVernay talked about how diversity goals that simply focus on increasing the number of employees who don't identify as straight, white, and male can ring hollow for members of underrepresented groups with their own unique identities.

On the one hand, this was for me a painful experience, forcing me to recognize the extent to which my identity was that of a white American, and making me aware of the extreme ambiguity of that identity.

Churches tend to take on the cultural influences and traditions of its members and community, but how many predominantly white churches own a white identity and name its culture as being white?

He has written with devastating persuasiveness about the the way in which white liberal guilt insists on making racism the primary source for black identity in public life, creating roles for black men and women to play — those of the challenger and bargainer.

This approach awakens awareness of the problems faced by minorities and nurtures the emergence of a person - respecting White identity based on self - esteem.8

And we aren't going to paint a picture of Atlanta based on an out - of - towner's gross miscalculation that the city is a cultureless void of white collar migrants and no local identity just because you're scared of humidity and trap music.

The actor is set to star in a film directed by veteran stunt coordinator Nick Powell (The Bourne Identity, X-Men: The Last Stand, Cinderella Man), which centers on Frank Walsh (Cage), a big game hunter for zoos who has booked passage on a Greek shipping freighter with a fresh haul of exotic and deadly animals from the Amazon, including a rare white jaguar.

Proceedings settled down, and the «Terrier identity» was on view further and further, as blue and white shirts hounded the away side out of possession with urgency.

After four decades, the small white building on Naper Settlement's museum grounds has a new identity.

The challenges of geography and a false sense of superiority based on an exclusive (i.e. white) identity have been consolidated by the use of immigration as a political football.

White House lawyers last month learned that the former national security adviser Susan Rice requested the identities of U.S. persons in raw intelligence reports on dozens of occasions that connect to the Trump transition and campaign.

The president «has long supported an inclusive Employment Non-Discrimination Act (ENDA), which would prohibit employers across the country from discriminating on the basis of sexual orientation and gender identity,» said Shin Inouye, a White House spokesman.

Kathleen Hepburn's Never Steady, Never Still, a meditative portrait of a mother's battle with Parkinson's while her son comes to terms with his identity, is nominated for Best Canadian Film along with two other exceptional first features: Cory Bowles» Black Cop, a timely satire about an African - Canadian police officer who fights back against entitled white citizens, and Antoine Bourges» Fail to Appear, a quiet and precise study of institutional systems of support available for those on parole.

Pre-release controversy has focused on the film's apparent white - washing of Hawaii, but leaving aside the dubious casting of Stone as a woman of Eurasian heritage, Aloha tries to engage with the tricky issue of Hawaiian identity by spending a lot of time with Kanahele and the Nation Of Hawai'i, which advocates for Hawaiian independence and treats the presence of the U.S. as an occupation.

Debuting in a time where discussion on race in American cinema is at an absolute fever pitch, Morris From America explores the idea of cultural and personal identity through the lens of a 13 - year old black aspiring free - styler living with his father (Craig Robinson) in the little white - washed German village of Heidelberg.

I discovered a litany of bogus character traits for the title character that paint a picture of an entitled, conniving, cheating, vapid, disloyal, snotty, conformist white girl going through a phony personality crisis so she can put - on her next «Basic» (à la «Ingrid Goes West») identity as one more white female college student in New York City with rocks in her head.

Cast: Naomi Watts, Sean Penn, Ty Burrell, Noah Emmerich, Bruce McGill, David Andrews, Sam Shepard Director: Doug Liman Screenplay: Jez Butterworth, John - Henry Butterworth (based on the books, «The Politics of Truth: Inside the Lies That Led to War and Betrayed My Wife's CIA Identity: A Diplomat's Memoir» by Joe Wilson, and, «Fair Game: My Life as a Spy, My Betrayal by the White House» by Valerie Plame) Review published January 8, 2013

Nyong» o shared a video on her Instagram page that shows the actress anonymously dancing around the convention center, disguised as the Power Rangers» Pink Ranger, albeit with a headscarf and an identity - concealing white mask.

Cale and his little girl — not to mention the president, his staff, and a roomful of nervous tourists — become the hostages of a nasty crew of heavily armed malcontents, including a resentful war vet (Jason Clarke), a sadistic white supremacist (Kevin Rankin), and a traitorous presidential staffer whose identity I won't disclose, but whose treachery is revealed early on.

