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View allAll Photos Tagged inequality
Truly a brave, honest, fighter for all the underdogs. She believed inequality, education, healthcare, housing, and a decent wage for all and did her best to fight for that just cause. She will be sorely missed!
Thank you for your kind visit. Have a wonderful and beautiful day! ❤️ ❤️ ❤️
Close your eyes to the horror
Close your eyes to the pain
When you live in a box
No one knows your name
Living in the street
Moms and kids
with nothing to eat
Welfare hotels
Who says there’s no place called hell ......
Nesta casa simples, o morador enfeita sua porta com os objetos. A boneca, sapatos de bebê e essa máscara.
This simple house, the resident graces your door with objects. The doll, baby shoes and this mask.
The mill "Goliath" by sunset, there is a lot of inequality in the world even in the far north of the Netherlands. Sept 6, 2022
My photographic art to not only celebrate Chile's independence day but also represent the turmoil caused by inequality that still exists in Chile.
Mi arte fotográfico no sólo para celebrar el día de la independencia de Chile, sino también para representar la agitación causada por la desigualdad que aún existe en Chile.
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Bandera de La Moneda - Feliz Día de la Independencia (2)
Sheet lead, lead pipes. Fuji X-Pro1 plus Helios 44M-7 at F8. It probably means to state the obvious, but let me say it nevertheless: social inequality in my country, the UK, is not just 'happening', it is not 'an accident'. It is actually organised and systemic and institutional. It has been introduced by man. It is not a product of nature.
Learn to love one another
Stop hate
Be friendly
Be respectful
Work together
Play together
Practice equality
No divisions
Embrace our differences
Find similar interests
Compromise
Listen carefully; there are often two sides to everything, try and find some common ground to start with, even if you disagree
Advocate passionately for fairness and justice and inspire change for the good
Be considerate
Remember, we are all human
Be calm
Be patient
Do not dictate
Create opportunities for forgiveness, healing, and reconciliation
Stop segregation
Stop money going to wars
Stop money-building guns and war machines
Encourage spending on infrastructure, education, housing, healthcare, social services, diplomacy, peace, arts, and culture
Promote criminal justice reform, making it fair for all
Disrupt narratives that justify war and rationalize inequality
Educate the reality of war and systems that produce inequality
Discredit war propaganda and myths that justify violence
Spread the importance of truth
Inspire others through art
HSS 😊😊😍
With heartfelt and genuine thanks for your kind visit. Have a beautiful day, be well, keep your eyes open, appreciate the beauty surrounding you, enjoy creating, stay safe, and laugh often! ❤️❤️❤️
Happens a lot when the 2% own us all and affect the systematic policies that keep the majority of people suffering.
London.
**All photos are copyrighted. Please don't use without permission**
Homelessness is a problem all over the world.
Vancouver, located in Canada's western province of British Columbia, is generally considered to be a relatively affluent city. It consistently ranks high on global indexes measuring quality of life, including Mercer's Quality of Living Survey. Vancouver has a strong economy driven by sectors such as technology, film and television production, tourism, and natural resources. The city attracts significant foreign investment and is known for its diverse cultural scene, scenic beauty, and mild climate. However, it is important to note that Vancouver also faces issues related to income inequality and housing affordability. The cost of living, particularly in terms of housing prices, has risen significantly in recent years, making it challenging for many residents to afford suitable accommodation.
These images were created around 2020, in a time marked by Covid, but they do not belong only to that moment. I am republishing them today because reading them again means realizing that their meaning has not been exhausted: the facts change, tragic events change, names and circumstances change, but outside the same violence of human mechanisms, inequalities, intolerance, constraint, and imposed survival continues to hold. That is why these photographs remain contemporary. In the contrast between blue and red, in the purity of white, in the vulnerability of the body and in the harshness of the words, there is still a clear position: not a closed memory, but a thought that is still alive, still exposed, still in conflict with the present. I am republishing them in my Pro account so that they are not lost and so that they can continue to speak.
