Find a health care association you would be interested in joining and follow it on LinkedIn® or subscribe to its newsletter.
Gather details about membership fees and any discounts available with the membership.
Identify current association members via social media and reach out to them to find out more about their experiences and the benefits of having a membership.
Write a 700- to a 1,050-word proposal to your employer outlining the benefits of joining the selected health care association and the benefits of attending a meeting, convention, or conference in-person.
Provide a rationale of how your membership to the health care association and attending its event(s) will benefit your employer, contribute to your job responsibilities, and promote your own professional development. Include insight from the relationships you established to reinforce your rationale.
Cite 3 reputable references to support your assignment (e.g., trade or industry publications, government or agency websites, scholarly works, or other sources of similar quality).
Sample Solution
Since the 1970s, Feminist workmanship practice has been at the very cutting edge of social and political talk. From Carolee Schneemann to the Guerrilla Girls the focusing on and uncovering of imbalance among male and female partners in Western Society has earned its incentive inside the craftsmanship world. Through my studio practice I center significantly around the externalization of the female structure. While a few specialists approach this subject with alert and heedfulnes, I approach it with full pressure and energy. With the point of bringing out passionate reactions ascribed to how society studies the body, I endeavor and section my own body, expecting to ‘re-develop’ the vision of the female structure. ‘Men act and lady show up. Men take a gander at lady. Lady watch themselves being taken a gander at. This decides most relations among men and lady as well as the connection of ladies and themselves. The surveyor of lady in herself is male: the studied, female. Subsequently, she transforms herself into an article and most especially an object of vision: a sight.’ â Ways of Seeing, John (Berger, 2012) As ladies, we act under the status of an authentic item. Merleau-Ponty keeps up not just that the body is a recorded thought however a lot of conceivable outcomes to be consistently acknowledged (Butler, 1988). Expecting to rise above this objectivity ladies turned into a functioning job inside their work of art. This made an outlet that before long veered into two polar methodologies with respect to the job of the female body. One, opposing setting the body in a place of look and generalization. The other, used the freed body and its sexual expressness. These two unique ways to deal with women’s activist enunciation made a division in regards to how the female body ought to be utilized inside artistic work practice. For women’s activist craftsmen, the body turned into a challenged site, a risky locus for work (Battista, 2013). I. The Body: Site, Object, Material. “The body isn’t just an authentic thought yet a lot of conceivable outcomes to be consistently acknowledged” â Merleau-Ponty, “The Body is its Sexual Being,” in The Phenomenology of Perception, 2015 (Merleau-Ponty, 2015) Lady is constantly depicted in connection to the man. In the craftsmanship world, a female craftsman is contrasted with the male as opposed to her female partner. We hold various titles, ‘Craftsman’ and ‘Female craftsman’. As ladies, we act under this status. When Ponty credited the job of ladies as ‘a lot of conceivable outcomes’, he engaged us to pick between these potential outcomes. Turning around sexual orientation parallel jobs and assuming responsibility for my own look inside my work, I go about as both the maker and the voyeur. To my group of spectators I am displayed as both the item and the subjugator. In 1998 Jemima Stehli takes on these jobs with her work ‘Seat’, reproducing Allen Jones’ unique envision from 1969 utilizing her own structure. Stehli’s situation inside her piece was depicted as “Both female and male situations inside a similar picture, not just ‘lady as scene’, ‘aloof object of the look,’ yet in addition as dynamic voyeur, controller of the look.” (Jones, 1999). By assuming responsibility for the circumstance and picking how our very own bodies are seen by our watchers, we assume the job of the customary male representation craftsman. This can be risky for ladies in todays society. As a site for workmanship practice, the body is an insecure medium. When focusing on the generalization of ladies through typifying my very own body in my work, I can’t generally ensure total responsibility for possess structure when uncovering it as a subject. Subsequently it can’t be ensured that watchers won’t discover this presentation exciting. I relish in this unsteadiness. At the ascent of the ladies’ development during the 1970s Britain, execution workmanship turned into a suitable option in contrast to the more traditional studio practice. Body-arranged works on, beginning during the 60s after the gestural canvases of Jackson Pollock, this drove Feminist Art, particularly performative angles, to turn out to be vigorously based around the body in a realtime circumstances. The female body turned into a significant piece of the new masterful procedure. Carolee Schneemann, finding the bare female body enabling, attempted to recover her body making it the strict