Sentences with phrase «structure work cultures»

How can leaders structure work cultures and environments to ensure teams stay focused, engaged and productive?

Not exact matches

Corporate culture is a big concern for many professionals who want to ensure they have an open, positive workplace that honors the less - structured work styles of millennials.

Business relationships matter Principles of social responsibility must apply inside the company (to compensation, work hours, benefits, culture, and structure) as well as outside the business — to the best of the company's ability.

I made sure that I was cultivating an optimal work culture among our employees to build a solid structure that would take us into the future.

Contributing to the high cost structure was the new culture of working 9 - 5 Monday through Friday.

Working with large corporations we've learned that innovation groups need their own structure, culture, tools (Lean, Design Thinking, etc.), metrics (validated / invalidated hypotheses, Investment Readiness Level) and processes.

My working definition of the congregation is this: A congregation is a group that possesses a special name and recognized members who assemble regularly to celebrate a more universally practiced worship but who communicate with each other sufficiently to develop intrinsic patterns of conduct, outlook, and story.9 We can sharpen our appreciation of congregational structure by comparing its thick culture with that of other religious associations.

Shielded neither by statistical and programmatic facades of self - description nor by normative proclamations about what the church should be, we look at our finite, culture - bound symbolisms and find in them our idiomatic expression, but also structures wrought by the imaginative labor of all humanity.

Furthermore, anyone who has studied ancient Near Eastern culture knows that the familial structure we see represented in scripture was nothing like the nuclear family epitomized by the Cleavers, but would rather have included multiple generations and relatives living together in clans, with women working long hours «outside of the home» in the fields, tending sheep, gathering food, trading goods, etc..

Both in its generally moral sense as right action and in its specifically political sense as right structures of society and culture, justice implies that it realizes the same divine interest in the interests of all that is expressed by God's own work of creation.

Just as, in general, good works are distinct from faith and not to be identified with it, and yet are also demanded by faith and not to be separated from it, so justice in its political meaning as right structures of society and culture is both distinct from faith and demanded by it, and hence neither identifiable with faith nor separable from it.

Working with families of all structures, cultures, and faiths.

As government officials transition from being managers of public services to enablers of public service improvement through markets, co-production and other means, new ways of working must be hardwired into the core structures, processes and culture of Whitehall, Westminster and — yes — Pasc too.

RIKEN researchers have taken up this challenge, and the work published in Cell Reports details how sequentially applying several signaling molecules to three - dimensional cultures of human embryotic stem cells prompts the cells to differentiate into functioning cerebellar neurons that self - organize to form the proper dorsal / ventral patterning and multi-layer structure found in the natural developing cerebellum.

Another, previously unknown gene — when the investigators worked out its protein's structure and studied it in tissue culture — proved to do just the opposite: The protein helped the schizont leave the infected blood cell.

I sat down with director Michael Showalter, star and co-writer Kumail Nanjiani and co-writer Emily Gordon to discuss the translating their romance to the big screen, Nazi jokes, finding a three act structure in the sloppiness of life, «white culture» and Muslims and the prospects of working together again.

Given the widespread existence of choice and competition in K - 12 education, it is demonstrably wrong to suppose, as Forum contributor Frederick M. Hess does («The Work Ahead «-RRB-, that «Efforts to cultivate competition may thus foster a culture of schooling that is alien to our educational heritage and may create an incentive structure that distorts educational priorities.»

Lawrence - Lightfoot was honored for her study of the culture of schools, the patterns and structures of classroom life, the links between adult developmental themes and teachers» work, and the relationship between culture and learning styles.

Grace works cloesly with schools to create lasting structures that promote a culture of learning that leads to best practices in literacy.

Mentoring and coaching a new generation of teachers can provide a new challenge for teachers seeking to grow and develop as professionals, and teaching adults can also help mentor teachers reflect on and improve their own practices.19 What's more, the structures that are often part of these programs — mentoring, instructional coaching, professional learning communities, peer - to - peer professional development, and co-teaching — all serve to make schools more collaborative and reflective places to work, 20 which improves school culture and achievement.21

Such practices assume that the purpose behind organizational cultures and structures is to facilitate the work of organizational members and that the malleability of structures should match the changing nature of the school's improvement agenda.

Cubbin, a 30 - year Gm veteran, said the low - key Swedish culture that is built on a flat social structure eventually may be able to teach Gm's North American Operations about team work, just as Saturn Corp. and Eisenach did.

An expert in the areas of: boy's development / education and men's roles (including violence, suicide and depression), school safety (including bullying prevention), workplace violence, gender studies (men, boy - girl and male / female relationships), parenting (mothering / fathering), organizational structure, gender and work / family balance in workplace culture, psychoanalytic psychotherapy and professional issues in the practice of psychology, he is the author and / contributor of numerous scholarly journal articles and book chapters.

Work began in September 2007, under the close supervision of the National Institute of Culture of Peru, with a slow and Minusio restoration work, while keeping intact the original walls of the house and reusing the same materials with which to construct the previous structWork began in September 2007, under the close supervision of the National Institute of Culture of Peru, with a slow and Minusio restoration work, while keeping intact the original walls of the house and reusing the same materials with which to construct the previous structwork, while keeping intact the original walls of the house and reusing the same materials with which to construct the previous structure.

