EDUCATION / Arts in Education

Artist and teacher Liz Byron demonstrates how to design lessons and instruction in the visual arts using the inclusive principles of Universal Design for Learning (UDL). Readers learn to set meaningful goals, measure progress, customize instruction, and engage all learners across grades.

'Art Practice as Research' presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practice, and contexts of artistic inquiry and positions them within the discourse of research.

Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students "learn to look." This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.

Applies research on how humans perceive, process and store information to the viewing and interpretation of art. The author argues that the clearest view of the mind comes from creating or experiencing art. The illustrations cover a range of examples but focus primarily on Western art.

A visually-striking and thought-provoking resource to support Visual Arts for the IB diploma. Visual Arts for the IB Diploma student book is tailored to the IB subject guide for first exam 2016. This student book covers each of the core areas of the Visual Arts course and links them to theoretical, art-making and curatorial practices. It includes activities to give students practical ways to learn and reflect on their work, as well as a wealth of case studies and examples of students' work to aid understanding of visual arts in the real world.

Although Edgar Allan Poe is most often identified with stories of horror and fear, there is an unrecognized and even forgotten side to the writer. He was a self-declared lover of beauty who “from childhood’s hour . . . [had] not seen / As others saw.” Poe and the Visual Arts is the first comprehensive study of how Poe’s work relates to the visual culture of his time. It reveals his “deep worship of all beauty,” which resounded in his earliest writing and never entirely faded, despite the demands of his commercial writing career. Barbara Cantalupo examines the ways in which Poe integrated visual art into sketches, tales, and literary criticism, paying close attention to the sculptures and paintings he saw in books, magazines, and museums while living in Philadelphia and New York from 1838 until his death in 1849. She argues that Poe’s sensitivity to visual media gave his writing a distinctive “graphicality” and shows how, despite his association with the macabre, his enduring love of beauty and knowledge of the visual arts richly informed his corpus.

The book is a comprehensive phenomenological study of meanings that are unique to the major visual art forms.

'Ethics and the Visual Arts' offers insights on matters as far ranging as art and censorship, cultural globalization, the effect of the Internet on art and artists, and the ethics and role of new media.

A to is Riegl (1858-1905) was one of the greatest modern art historians. The most important member of the so-called "Vienna School," Riegl developed a highly refined technique of visual or formal analysis, as opposed to the iconological method with its emphasis on decoding motifs through recourse to texts. Riegl also pioneered understanding of the changing role of the viewer, the significance of non-high art objects or what would now be called visual or material culture, and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). At last, his Historical Grammar of the Visual Arts, which brings together the diverse threads of his thought, is available to an English-language audience, in a superlative translation by Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical "surveys," Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives, from Hegelian models but decisively opens onto alternative pathways that continue to complicate attempts to reduce art merely to the artist's intentions or its social and historical functions. Book jacket.