site of her fine art. Her piece ‘Up Too And Including Her Limits’ from 1976, made as a discourse with Pollock, tending to the male commanded history of Abstract Expressionism and activity painting. Swinging stripped from an outfit, Schneemann makes drawings from her developments, working as a pencil, she vitalises and broadens her entire body as a stroke, a signal, in a dimensional space. Schneemann centers her body as the strict site for her work of art, acknowledging herself as a fundamental material. In my own work, I go about as Schneemann does, submerging myself into materiality. Simone De Beauvoir, asserting that ‘lady’ is a verifiable thought instead of a characteristic actuality (Beauvoir, 1972), under scored for us the differentiation among sex and sex. Thusly, the body moves toward becoming materiality, a functioning procedure. What’s more, for me, a medium. Acting continuously and genuine space, I am the material. I am both picture and picture producer, a basic old power of visual data. ‘The body isn’t self-indistinguishable or just factic materiality; it is a materiality that bears meaning.’ (Butler, 1988). Putting myself as an item according to the watcher, I energize the externalization and acknowledgment of my body through my work. Much like ‘Up To and Including Her Limits’ I expand drawing through my body and onto the canvas. Each drawing made is an individual, explorative performative procedure of self reflection and job destabilization. Through my pieces, for example, ‘Give Her A Pattern #1’ I power my group of spectators to rethink the structure, to scan for, instead of to see. My watchers are made to defy the promptness of my body, of my appendages. They’re made to assemble them up at sort them retreat, that is human instinct. II. The De-Ribbing Process (Statement) 1976. Hannah Wilke remains behind Duchamp’s ‘The Bride Stripped Bare by Her Bachelors, Even’ (Also know as The Large Glass) wearing a white glossy silk suit and fedora. Duchamp’s work decreases human sexuality to the status of mechanical procedure while subsequently, isolating male and female (Batchelor versus Bride). Once more, Wilke takes on both the job of male and female. Quickly undermining the pivotal component to one of Duchamp’s most well known pieces. In part twisted behind the glass, Wilke starts to strip, this exhibition is a brief length of sexually charged and freed acts. A reclamation of female sexuality. A recovery of our very erotica. Through my fine art, I point, as Wilke did, to recover the conviction of lady. By utilizing and along these lines controlling my very own body through my fine art, I do precisely that. As one with my material, I work to ‘de-rib’ lady from man. To recognize Eve from Adam. By assuming responsibility for who I am, what I am and how Im seen through drawing, I testing the builds of psychosexual advancement. As indicated by Jaques Lacan, it’s in our inclination to be driven by our sexual wants. To bridle and endeavor these wants in its most ‘zero structure’ (the glorification of ourselves) (Lacan and Fink, 1999) in my craft practice, I focus on the most customary male wants. One needs look no more distant than Yves Kleins work to see the abuse and control of a lady’s body through craftsmanship. Lady, simply his article, his paintbrush to be taken care of, act in a condition of all out lack of involvement. In 1992, Rachel Lachowicz attempted a basic survey of Kleins ‘Anthropometries’ arrangement. Remaining above man in her own exhibition piece, undeniable and persistent, Lachowicz turned around the jobs of Kleins unique execution, featuring a lady’s externalization through job inversion in its most perfect structure. Lachowicz states; “In case you’re fixated on what you look like, you invest your energy doing that, instead of doing and being and making achievements” (Dubin, 1992). Examining crafted by Lachowicz, I question myself and how I make a picture inside my presentation work. While uncovering my characteristic structure totally to my group of spectators, regardless I wear one thing in particular. Cosmetics. As an engraving of man centric culture, I question wether I am at last as yet attempting to introduce myself as an alluring article to men. Wether my training is completely determined independent from anyone else guilty pleasure and narcissism. Since the commencement of women’s activist workmanship, the topic of narcissism or phallic approval has been raised over ladies utilizing their body in or particularly as their fine art. III. Self Representation And The Question Of Narcissism All through expressions history, the obsession with self-likeness has never vacillated. Rembrant, Gaugin, Van Gogh have all been raised as ‘fathers’ of likeness. Indeed, even Egon Schiele, while he raised such a large number of temper, was never named a narcissist. McCarthy, Brisley, Nauman, while they used their bodies however execution craftsmanship, even still. When taking a gander at the most significant female specialists from the 1970’s onwards, Schneemann, Wilke, Cindy Sherman, who thusly, all utilized their own picture as the inside purpose of their training, instead of commended, they were condemned and marked narcissistic. Narcissism. The investigation of/and obsession with oneself. (Jones, 1998) In the event that we fully trust narcissism, I question, why it can’t be viewed as a political and performative component. Workmanship history specialist, Amelia Jones, reinterprets narcissism, as a women’s activist system, that can be received and used by craftsmen, saying; ‘Narcissism, authorized through body craftsmanship turns the subject unyieldingly and incomprehensibly outward’ (Jones, 1998). I question now, that if, maybe by taking part in narcissism through my specialty practice, I likewise connect with myself in the codes and sorts of manly self-likeness and convention. I understand likewise, by saying this, that I am not making my work of art in the expectation of phallic approval, that will be approve>