Complete album of the series:
www.flickr.com/photos/192876881@N08/albums/72157719324029...
These images were created around 2020, in a time marked by Covid, but they do not belong only to that moment. I am republishing them today because reading them again means realizing that their meaning has not been exhausted: the facts change, tragic events change, names and circumstances change, but outside the same violence of human mechanisms, inequalities, intolerance, constraint, and imposed survival continues to hold. That is why these photographs remain contemporary. In the contrast between blue and red, in the purity of white, in the vulnerability of the body and in the harshness of the words, there is still a clear position: not a closed memory, but a thought that is still alive, still exposed, still in conflict with the present. I am republishing them in my Pro account so that they are not lost and so that they can continue to speak.
Complete album of the series:
www.flickr.com/photos/192876881@N08/albums/72157719324029...
These images were created around 2020, in a time marked by Covid, but they do not belong only to that moment. I am republishing them today because reading them again means realizing that their meaning has not been exhausted: the facts change, tragic events change, names and circumstances change, but outside the same violence of human mechanisms, inequalities, intolerance, constraint, and imposed survival continues to hold. That is why these photographs remain contemporary. In the contrast between blue and red, in the purity of white, in the vulnerability of the body and in the harshness of the words, there is still a clear position: not a closed memory, but a thought that is still alive, still exposed, still in conflict with the present. I am republishing them in my Pro account so that they are not lost and so that they can continue to speak.
Complete album of the series:
www.flickr.com/photos/192876881@N08/albums/72157719324029...
These images were created around 2020, in a time marked by Covid, but they do not belong only to that moment. I am republishing them today because reading them again means realizing that their meaning has not been exhausted: the facts change, tragic events change, names and circumstances change, but outside the same violence of human mechanisms, inequalities, intolerance, constraint, and imposed survival continues to hold. That is why these photographs remain contemporary. In the contrast between blue and red, in the purity of white, in the vulnerability of the body and in the harshness of the words, there is still a clear position: not a closed memory, but a thought that is still alive, still exposed, still in conflict with the present. I am republishing them in my Pro account so that they are not lost and so that they can continue to speak.
Complete album of the series:
www.flickr.com/photos/192876881@N08/albums/72157719324029...
These images were created around 2020, in a time marked by Covid, but they do not belong only to that moment. I am republishing them today because reading them again means realizing that their meaning has not been exhausted: the facts change, tragic events change, names and circumstances change, but outside the same violence of human mechanisms, inequalities, intolerance, constraint, and imposed survival continues to hold. That is why these photographs remain contemporary. In the contrast between blue and red, in the purity of white, in the vulnerability of the body and in the harshness of the words, there is still a clear position: not a closed memory, but a thought that is still alive, still exposed, still in conflict with the present. I am republishing them in my Pro account so that they are not lost and so that they can continue to speak.
Complete album of the series:
www.flickr.com/photos/192876881@N08/albums/72157719324029...
One mortal, the other immortal. This is the story of Castor and Pollux, twins, but having different fathers. They did everything together, even when death got hold of Castor. Pollux pleaded with Zeus and made sure that Castor too became immortal. He shared what he had got with his brother. Such scenes from Greek mythology (biblical narratives as well) had frequently been visualised in Julia Margaret Cameron's photography of the 1860s. Looking at these old photos today, they appear to be quite amateurish (teddy bearish, if you want). On the other hand, Cameron was a photographic pioneer and preparing the stage for us today. Courageously too. Fuji X-E3, Helios 44M-7 wide-open.
I am in agreement with most ethical photographers in NOT making the homeless an object for exploitative photography. However, I made an exception in this case for two reasons: one, the justaposition of the homeless man with the Sephora store expressed an important failure of American inequality that seems indifferent to the lives of the very poor and; two, because homelessness in American cities is really reaching a breaking point. We, as photographers, have a contribution to make in this vital discussion.
