This book is a visual puzzle that should be enjoyed by puzzle lovers of all ages. The very youngest readers will enjoy looking at the photos and kaleidoscopes but may need some help with the matching activity. I took photographs of backyard animals then I created a computer-generated kaleidoscope pattern of each. It is the reader's task to look at the photographs carefully then try to find the kaleidoscope pattern that matches each. The kaleidoscope patterns will have clues such as colors, patterns, shapes that will help you do the job. I hope you enjoy this book as much as I have making it.

The pencil is a single tool that has the power to reset mindsets, enhance thinking, improve retention, recall, and comprehension, calm us and make us smile...all this from our pencil! My Pencil Made Me Do It is a unique, hands-on, create-to-connect and doodle-to-learn book that will have readers DISCOVERING powerful moments, LEARNING the power behind visual thinking, and doodling to learn. Through honest perspective and creative insight, Carrie opens educators and students to VISUALIZING their thinking and their learning while enabling them to experience how they can bring visual thinking into our world. After reading this book, you can expect to: CONNECT with your very own visual learner and the deep power this holds. DOODLE your way through meaningful visual- and doodle-filled activities. REPEAT this creative epiphany tomorrow to bring out the best in yourself, your teaching, your children, and your students!

A fanciful history lesson for middle graders, featuring a charming mouse named Celeste. Celeste is a mouse who is looking for a home. Is it nestled in the toe of a warm boot? In the shirt pocket of Celeste’s new friend Joseph? Or is home the place deep inside Celeste’s heart, where friendships live? Beautifully illustrated with hundreds of black-and-white drawings, A Nest for Celeste is a short novel that tells the story a mouse living in the 1800s and his friendship with John James Audubon’s young apprentice. While enjoying this sweet amd appealing story, young readers will also learn about nineteenth-century plantation life and the famous naturalist who was known for his paintings of birds and American wildlife.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

Offers a collection of jokes that follow the pattern "Knock, knock" "Who's there?" "Isadore" "Isadore who?" "Isadore open or shut?"

When Pigasso met Mootisse, what begins as a neighborly overture escalates into a mess. Before you can say paint-by-numbers, the two artists become fierce rivals, calling each other names and ultimately building a fence between them. But when the two painters paint opposite sides of the fence that divides them, they unknowingly create a modern art masterpiece, and learn it is their friendship that is the true work of art. Nina Laden's wacky illustrations complement this funny story that non only introduces children to two of the world's most extraordinary modern artists, but teaches a very important lesson—how to creatively resolve a conflict—in a most unusual way.

A little boy meets a stranded alien child and the two instantly strike up a fabulous friendship. They go to school, explore the neighborhood, and have lots of fun all day. However, when bedtime rolls around, the little boy must comfort his homesick new friend. This funny, heartwarming story proves that friends and family are the most important things in the universe . . . no matter who or where you are.