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This gentleman's costume shows off the African heritage of the Caribbean .. The islands were one of the stops during the slave trade many years ago
Nuclear Energy Influencer Isabelle Boemeke, at the Scientific Forum, Nuclear Innovations for Net Zero, at the IAEA 67th General Conference held at the Agency headquarters in Vienna, Austria. 26 September 2022.
Photo Credit: Dean Calma / IAEA
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Influenced by Indian block printing and my own heritage I created a series of linoleum cuts and prints. This was the final outcome of a series of prints inspired by Rajasthani patterns and henna designs.
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With Passion and Purpose
Gifts from the Collection of Larry D. and Brenda A. Thompson
June 7 - October 5, 2025
Locations East Building, Mezzanine — Gallery 214
See standout works by Black artists from the past century, newly gifted to the Nation.
For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.
This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.
Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.
www.nga.gov/exhibitions/passion-and-purpose
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"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
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With Passion and Purpose: Black Collectors Complicate Western Art Culture
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Shantay Robinson
Alison Saar
Sweeping Beauty,1997
3-color woodcut on Okawara Natural Paper
overall: 193.04 × 83.82 cm (76 × 33 in.)
National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson
© Alison Saar. Courtesy of L.A. Louver, Venice, CA
In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
Radcliffe Bailey
NY Rail (Transportation), 1993
cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper
sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)
National Gallery of Art, Gift of Larry D. and Brenda A. Thompson
2023.145.14
Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.
Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.
Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.
Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."
hopkinsreview.com/features/with-passion-and-purpose-shant...
Hong Kong as a whole has been a massive influence/inspiration behind my Portfolio, creating awareness about the current Hong Kong situation whilst living in a Western Country has been my passion as there has been little to no coverage in British News.
The bright and contrasting neon colours shown throughout Wing Shya's portfolio has created a deeper internal connection for me as he manages to capture that certain Hong Kong energy, it exudes immensely in his photos.
Shephard Fairey has allowed me to create and design prints, experimenting with certain colours to convey a distinctive pattern and overall atmosphere. His use of typography as well as creating screen-prints have inspired me to develop and experiment with different types of colours and styles.
Before COVID-19 hit, I managed to visit the Scottish National Gallery, where I got to see the two ever-so iconic pieces ‘Three Oncologists’ and ‘Self Portrait as an Etching’ by Ken Currie. This experience has allowed me to explore his further work which led to the ‘WAR’ piece, made in 1983.
We had small street fight in our locality yesterday ... one of our friend came home by car and moved the bike of one of the neighbor and that bike somehow got some scratch on the headlight and then we had a nice show of verbal anger ...And what was the output of it ... absolutely nothing ... or maybe some stupid show for whole locality ...
I somehow dont get moved by anger ... I believe in postponing it ... and I feel thats the best solution to control anger ... I have other solutions too (ask me) ...
Why not influence others with calm ... and increase peace in the world ...
The influence of sociology was the cause of this design idea. I have put together a comic strip based on the topic of gender differences in today's society, starting from the early stages, the processes that occur on the way , then the outcome.
In the developed version that I have edited using Photoshop, it reveals the story much more clearly.
The heated gender debate in class
The debate came from a question on the board in lesson
All the confusion is put into paper as results day arrives.
Head teacher assures both sexes are equal.
Students dream at night about their aspirations
10 Years later, who came off the better?
www.greenvissage.com/how-influencers-earn-from-social-media/
Creators earn through monetised content, affiliate marketing, merchandise, branded content, and platform-based revenue or in-video ads. Besides, social media influencers are also being introduced to new avenues of monetization. Micro-influencers (between 1,000 and 10,000 followers) earn an average of USD 1,420 per month while mega-influencers (more than one million followers) make USD 15,356 per month. A tier I digital creator like Dolly Singh charges INR 5-6 lakh for an Instagram video and INR 3.9-4.7 lakh for an Instagram Reel. Cricketers like Virat Kohli earn about INR 5 crore per Instagram post. YouTuber Ajey Nagar, popular as Carryminati, earns around INR 10 lakhs a month from YouTube advertisement views alone. On YouTube, creators can earn through pre-roll skippable ads, super-chats, super-thanks, subscription costs, etc. Advertisers narrow down influencers for their campaigns based on their follower count, content, genre, engagement rate, and relevancy of the audience. Advertisers usually prefer hiring a bunch of micro-influencers instead of tier I creators with huge followings.
Study of a Male Nude Leaning
on a Staff - 1876
Artist: Julian Alden Weir (American, 1852–1919)
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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The Fourth Truth of Attention and Influence:
Attention and Influence grow in communities of practice.
creativesocialstrategic.com/strategy/the-fourth-truth-of-...
Breakfast meeting on the role of media in shaping social gender norms to promote gender equality organized by UN Women Rwanda for media experts and social media influencers
Credit Natacha Quester-Sémeon.
Conférence du 7/10 2015 au Salon des micro Entreprises « Mais comment ces entrepreneures font-elles pour être si populaires sur le web ? » En présence de : Aurélie Perruche, Marie-Laure Vie, Natacha Quester-Séméon, Florence Haxel et Fadhila Brahimi
Animée par Véronique Forge www.blogpersonalbranding.com/2015/09/conference-pourquoi-...