These images were created around 2020, in a time marked by Covid, but they do not belong only to that moment. I am republishing them today because reading them again means realizing that their meaning has not been exhausted: the facts change, tragic events change, names and circumstances change, but outside the same violence of human mechanisms, inequalities, intolerance, constraint, and imposed survival continues to hold. That is why these photographs remain contemporary. In the contrast between blue and red, in the purity of white, in the vulnerability of the body and in the harshness of the words, there is still a clear position: not a closed memory, but a thought that is still alive, still exposed, still in conflict with the present. I am republishing them in my Pro account so that they are not lost and so that they can continue to speak.
Complete album of the series:
www.flickr.com/photos/192876881@N08/albums/72157719324029...
"There is a new global imperialism imposed by a core of capitalist nations in support of trillions of dollars of concentrated investment wealth. This new world order of mass capital has become a totalitarian empire of inequality and repression.
The global 1%, comprised of over 36-million millionaires and 2,400 billionaires, employ their excess capital with investment management firms like BlackRock and J.P Morgan Chase. The top seventeen of these trillion-dollar investment management firms controlled $41.1 trillion dollars in 2017. These firms are all directly invested in each other and managed by only 199 people who decide how and where global capital will be invested.
Concentrated global capital becomes the binding institutional alignment that brings transnational capitalists into a centralized global imperialism facilitated by world economic/trade institutions and protected by the US/NATO military empire.
This concentration of wealth leads to a crisis of humanity, whereby poverty, war, starvation, mass alienation, media propaganda, and environmental devastation have reached levels that threaten humanity’s future."
These images were created around 2020, in a time marked by Covid, but they do not belong only to that moment. I am republishing them today because reading them again means realizing that their meaning has not been exhausted: the facts change, tragic events change, names and circumstances change, but outside the same violence of human mechanisms, inequalities, intolerance, constraint, and imposed survival continues to hold. That is why these photographs remain contemporary. In the contrast between blue and red, in the purity of white, in the vulnerability of the body and in the harshness of the words, there is still a clear position: not a closed memory, but a thought that is still alive, still exposed, still in conflict with the present. I am republishing them in my Pro account so that they are not lost and so that they can continue to speak.
Complete album of the series:
www.flickr.com/photos/192876881@N08/albums/72157719324029...
I couldn't pass up the opportunity to capture this image in TOBAGO, a beautiful Island in The Caribbean Sea....What a contrast !
Its hurt to see this poverty on such a beautiful beach !
A year ago, an artist from a performatic group was protesting with others to pressure
the judge, asking the suspension of the Prestes Maia Occupation's forced eviction.
It's alredy suspended again, after the visit of the judge who understood the
needing of a good plann to remove all those people from the building.
They have now 60 days for a new negotiation.
A provisory peace, but also a time to work for new solutions on this terrible inequality.
Thank you all those who were sensibilized and mobilized.
You are brave people.
Be welcome to join the group "The Prestes Maia Hope",
for updates and to support those families that are living there.
:
Copyright © 2007 Tatiana Cardeal. All rights reserved.
“The endurance of the inequalities of life by the poor is the marvel of human society.”
Explore# 489 (Dec16, 2008)
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Reposted commemorating International Human Rights Day, Dec 10th, have a look at www.un.org/en/documents/udhr/
www.youtube.com/watch?v=hTlrSYbCbHE
" A dream of equality of opportunity, of privilege and property widely distributed;
a dream of a land w here men will not take necessities from the many to give luxuries to the few;
a dream of a land where men will not argue that the color of a man's skin determines the content of his character;
a dream of a nation where all our gifts and resources are held not for ourselves alone, but as instruments of service for the rest of humanity;
the dream of a country where every man will respect the dignity and worth of the human personality."
= Martin Luther King Jr =
Elon Musk's wealth comparison. Unfortunately Google Gemini AI refuses to depict his image in the infographic it produced, although an additional four significant edits/changes were made to the text. #elonmusk #wealth #inequality If by any chance anyone wants to use this image I think technically you might need primarily to reference Google Gemini AI. I wrote the prompt but it's not my image except for some text edits.
