Learning to Look at Sculpture introduces students to different types of sculpture from all periods of Western art, from Classical times to the present day. It considers the relationship between painting and sculpture, but also the interesting relationships between sculpture, other arts and its surrounding context, including architecture, design, and issues around commemoration and public space. In her highly accessible style, Acton demonstrates to those new to the field that learning to look at sculpture in a more focussed and analytical way can lead to greater understanding of sculpture of the past and the present, and of the cultures from which it comes. This book is intended as a companion volume to Learning to look at Paintings and Learning to look at Modern Art by the same author.

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.

This companion text to the author's Learning to Look at Paintings addresses some of the questions most commonly asked about modern art, covering key movements of the modern and postmodern periods in a richly illustrated and engaging volume.

Slow Looking provides a robust argument for the importance of slow looking in learning environments both general and specialized, formal and informal, and its connection to major concepts in teaching, learning, and knowledge. A museum-originated practice increasingly seen as holding wide educational benefits, slow looking contends that patient, immersive attention to content can produce active cognitive opportunities for meaning-making and critical thinking that may not be possible though high-speed means of information delivery. Addressing the multi-disciplinary applications of this purposeful behavioral practice, this book draws examples from the visual arts, literature, science, and everyday life, using original, real-world scenarios to illustrate the complexities and rewards of slow looking.

Three mice visit a museum and learn that sculpture comes in all shapes, sizes, and textures

Following on from her bestselling book How to Survive Modern Art, Susie Hodge once again tackles a dauntingly complex subject: how can we evaluate, explore and respond to art? With the power to affect us all, art can be enjoyed in many different ways. Its impact can be both straightforward and unexpected. It can change our minds or our attitudes, provoke anger or shock, or make us laugh or cry. It can intimidate, disconcert, pose conundrums or puzzles, or instruct or enlighten. Ultimately, it offers a window on society's values and ideals, and every work of art expresses the perceptions and memories of the artist who created it. In her characteristically engaging style, Susie Hodge shows us how to interpret and respond to a broad variety of artwork and artists' philosophies. This enormously stimulating book enriches our experience of art, and in the process enhances our own creativity.

“If John Berger’s Ways of Seeing is a classic of art criticism, looking at the ‘what’ of art, then David Salle’s How to See is the artist’s reply, a brilliant series of reflections on how artists think when they make their work. The ‘how’ of art has perhaps never been better explored.” —Salman Rushdie How does art work? How does it move us, inform us, challenge us? Internationally renowned painter David Salle’s incisive essay collection illuminates these questions by exploring the work of influential twentieth-century artists. Engaging with a wide range of Salle’s friends and contemporaries—from painters to conceptual artists such as Jeff Koons, John Baldessari, Roy Lichtenstein, and Alex Katz, among others—How to See explores not only the multilayered personalities of the artists themselves but also the distinctive character of their oeuvres. Salle writes with humor and verve, replacing the jargon of art theory with precise and evocative descriptions that help the reader develop a personal and intuitive engagement with art. The result: a master class on how to see with an artist’s eye.