Using Chila Burman as an inspiration begin to collage on a black and white photograph using felt tips, magazine cut outs, patterns and text to create a self - identity portrait.

Put simply, contrary to the arguments of many White Democrats (as well as pundits such as Jonathan Chait of New York, Frank Bruni of the New York Times and academic Mark Lilla), focusing on the efforts of Black, Latino, immigrant, and low - income communities for economic, social and political equality (which has often been derisively called «identity politics»), is critical to Democrat success in winning elections as well as in winning support from younger voters who are also concerned about these matters.

Boy, Snow, Bird By Helen Oyeyemi Riverhead • $ 16 • ISBN 9781594633409 Oyeyemi's twist on Snow White — recast as a story of race and identity in 1950s New England — won critical raves and the # 3 spot on our Best Books of 2014 ranking.

Alice's desire to «eat up the world» and claim an independent identity for herself — including bringing her pet snake to state functions, dancing on the roof and sneaking a boy past White House guards — inspire Audrey to try similar antics, with results that don't always end up as planned.»

Previously, on working estates, any white puppies in a litter were considered weaklings and despatched, but the story goes that some of the dark coloured dogs were shot as they worked the under - growth in mistaken identity for vermin.

After a relentless pursuit by the press, he was eventually found out and went on to publish his book «The Man in the White Suit» where he revealed his identity.

Exploring the visualization of African - American identity and white femininity within the same eras, Thomas removes slogans and product names from historical and contemporary advertisements, asking us to confront the impact of images on the popular imagination.

2017 On Bodies: GMF x UNT, The Goss - Michael Foundation, Dallas, Texas «The Critic as Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotland

A similar question of identity occurs in a Lavier work entitled Paragon (1986) in which a ping pong table, mounted on the wall, is thickly repainted in its original green and white, looking not unlike radical abstract painting.

From the intimate and dark self - portrait of photographer Nan Goldin in bed with her ex-boyfriend, to the image of performance artist Marina Abramovic Hon RA riding a white horse, this display of works offers varied perspectives on notions of female identity and sexuality.

As a curator, he recently cocurated — with Robert Storr and Peter Benson Miller — the group show «Nero su Bianco» (Black on White), which examines radical shifts in perceptions of African identity, subjectivity, and agency.

Intended to facilitate further dialogue on how to define the «City of Angels» at a moment when its identity is in significant flux, No More Play includes contributions by Iwan Baan, Catherine Opie, Sarah Whiting, Charles Waldheim, Matthew Coolidge, Geoff Manaugh, Mirko Zardini, Edward Soja, James Flanigan, Charles Jencks and Qingyun Ma.

Her potent observations are no less topical today and, in fact, even more urgent as we routinely bear witness on social media and news outlets to the dualisms between black identity and white identity, rich and poor, females and males.

The title alludes to the identity of the flâneur, a term coined by Baudelaire that refererd to «a roving soul in search of a body» and situates «a spotlight on the privileged white body that Baudelaire's «roving soul» has historically inhabited.

While their identity as black Americans is not the motivation for their inclusion in the show, this identity is nonetheless significant in that many found themselves marginalized in a white - dominated art world that granted limited admission to black artists and again within the Black Arts movement, which rested on a revolutionary ethos that saw abstraction as a site of established privilege, limited in its ability to express political dissent and contribute to the struggle for racial equality.

Also on view will be a canvas by gallery artist Marlene Dumas, The White Disease (1985), offers a punctuating re ection on identity and ethnicity.

Rebecca Peabody, who is head of research programs and projects at the Getty Research Institute, and studies representations of race, gender and ethnicity in 20th century art says that white artists who take on African American identities are doing so under the shadow of some problematic historical antecedents.

The faces are covered in white, obscuring their identities and encouraging viewers to focus instead on the subjects» body language and surroundings.