Kunstmuseum Den Haag presents "Titanic & Fashion: The Last Dance" (27 September 2025 till 25 January 2026), curated by our in-house team. Featuring original costumes from the iconic 1997 film of the same name, as well as never-before-seen garments and accessories from the museum’s collection dating from the 1910s, Titanic & Fashion promises to be a very special, immersive journey. Combined with pieces by contemporary designers such as John Galliano for Maison Margiela, Craig Green, Iris van Herpen and Tess van Zalinge, the exhibition shines a light on the dreamy fashions of over a century ago, while also reflecting on the here and now. Because the Titanic period has surprising similarities with our world today: an unbridled confidence in technology, liberation movements, class inequality and waves of migration. A time filled with threats of war, in which we are dancing on the edge of the volcano.
End inequalities. End AIDS. End Pandemics..
World AIDS Day, celebrated on 1 December every year is the opportunity to unite in the fight against HIV/AIDS, to show support for those who have been diagnosed and to remember those who have been lost to the disease.
Sadness and outrage. That's what many of us have been feeling for a long time in America. We watched in horror the video of George Floyd, pleading for his life, as he lay dying with a racist cop's knee on his neck, who refused to hear his pleas, "I can't breathe." 8 minutes 46 seconds later, he was dead. After 400 years of racism, millions of Black and Brown people enslaved, and thousands terrorized, oppressed and killed, America is finally hearing the cries of Floyd and Black Lives Matter protestors for racial equality and justice. Floyd's death sparked BLM protests all over America and the world. Floyd was speaking for all of us when he cried, "I can't breathe." We no longer want America to be a country where Black and other people are dehumanized, destroyed or killed for the color of their skin or for profit. We will keep fighting for real social change, equality and justice, and for a better world where the humanity of all people is protected and revered. Black Lives Matter! Power to the People!
As in other cities worldwide, Bangkok displays very conspicuous inequality, except that after a while wealthier shoppers just get used to seeing the homeless.
A thin young man, whose clothes have seen better days, seems to be keeping his few belongings in what is presumably a discarded carrier bag, ironically entitled "Good Times." Behind him you can see signs for a Sushi restaurant and a private dental clinic.
Thailand is one of the worst 10 countries in the world in terms of wealth distribution.
www.bangkokpost.com/opinion/opinion/1840739/thai-inequali...
It's also ranks poorly in terms of income inequality. A World Bank study found that of 2019, Thailand had an income Gini coefficient of 43.3%, giving it the highest income inequality rate in the East Asia and Pacific region.
www.worldbank.org/en/news/press-release/2022/10/21/rural-....
The country's wealth and income inequality is perhaps most obvious in the upmarket Sukhumvit area of Bangkok where this photograph was taken and where you can routinely spot Maseratis and Ferraris, but also see many people either sleeping rough or attempting to sell a handful of low value goods on the pavement.
This photograph was used in an article on global inequality -
revistaopera.com.br/2023/01/20/o-1-mais-rico-acumula-quas...
On many occasions we find ourselves faced with great contrasts between opulence and simplicity. I hope that the world will soon find a balance necessary for the future of our lives
Bij het conceptualiseren van de renovatie werd onder andere overwogen om de koloniale beelden in de grote rotonde uit hun nissen te halen. De bevoegde diensten voor Onroerend
Erfgoed wezen het museum erop dat de kunstwerken integraal deel uitmaakten van het beschermde gebouw, ook al stonden er bij de opening van het museum in 1910 slechts twee van deze beelden.
Het AfricaMuseum heeft dan beslist elementen toe te voegen in plaats van weg te nemen. In 2015 organiseerde het museum een wedstrijd en richtte zich daarbij op Afrikaanse kunstenaars of kunstenaars van Afrikaanse oorsprong om een kunstwerk te creëren dat een tegenwicht zou bieden aan de koloniale beelden. De jury selecteerde Aimé Mpane, een Congolese kunstenaar, met zijn werk Nouveau souffle ou le Congo bourgeonnant, een monumentaal beeld in opengewerkt hout dat kort voor de heropening van het museum in de grote rotonde werd geplaatst.