Since the 1970s, Feminist workmanship practice has been at the very cutting edge of social and political talk. From Carolee Schneemann to the Guerrilla Girls the focusing on and uncovering of imbalance among male and female partners in Western Society has earned its incentive inside the craftsmanship world. Through my studio practice I center significantly around the externalization of the female structure. While a few specialists approach this subject with alert and heedfulnes, I approach it with full pressure and energy. With the point of bringing out passionate reactions ascribed to how society studies the body, I endeavor and section my own body, expecting to ‘re-develop’ the vision of the female structure. ‘Men act and lady show up. Men take a gander at lady. Lady watch themselves being taken a gander at. This decides most relations among men and lady as well as the connection of ladies and themselves. The surveyor of lady in herself is male: the studied, female. Subsequently, she transforms herself into an article and most especially an object of vision: a sight.’ â Ways of Seeing, John (Berger, 2012) As ladies, we act under the status of an authentic item. Merleau-Ponty keeps up not just that the body is a recorded thought however a lot of conceivable outcomes to be consistently acknowledged (Butler, 1988). Expecting to rise above this objectivity ladies turned into a functioning job inside their work of art. This made an outlet that before long veered into two polar methodologies with respect to the job of the female body. One, opposing setting the body in a place of look and generalization. The other, used the freed body and its sexual expressness. These two unique ways to deal with women’s activist enunciation made a division in regards to how the female body ought to be utilized inside artistic work practice. For women’s activist craftsmen, the body turned into a challenged site, a risky locus for work (Battista, 2013). I. The Body: Site, Object, Material. “The body isn’t just an authentic thought yet a lot of conceivable outcomes to be consistently acknowledged” â Merleau-Ponty, “The Body is its Sexual Being,” in The Phenomenology of Perception, 2015 (Merleau-Ponty, 2015) Lady is constantly depicted in connection to the man. In the craftsmanship world, a female craftsman is contrasted with the male as opposed to her female partner. We hold various titles, ‘Craftsman’ and ‘Female craftsman’. As ladies, we act under this status. When Ponty credited the job of ladies as ‘a lot of conceivable outcomes’, he engaged us to pick between these potential outcomes. Turning around sexual orientation parallel jobs and assuming responsibility for my own look inside my work, I go about as both the maker and the voyeur. To my group of spectators I am displayed as both the item and the subjugator. In 1998 Jemima Stehli takes on these jobs with her work ‘Seat’, reproducing Allen Jones’ unique envision from 1969 utilizing her own structure. Stehli’s situation inside her piece was depicted as “Both female and male situations inside a similar picture, not just ‘lady as scene’, ‘aloof object of the look,’ yet in addition as dynamic voyeur, controller of the look.” (Jones, 1999). By assuming responsibility for the circumstance and picking how our very own bodies are seen by our watchers, we assume the job of the customary male representation craftsman. This can be risky for ladies in todays society. As a site for workmanship practice, the body is an insecure medium. When focusing on the generalization of ladies through typifying my very own body in my work, I can’t generally ensure total responsibility for possess structure when uncovering it as a subject. Subsequently it can’t be ensured that watchers won’t discover this presentation exciting. I relish in this unsteadiness. At the ascent of the ladies’ development during the 1970s Britain, execution workmanship turned into a suitable option in contrast to the more traditional studio practice. Body-arranged works on, beginning during the 60s after the gestural canvases of Jackson Pollock, this drove Feminist Art, particularly performative angles, to turn out to be vigorously based around the body in a realtime circumstances. The female body turned into a significant piece of the new masterful procedure. Carolee Schneemann, finding the bare female body enabling, attempted to recover her body making it the strict site of her fine art. Her piece ‘Up Too And Including Her Limits’ from 1976, made as a discourse with Pollock, tending to the male commanded history of Abstract Expressionism and activity painting. Swinging stripped from an outfit, Schneemann makes drawings from her developments, working as a pencil, she vitalises and broadens her entire body as a stroke, a signal, in a dimensional space. Schneemann centers her body as the strict site for her work of art, acknowledging herself as a fundamental material. In my own work, I go about as Schneemann does, submerging myself into materiality. Simone De Beauvoir, asserting that ‘lady’ is a verifiable thought instead of a characteristic actuality (Beauvoir, 1972), under scored for us the differentiation among sex and sex. Thusly, the body moves toward becoming materiality, a functioning procedure. What’s more, for me, a medium. Acting continuously and genuine space, I am the material. I am both picture and picture producer, a basic old power of visual data. ‘The body isn’t self-indistinguishable or just factic materiality; it is a materiality that bears meaning.’ (Butler, 1988). Putting myself as an item according to the watcher, I energize the externalization and acknowledgment of my body through my work. Much like ‘Up To and Including Her Limits’ I expand drawing through my body and onto the canvas. Each drawing made is an individual, explorative performative procedure of self reflection and job destabilization. Through my pieces, for example, ‘Give Her A Pattern #1’ I power my group of spectators to rethink the structure, to scan for, instead of to see. My watchers are made to defy the promptness of my body, of my appendages. They’re made to assemble them up at sort them retreat, that is human instinct. II. The De-Ribbing Process (Statement) 1976. Hannah Wilke remains behind Duchamp’s ‘The Bride Stripped Bare by Her Bachelors, Even’ (Also know as The Large Glass) wearing a white glossy silk suit and fedora. Duchamp’s work decreases human sexuality to the status of mechanical procedure while subsequently, isolating male and female (Batchelor versus Bride). Once more, Wilke takes on both the job of male and female. Quickly undermining the pivotal component to one of Duchamp’s most well known pieces. In part twisted behind the glass, Wilke starts to strip, this exhibition is a brief length of sexually charged and freed acts. A reclamation of female sexuality. A recovery of our very erotica. Through my fine art, I point, as Wilke did, to recover the conviction of lady. By utilizing and along these lines controlling my very own body through my fine art, I do precisely that. As one with my material, I work to ‘de-rib’ lady from man. To recognize Eve from Adam. By assuming responsibility for who I am, what I am and how Im seen through drawing, I testing the builds of psychosexual advancement. As indicated by Jaques Lacan, it’s in our inclination to be driven by our sexual wants. To bridle and endeavor these wants in its most ‘zero structure’ (the glorification of ourselves) (Lacan and Fink, 1999) in my craft practice, I focus on the most customary male wants. One needs look no more distant than Yves Kleins work to see the abuse and control of a lady’s body through craftsmanship. Lady, simply his article, his paintbrush to be taken care of, act in a condition of all out lack of involvement. In 1992, Rachel Lachowicz attempted a basic survey of Kleins ‘Anthropometries’ arrangement. Remaining above man in her own exhibition piece, undeniable and persistent, Lachowicz turned around the jobs of Kleins unique execution, featuring a lady’s externalization through job inversion in its most perfect structure. Lachowicz states; “In case you’re fixated on what you look like, you invest your energy doing that, instead of doing and being and making achievements” (Dubin, 1992). Examining crafted by Lachowicz, I question myself and how I make a picture inside my presentation work. While uncovering my characteristic structure totally to my group of spectators, regardless I wear one thing in particular. Cosmetics. As an engraving of man centric culture, I question wether I am at last as yet attempting to introduce myself as an alluring article to men. Wether my training is completely determined independent from anyone else guilty pleasure and narcissism. Since the commencement of women’s activist workmanship, the topic of narcissism or phallic approval has been raised over ladies utilizing their body in or particularly as their fine art. III. Self Representation And The Question Of Narcissism All through expressions history, the obsession with self-likeness has never vacillated. Rembrant, Gaugin, Van Gogh have all been raised as ‘fathers’ of likeness. Indeed, even Egon Schiele, while he raised such a large number of temper, was never named a narcissist. McCarthy, Brisley, Nauman, while they used their bodies however execution craftsmanship, even still. When taking a gander at the most significant female specialists from the 1970’s onwards, Schneemann, Wilke, Cindy Sherman, who thusly, all utilized their own picture as the inside purpose of their training, instead of commended, they were condemned and marked narcissistic. Narcissism. The investigation of/and obsession with oneself. (Jones, 1998) In the event that we fully trust narcissism, I question, why it can’t be viewed as a political and performative component. Workmanship history specialist, Amelia Jones, reinterprets narcissism, as a women’s activist system, that can be received and used by craftsmen, saying; ‘Narcissism, authorized through body craftsmanship turns the subject unyieldingly and incomprehensibly outward’ (Jones, 1998). I question now, that if, maybe by taking part in narcissism through my specialty practice, I likewise connect with myself in the codes and sorts of manly self-likeness and convention. I understand likewise, by saying this, that I am not making my work of art in the expectation of phallic approval, that will be approve>
