Sentences with phrase «school fag»

He is now testing that approach to the limit and his membership, which reads The Guardian more than any other newspaper, is getting to see him portrayed as Pinocchio, public school fag to the Bullingdon boss and Private Pike for his trouble.

Not exact matches

He had heard from a friend that when Nava was at the Groton School he had fabricated an incident of hate - speech against his roommate and himself using the phrase «die fags!»

It is also a fear of being perceived as being homosexual, especially among men.5 The fear of being perceived as gay usually begins in elementary school when «girl,» «sissy,» or «fag» are the worst put - downs a boy can hear.

It's not the most promising way to kick things off (Brewer uses it to illustrate the deadly, post-party car crash that incites the no - song - and - dance law in the film's setting of Bomont, Tennessee), but its poor impression doesn't last long, as Brewer makes quick work of establishing a liberal and plausible adolescent atmosphere in which Big & Rich can be listened to just after Wiz Khalifa, an antagonist is offhandedly chewed out for using the word «fag,» and the black students nearly outnumber the white students in the high school hallways.

After being fully «out» in college, Berger found herself briefly back in the closet, working in a school where students routinely used words like «fag» and the omnipresent «that's so gay.»

In her book, Dude, You're a Fag: Masculinity and Sexuality in High School, Pascoe describes the way boys «police» expressions of masculinity.

I wonder why no - one has had a look at the difference between LA - run community schools and academies / free schools in the context of this story... The result of my quick fag - packet calculations (which I'm sure aren't 100 % correct, but I think are probably pretty much on the money): the percentages of schools which have higher FSM than non-FSM Progress 8 scores are: Free Schools — 6 % Academies — 3.2 % Community Schools — 0.8 % The only reason I had a look is because I was pretty confident that if the figures had been the other way round it would have featured heavily in the aschools and academies / free schools in the context of this story... The result of my quick fag - packet calculations (which I'm sure aren't 100 % correct, but I think are probably pretty much on the money): the percentages of schools which have higher FSM than non-FSM Progress 8 scores are: Free Schools — 6 % Academies — 3.2 % Community Schools — 0.8 % The only reason I had a look is because I was pretty confident that if the figures had been the other way round it would have featured heavily in the aschools in the context of this story... The result of my quick fag - packet calculations (which I'm sure aren't 100 % correct, but I think are probably pretty much on the money): the percentages of schools which have higher FSM than non-FSM Progress 8 scores are: Free Schools — 6 % Academies — 3.2 % Community Schools — 0.8 % The only reason I had a look is because I was pretty confident that if the figures had been the other way round it would have featured heavily in the aschools which have higher FSM than non-FSM Progress 8 scores are: Free Schools — 6 % Academies — 3.2 % Community Schools — 0.8 % The only reason I had a look is because I was pretty confident that if the figures had been the other way round it would have featured heavily in the aSchools — 6 % Academies — 3.2 % Community Schools — 0.8 % The only reason I had a look is because I was pretty confident that if the figures had been the other way round it would have featured heavily in the aSchools — 0.8 % The only reason I had a look is because I was pretty confident that if the figures had been the other way round it would have featured heavily in the article.

Since my first day at Abbey Road I'd watched the Sunnybankers — cheap green sweatshirts with the school logo on the breast, nylon rucksacks, fag ends, hair spray — with growing dismay.

She began writing for Art Fag City soon after earning a degree in painting from the Rhode Island School of Design in 2011.