In de maanden na de heropening van het museum gaven veel bezoekers echter uiting aan hun onbegrip over het behoud van de koloniale beelden in de grote rotonde. De wil van het museum om een dekoloniale boodschap te brengen, werd door de bezoekers niet altijd opgevangen, ondanks de verklarende teksten.
Een werkgroep van de Verenigde Naties (Human Rights Council) bezocht het museum in februari 2019 in het kader van een evaluatie van de toestand van de rechten van mensen van Afrikaanse afkomst die in België wonen. Hij wees erop dat de reorganisatie van het museum niet ver genoeg ging. Het museum werd sterk aangespoord om alle koloniale propaganda achterwege te laten en het geweld en de ongelijkheden van het Belgische koloniale verleden klaar en duidelijk voor te stellen.
Naar aanleiding van deze opmerkingen en op uitnodiging van het AfricaMuseum stelde Aimé Mpane voor om een tweede beeld in de grote rotonde te plaatsen. Dit kunstwerk, ook in
opengewerkt hout, stelt de schedel van chef Lusinga voor. Het beeld verwijst naar de raid van de Belgische officier Émile Storms op het dorp van Lusinga in 1884. Tijdens deze expeditie werd het hoofd van de chef afgehakt en nadien naar België meegenomen. Tot 1964 bevond deze schedel zich in het KMMA en werd daarna overgedragen aan het Koninklijk Belgisch Instituut voor Natuurwetenschappen.
De twee houten beelden staan tegenover elkaar en verwijzen enerzijds naar de dood en het geweld van het verleden (Schedel van Lusinga), en anderzijds naar de waardigheid en de beloften voor de toekomst (Nouveau souffle ou le Congo bourgeonnant).
Bron: www.africamuseum.be/sites/default/files/media/press/doc/D...
Persdossier – AfricaMuseum; Een stap Dichter naar de dekolonisatie | 27 februari 2020
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When conceptualising the renovation, consideration was given, among other things, to removing the colonial statues in the large rotunda from their niches. The competent heritage services pointed out to the museum that the works of art were an integral part of the protected building.
The AfricaMuseum then decided to add elements instead of taking them away. In 2015, the museum organised a competition and focused on African artists or artists of African origin to create a work of art that would counterbalance the colonial images. The jury selected Aimé Mpane, a Congolese artist, with his work Nouveau souffle ou le Congo bourgeonnant, a monumental sculpture in openwork wood that was placed in the large rotunda shortly before the museum reopened.
However, in the months following the museum's reopening, many visitors expressed their incomprehension about the preservation of the colonial images in the large rotunda. The museum's desire to convey a decolonial message was not always received by visitors, despite the explanatory texts.
A United Nations working group (Human Rights Council) visited the museum in February 2019 as part of an evaluation of the state of rights of people of African descent living in Belgium. It pointed out that the reorganisation of the museum
did not go far enough. The museum was strongly urged to abandon all colonial propaganda and to present the violence and inequalities of Belgium's colonial past clearly and clearly.
Following these comments and at the invitation of the AfricaMuseum, Aimé Mpane proposed placing a second statue in the large rotunda. This work of art, also in
openwork wood, represents the skull of Chief Lusinga. The statue refers to the raid by the Belgian officer Émile Storms on the village of Lusinga in 1884. During this expedition,
the chief's head was chopped off and then taken to Belgium. Until 1964, this skull was in the KMMA and was then transferred to the Royal Belgian Institute of Natural Sciences. The two wooden statues face each other and refer on the one hand to the death and violence of the past (Skull of Lusinga), and on the other hand to the dignity and promises for the future (Nouveau souffle ou le Congo bourgeonnant).
Source: Text translated from Dutch
and