This concept of
racial inequality which inadvertently benefits whites often is referred to as «White Privilege».
Not exact matches
This selective «colorblindness» is a mighty convenient approach to race in America for white people, for it allows us to paper over America's troubled (and decidedly anti-Christian) history, to discount racism as a thing of the past for
which we are no longer responsible, and to ignore persistent
racial injustices like mass incarceration, police brutality, voting rights issues, white flight, and economic
inequality, all while consistently benefiting from an oppressive system we claim we can not even see.
D.C. suffers from steep wealth
inequality,
which maps along
racial lines: According to a 2016 report from the Urban Institute, white households in D.C. boast a net worth 81 times greater than that of the average black household.
This is no Get Out - there is no wry commentary here about the
racial inequalities in US society or the subversive ways in
which classes are kept in their place.
This tension is displayed in Alison Marie Behnke's
Racial Profiling: Everyday
Inequality (2017),
which explains the history and realities of institutionalized racism.
At the California African American Museum, Keith conceived and executed the solo museum exhibitions for contemporary mixed media artists Hank Willis Thomas and Genevieve Gaignard, each of
which examined themes of
racial identity and
inequality in America.
At the California African American Museum, Keith conceived and executed the solo museum exhibitions for contemporary mixed - media artists Hank Willis Thomas and Genevieve Gaignard, each of
which examined themes of
racial identity and
inequality in America.
A tour of the show's paintings should include the Fine Art Society, where you'll find three canvases by Walter Sickert — most outstandingly the war - themed 1914 «Tipperary» — along with lively floral still lifes, all from the 1920s, by Ivon Hitchens, Christopher Wood and William Nicholson, Britain's genius of light At Jonathan Boos, the centerpiece is «The Pigeons,» from 1948 - 49 by the Magic Realist Henry Koerner,
which encompasses income
inequality, childhood fear,
racial strife and romance, all on a pink marble stair shown to be made of brick.
The rationale for such measures is that «historical patterns of racism entrench disadvantage and more than the prohibition of
racial discrimination is required to overcome the resulting
racial inequality».181 Special measures are time limited, in that they can only be justified for so long as there is a situation of
inequality which they are aimed at redressing.