Conceptually, my work has remained consistently reflective of the problematic space of Western mass (consumer) culture and our relative lack of agency as subjects within that context, as simultaneous prisoners of and (un) willing participants in our dominant ideological structure.

Darboven's characteristic conflation of an abstract, overarching framework and individual self - assertion are resonant in the sign structures conceived, for example, by Channa Horwitz or Michael Müller, as well as in the textual works and writing systems of Fiona Banner, Irma Blank, and Natalie Czech, in the temporal processes of Sigrid Sigurdsson, the appropriation of history practiced by Daniela Comani, Lia Perjovschi, and Rayyane Tabet, or in the collages conjoining current events and popular culture created by Isa Genzken and Robert Heinecken, as well as in the encyclopedic, material - based classification systems of Henrik Olesen and Joëlle Tuerlinckx.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

Cultured Magazine focuses on architect Ania Jaworska (Architecture» 09) when discussing a category of architecture these days that isn't really about building structures to live and work in.

Roddy Bogawa's work is known for its investigation of history and culture via lyrical lo - fi means and innovative narrative structures.

Working with sculpture, video and installation, Debora Delmar Corp. explores the way in which our global consumer culture structures our very lives and routines.

In her works, the structuring factors of culture are shown to be myriad and unexpected: from regional borders, to regional dress, landscapes, mythology, witchcraft, stagecraft, the big screen and the small screen.

In this multi-media work, entire structures stand out and beg to be noticed.Charneco's art is inspired by the way information is shared in the Internet age, virtual world interactions, and how human connections are made in contemporary culture.

The fair is mounted in a light - filled structure designed specifically for the presentation of works of art, providing an immersive experience that interweaves art, culture, nature and the urban landscape.

Multidisciplinary Emirati artist, curator and writer Ebtisam Abdulaziz incorporates her unique perspective on mathematics and the structures of systems to explore issues of identity and culture through installations, performance pieces and works on paper.

Noah Purifoy's work amasses found objects — chair - casters, pipes, shoe lasts — into mysterious totemic structures that tap into a vein of traditional African belief that runs deep in American culture, while Betye Saar brings a chilling political twist to the form with the likes of Sambo's Banjo, where she dangles the image of a lynched man inside a «Sambo» banjo case.

From various points in his career, the works look at diverse culture, political subjects, power structures, and how our desires shape our experience of the world.

For all its glutted culture - jamming, the exhibition «Education Pig» conformed to a beaux - arts structure of sorts, with floor and wall works arrayed beneath a

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

Working with photography, sculpture, and text - based interventions, Thomas has mined popular culture, media, and branding to reveal the effect of power structures on the way we interpret the world around us.

Sturtevant (American, b. 1924) began «repeating» the works of her contemporaries in 1964, using some of the most iconic artworks of her generation as a source and catalyst for the exploration of originality, authorship, and the interior structures of art and image culture.

Neto's earth - toned crocheted structures are both animalistic and reminiscent of microscopic organisms in form, a strange duality that causes the works to feel like indigenous products or abodes from a parallel universe, one where Western colonization never infected native culture, allowing the tribes to continue to develop culturally and technologically on their own.

3:00 p.m. Break (refreshments in Cullman Building mezzanine) 3:15 p.m. Melissa Ragona, Associate Professor of Visual Culture and Critical Theory at Carnegie Mellon UnderSound: Bruce Conner's Sonic Structures Ragona will address the idea of undersound as one of the major conceptual structures of Conner's sonic work across installation, sculpture, photography, cassette,Structures Ragona will address the idea of undersound as one of the major conceptual structures of Conner's sonic work across installation, sculpture, photography, cassette,structures of Conner's sonic work across installation, sculpture, photography, cassette, and film.

The exhibition is conceived as a journey which explores the fundamental elements constituting filmic work; each piece investigates experimental approaches towards technical processes, narrative structures and the history and culture of filmic material.

Across collage, photography, performance, sculpture and painting, Derrick Adams» (b. 1970) work addresses ways in which media, entertainment and other social structures shape individual identity and public perception of African - American culture.

Appearing to be placed within the culture, it is through a logic of displacement that Kelley establishes our distance from mass culture; entering a space where sculpture, video, installation elements and music all mix together, one becomes physically implicated within the work, inspiring both a sense of alienation and an awareness of that structure itself.

Ms. Smolarz» s work utilizes the multidisciplinary forms of photography, video, sculpture, performance and drawing to explore the social structures which constitute human interaction within a culture.

Her work focuses on the transformation of materials, especially plastic bags, which she crochets into a range of forms representing domestic objects or abstract structures referencing the environment, the home, textile design and culture, and hand - made traditions.

Williams's work is a critical investigation of the medium of photography and more broadly the vicissitudes of industrial culture, in particular its structures of representation and classification.

Since the 1990s the work of Brazilian artist Adriana Varejão has been centered on how heritage in her home country is structured by extensive agglomerations of people, culture and civilizations from across the planet.

No less a figure than the artist Hans Haacke — whose long - standing commitment to rendering transparent economic, social, and aesthetic structures throughout culture has led him to be immanently associated with the paradigm — used the phrase «consciousness industry» as early as the mid-1980s to describe the sophisticated networks of institutional support necessary to make visible ostensibly adversarial avant - garde artistic gestures.4 Works seeking to emphasize the moral, political, and intellectual forces that determine and enforce culture, he observed, were nevertheless dependent on a museum or gallery platform designed to privilege aesthetic experience.