New York, NY 2003 Triennial of contemporary art and design, Museum of Applied Art and Design, Frankfurt, Germany Corporal Identity, Body Language, Museum of Art and Design, New York, NY 2002 FIT, Schroeder Romero Gallery, Brooklyn, NY Artists to Artists, Ace Gallery, New York, NY Unexpected Selections, Martin Margulies collection, The Art Museum at F. I. U. Miami, FL 2001 Sculpture, Flip Side Gallery, Brooklyn, NY The Grammar of Ornament, Memphis College of Art, Memphis, TN 2000 White, Nikolai Fine Art, New York, NY The Dog and Pony Show, The Workspace, New York, NY Red Square, Smack Mellon Studios, Brooklyn, NY 1998 Something to Bump Into, Kagan Martos Gallery, New York, NY Elbowroom, Tredje Sparet, Stockholm, Sweden 2 person exhibition, Daniel Spreng Gallery, Bern, Switzerland 1997 The Pink Wink, New Image Art, West Hollywood, CA Material Girls, Gallery 128, New York, NY 1996 Gender Fucked, Center on Contemporary Art, Seattle, WA Crest Hardware Show, Brooklyn, NY Pieces of Eight, Marymount Manhattan College, New York, NY Pattern and Relief, Smack Mellon Studios, Brooklyn, NY 1995 Revealing Desire, Cristinerose Gallery, New York, NY Wheel of Fortune, Lombard - Freid Gallery, New York, NY 1994 Rough Cuts, the expanded artist's notebook, Henry Street Settlement, New York, NY.

This monograph focuses on Strachan's recent sculpture of white neon tubing, simulating a stop - action photograph of imploding or exploding words to either affirm or refute its statement about identity.

On a related note, Charlene Carruthers reminded us on Twitter that «identity politics, when divorced from radical and liberatory political commitments get us more liberalism, white nationalism and misogyny.&raquOn a related note, Charlene Carruthers reminded us on Twitter that «identity politics, when divorced from radical and liberatory political commitments get us more liberalism, white nationalism and misogyny.&raquon Twitter that «identity politics, when divorced from radical and liberatory political commitments get us more liberalism, white nationalism and misogyny.»

Underlining and highlighting the transition from the past to the present, the complex identity of which it is important to conserve, it has been decided to graft the exhibition in its totality — walls, floors, installations and art objects, including their relative positions — onto the historical architectural and environmental structure of Ca» Corner della Regina, thereby inserting — on a full - size scale — the modern rooms of the Kunsthalle, delimited by white wall surfaces, into the ancient frescoed and decorated halls of the Venetian palazzo.

Her 2012 exhibition, «Book of Kings,» placed 11th - century Persian poetry on black - and - white images of young Arab protesters, creating a long - spanning narrative of identity, creativity and dissent.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

An insightful commentary on identity, Hammons reconfigures the American flag with clarity and political adroitness, replacing the red, white, and blue of Old Glory with the black, red, and green of Marcus Garvey's Pan-African Flag first adopted by the Universal Negro Improvement Association and African Communities League in 1920.

Situating her images on an implied blackboard, Ash Poitras uses the primary teaching implement of the white educational system whose history denied and maligned her concept of herself as a Native Canadian, in order to teach us the lessons she has subsequently learned — of pride and place and identity.

Artists have drawn on their own racial identities to create ennobling depictions of historically marginalized individuals, such as the detailed portraits of African American individuals and families by Charles White.

Wide White Space will focus in particular on graphic designers who create innovative institutional identities, forge unique collaborations with curators, and launch their own exhibition - based initiatives.

«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

«AIDS, A Community in Crisis,» Jamaica Arts Center, Jamaica, NY, 1991 «Language: Body and Dream,» PS 122, New York, NY, 1991 «1991 Biennial Exhibition,» Whitney Museum of American Art, New York, NY, 1991; catalogue «We Interrupt Your Regularly Scheduled Programming,» White Columns, New York, NY, 1991 «Interrogating Identity, Grey Art Gallery and Study Center,» New York, NY 1991; traveled to the Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Center for the Fine Arts, Miami, FL; Allen Memorial Art Museum, Oberlin College, Oberlin, OH; catalogue «Positions of Authority,» Art in General, New York, NY, 1991 «Color Theory,» Amelie A Wallace Gallery, State University of New York at Old Westbury, Old Westbury, NY, 1991 «Text Out of Context,» SoHo Center, New York, NY, 1991 «New Work,» PS 122, New York, NY, 1991 «Spent: Currency, Security and Art on Deposit,» The New Museum of Contemporary Art at Marine Midland Bank, New York, NY, 1991 «Works on Paper,» Selena Art Gallery,» Long Island University, Brooklyn, NY, 1991 «Rutgers National «90: Works on Paper, Stedman Art Gallery,» Camden, NJ, 1991; brochure «Art of Resistance,» El Bohio, New York Public Mirror, Art against Racism, The Clocktower Gallery, New York, NY, 1991