2014 Ayelet Danielle Aldouby, Curator & Co-Founder, Artea Projects Harutyun Alpetyan, Independent Curator, Armenia Marco Antonini, Executive Director & Curator, NURTUREart Rocio Aranda - Alvarado, Curator, El Museo del Bario Karen Archey, Independent Curator & Critic, NYC and Berlin Nova Benway, Assistant Curator, The Drawing Center Boshko Boskovic, Program Director, Residency Unlimited Marie Burns, Program Manager, apexart Ethan Cohen, President & CEO, Ethan Cohen Fine Arts Irina Danilova, Independent Curator Eva Diaz, Critic & Assistant Professor of Contemporary Art, Pratt Institute Erin Donnelly, Independent Curator & Programs Manager, Smack Mellon Juliana Driever, Independent Curator, Writer, and Educator Shlomit Dror, Independent Curator Jason Duval, Artist & Independent Curator Alessandro Facente, NARS Special Projects Curator Jane Farver, Independent Curator Elizabeth Ferrer, Director of Contemporary Art, BRIC Arts Carter Foster, Steven and Ann Ames Curator of Drawing, Whitney Museum of American Art Anna Frost, Independent Curator, Berlin andCopenhagen Asya Geisberg, Owner & Director, Asya Geisberg Gallery Jessica Gildea, Programs Director, CUE Art Foundation Jan Hanvik, Executive Director, Clemete Soto Velez Cultrual Center Larissa Harris, Curator, Queens Museum Eric Heist, Founder & Director, Momenta Naomi Hersson - Ringskog, Executive Director, No Longer Empty Felicity Hogan, Artist, Independent Curator & Senior Program Officer, New York Foundation for the Arts (NYFA) Learning Jin Young Hwang, Co-Founder, K&H Art Advisory Inc Tzu - chieh Jian, Independent Curator & Critic, Taiwan Paddy Johnson, Founding Editor, Art Fag City Rhiannon Kubicka, Co - Owner / Co-Director, Blackston Gallery Omar Lopez - Chahoud, Independent Curator & Artistic Director, UNTITLED Stephen Maine, Artist, Critic & Independent Curator Julie McKim, Director, Kunsthalle Galapagos John Moore, Independent Curator & Critic Isabelle Normand, Independent Curator, Paris & Los Angeles Isin Önol, Independent Curator, Vienna Douglas Paulson, Residency Director, Flux Factory Vittoria Pavesi, Independent Curator, Italy Laurel Ptak, Director, Triangle Arts Association Sara Reisman, Director, Percent for Art, NYC Department of Cultural Affairs David A. Ross, Independent Curator & Chair, MFA Program in Art Practice, School of Visual Arts Cindy Rucker, Owner & Director, Cindy Rucker Gallery Sebastien Sanz Santamaria, Director of Operations, Residency Unlimited Krista Saunders, Curator & Co-Founder, Ground Floor Gallery Keith Schweitzer, Co - Founder / Director, The Lodge Gallery and Director of Public Art, Fourth Arts Block Bernard Schutze, Independent Curator & Critic, Montreal Felipe Scovino, Independent Curator Eric Shiner, Director, Andy Warhol Museum Carolyn Sickles, Director of StudioLab, Abrons Arts Center Sarah Suco Tores, Independent Curator Yulia Tikhonova, Independent Curator Jodi Waynberg, Executive Director, Artists Alliance Inc..

And so we begin with the fag end of Guston's New York School, Abstract Expressionist period, the fag end of his immersion in the vocabulary of modernism, and the fag end of modernism itself.

He first encountered Hercules «in the RA Schools corridor, where for three years I'd take fag breaks at his feet and admire those thundering thighs».

«In a Different Light,» University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA, January 11 — April 9, 1995; catalogue «Articulations: Forms of Language,» Whitney Museum of American Art (organizer), Fisher Landau Center, Long Island City, NY, May 13 — June 30, 1995; brochure «Telling Tales,» The Rotunda Gallery, Brooklyn, NY, September 14 — October 28, 1995 «Face Forward: Self Portraiture in Contemporary Art,» John Michael Kohler Arts Center, Sheboygan, WI, 1995 «In the Flesh,» Aldrich Museum of Contemporary Art, Ridgefield, CT, 1995; catalogue «25 Americans: Painting in the 90's,» Milwaukee Art Museum, Milwaukee, WI; catalogue «Boxer,» Walsall Museum and Art Gallery, Walsall, UK, 1995; catalogue «XI Mostra da Gravura Cidade de Curitiba / Mostra America,» Curitiba, Brazil, 1995; catalogue «Configura 2: Dialog de Kulturen,» Erfurt, Germany, 1995; catalogue «Mirage: Enigmas of Race,» Difference and Desire, Institute of Contemporary Art, London, UK, 1995; catalogue «Glenn Ligon, Gary Simmons,» The Fabric Workshop, Philadelphia, PA, and Beaver College Art Gallery, Glenside, PA, 1995 «Word for Word,» Beaver College Art Gallery, Glenside, PA, 1995 «Pervert,» University Museum, University of California at Irvine, Irvine, CA, 1995; catalogue «fag - o - sites,» Gallery 400, School of Art and Design, University of Illinois at Chicago, Chicago, IL, 1995