Sentences with phrase «whose cultural practices»

Diversity began with the first peoples of the land, Aboriginals and Torres Strait Islanders, whose cultural practices are believed to have started over 40,000 years ago (Rasmussen, Guo, Wang et al., 2011).

While some of this population surge is due to Hasidim, the traditionally garbed community whose cultural practices often lead to large families of 10 or more children (and whose neighborhoods voted more heavily for John McCain in 2008 than the State of Utah), the larger Orthodox Jewish population is experiencing explosive growth in New York City as well.

Not exact matches

That could be difficult for current candidate and MP Kellie Leitch, whose name remains associated with her controversial 2015 election campaign announcement of a «barbaric cultural practices» tip line.

... In Nicaragua there is no systematic practice of forced disappearances, extrajudicial killings or torture — as has been the case with the «friendly» armed forces of El Salvador Nor has the Government practiced elimination of cultural or ethnic groups, as the Administration frequently claims; indeed in this respect, as in most others, Nicaragua's record is by no means so bad as that of Guatemala, whose government the Administration consistently defends.

Because it is education that must proceed indirectly by way of the examination of texts and practices whose study is believed to lead to understanding God and all else in relation to God, and because those texts and practices employ ordinary languages belonging to widely shared cultures and do themselves have cultural locations, such education is inescapably a public undertaking, understandable to anyone who understands the relevant languages and cultures.

So too, attention to congregations whose practice of worship is necessarily shaped by its cultural setting would not be parochially limited to what goes on «within» congregations but rather have to question the value of any sharp contrast between «inside» and «outside» and attend to what is known about the cultural settings that inescapably shape its enactments of worship.

It is observed that these marriages may end up after having kids as the parents can't decide whose religion, and cultural ethics their kids have to practice.

Among those are preservice teachers» understanding of and ability to address student differences, the nature of the change process in schools implementing differentiation, achievement impacts of differentiation in middle school, elementary, and high school settings, and profiles of teachers whose classroom practice enhances success of students from low - economic and / or cultural minority groups.

A hard - to - define creative whose cultural development projects bridge art, social justice and urban planning, the success and unexpected direction of Gates's practice exemplifies the sentiments expressed in the remarks of Lowe.

A group exhibition bringing together nine prominent artists based in Guadalajara, Mexico, whose varied practices contribute to the city's growing cultural ascendance and international recognition.

J.J. Kegan McFadden is a writer, curator and artist living in Winnipeg (Canada) whose practice blurs the lines between cultural research and storytelling.

Kohn Gallery, in Los Angeles, presents Chingaderas Sofisticadas, an unprecedented exhibition that brings together nine outstanding artists living in Guadalajara, whose varied practices contribute to the growing cultural ascent and international recognition of that Mexican city.

Our program aims to unearth artists whose practices show promise, particularly those with a singular voice who contribute to the Australian cultural landscape.

Kohn Gallery is pleased to present a group exhibition opening September 16 and on view through November 4 bringing together nine prominent artists based in Guadalajara, Mexico, whose varied practices contribute to the city's growing cultural ascendance and international recognition.

Majeed, whose own studio practice extends into cultural activism and art administration, inquires after the relevance of these terms by looking back at their sources.

Amanda Gutiérrez (b. 1978, Mexico City) explores the experience of home, belonging, and cultural identity by bringing into focus details of everyday practices whose ordinary status makes it particularly hard for us to notice their key role in defining who we are.

Further information for Editors: SEAMUS NOLAN Seamus Nolan is a Dublin based artist whose work practice explores the legitimacy of its own appropriation, interrogating the fabric of our social and cultural make up, to reveal the narrative of identity formation within common materials and activities.

Redondo, through his practice, revives cultural practitioners whose works still remain relevant today.

Mennour juxtaposes Morellet, a pioneering minimalist who passed away in 2016 at the age of 90, with Mohamed Bourouissa, a young Algerian - born Parisian artist whose multimedia practice explores contemporary social tensions and cultural idiosyncrasies, especially in urban environments.

Redondo, through his practice, resurrects cultural practitioners whose works still remain relevant today.

Currently on view at SculptureCenter, New York is «Garbage Bay,» a solo exhibition by Danish artist Tue Greenfort whose interdisciplinary practice deals with the overlap of public and private realms, natural and cultural history.

The coffee table volume is described as «the first major survey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years.»

Their artworks provide a personal and cultural history of three generations of Inuit women whose art practices included autobiographical narratives and chronicled intimate and sometimes harsh memories and historically resonant moments.

Support for this program is provided by the Amphion Foundation and the Institute for Interdisciplinary Innovation (I ³), a three year pilot project of the Contemporary Arts Center, New Orleans (CAC), supported by The Andrew W. Mellon Foundation, designed to provide both the context and content for the expanding aesthetic landscape of interdisciplinary performance as practiced by artists whose projects are drawn from or inspired by the rich cultural traditions of the South.

As with many politically engaged artists whose practices take on complex issues of ethnicity, social justice, and gendered cultural agency, Maiolino deconstructs oppressive hierarchies not only on an institutional scale, but in terms of their everyday manifestations in the daily experiences of the disenfranchised.

Co-edited by Okwui Enwezor and Chika Okeke - Agulu, «Contemporary African Art Since 1980» is described as «the first major survey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years.»

Converge 45: YOU IN MIND is conceived as an «art convergence in four chapters» that takes an acute and particular care about the idea and ethos of Portland's inherent positivity to amplify (for good purpose) the generous hand of independent artists whose practices tend towards perpetuating / activating the now radical notion of our cultural commons... It is my intention with YOU IN MIND that the projects we exhibit and / or present, focus on artists who have a «public» in mind, conceptually, structurally and / or are actively present within the resulting work itself.

Ten years on, M HKA is organizing the first major European solo exhibition of Brussels - born, Paris - based film artist Chantal Akerman (b. 1950), whose practice perhaps best exemplifies the complex interplay of the various cultural developments summarily described above.

Céline Condorelli, whose artistic practice is based on the social and cultural context she finds herself interacting with, has wished to meet Nathalie Du Pasquier, one of the key figures on the Milan art scene since the 1980s.

The Institute for Interdisciplinary Innovation (I ³) is a three year pilot project of the Contemporary Arts Center, New Orleans (CAC), supported by The Andrew W. Mellon Foundation, designed to provide both the context and content for the expanding aesthetic landscape of interdisciplinary performance as practiced by artists whose projects are drawn from or inspired by the rich cultural traditions of the South.