Differentiated instruction is a nice idea, but what happens when it comes to assessing and grading students? What's both fair and leads to real student learning? Fair Isn't Always Equal answers that question and much more. Rick Wormeli offers the latest research and common sense thinking that teachers and administrators seek when it comes to assessment and grading in differentiated classes. Filled with real examples and "gray" areas that middle and high school educators will easily recognize, Rick tackles important and sometimes controversial assessment and grading issues constructively. The book covers high-level concepts, ranging from "rationale for differentiating assessment and grading" to "understanding mastery" as well as the nitty-gritty details of grading and assessment, such as: whether to incorporate effort, attendance, and behavior into academic grades;whether to grade homework;setting up grade books and report cards to reflect differentiated practices;principles of successful assessment;how to create useful and fair test questions, including how to grade such prompts efficiently;whether to allow students to re-do assessments for full credit. This thorough and practical guide also includes a special section for teacher leaders that explores ways to support colleagues as they move toward successful assessment and grading practices for differentiated classrooms.

This volume is the catalogue for the spring 1997 exhibition at the Royal Academy in London and at the summer 1997 exhibition at the Menil Collection in Houston. The exhibition focuses on Braque's late works including the Interiors, Billiard Tables and the late Bird paintings.

"Published on the occasion of the exhibition Salvador Dali: the late work, High Museum of Art, Atlanta, Georgia August 7, 2010-January 9, 2011"--Colophon.

Collects nine essays that discusses the creativity of influential artists, as well as the legacy of their work following their deaths, and covers Wolfgang Amadeus Mozart, Piet Mondrian, Frank Gehry, and others.

One of the most beloved painters of the twentieth century, Giorgio Morandi created works that continue to exert their mysterious power on viewers worldwide. This publication focuses on the period from 1948 to 1964, during which Morandi developed and refined his investigations of serial, reductive, and permutational forms and compositions, a body of work that has had a profound influence on twentieth-century art and painting. Included here are five of the ten iconic “yellow cloth” paintings from 1952, a series featured prominently in the historic 1998 exhibition at the Peggy Guggenheim Collection in Venice, and numerous late paintings by the Italian master. Lavishly reproduced, these immersive plates draw attention to the idiosyncratic perspectival and color-driven decisions that give the work its abstract power. The catalogue is published on the occasion of the 2015 exhibition of Morandi’s paintings from this period at David Zwirner, New York—which, according to The New York Times, represent “lucid perfection, at once cerebral and impassioned.” It marked the first major presentation of the artist’s late work in America since the acclaimed 2008 retrospective at The Metropolitan Museum of Art, New York. In addition to an essay by Laura Mattioli and a foreword by David Leiber, who organized the exhibition, this catalogue includes a fantastic array of contributions by contemporary artists: John Baldessari, Lawrence Carroll, Vija Celmins, Mark Greenwold, Liu Ye, Wayne Thiebaud, Alexi Worth, and Zeng Fanzhi. They offer their personal responses to Morandi’s work and to the Zwirner exhibition in particular. Working in different media across many disciplines, this diverse list of contributors is a testament to the reach of Morandi’s paintings and their influence on contemporary art.

In Exact Imagination, Late Work, Shierry Weber Nicholsen begins the process of appropriating Adorno through the centrality of the aesthetic dimension.

This introduction to Shakespeare's work offers clear readings of his late plays. Incorporating collaborative works, revised works and textual analysis of this phase of Shakespeare's career, it also considers its relationships with the work of Fletcher, Middleton, and with Shakespeare's own earlier works.