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Book Review: The Braid of Literature: Children's Worlds of Reading

Book Review: The Braid of Literature: Children's Worlds of Reading Australian Journal of Education educational techniques of Kandinsky and Klee in particular are crying out for attention and application. Kandinsky and Klee believed that form was the basis for all visual thinking. Looking at both art and craft manifestations of ideas is quite impossible without first understanding that the operations of form are the matrix of design when applied to either mode of self-expression. This book ought to be an ideal primer for dealing with art in action, but in some ways it fails to prepare the teacher for the basic nutrients of an art and craft student. Consequently the lesson plans or curriculum designs remain veiled by pedagogical uniformity, with little room for innovative practice by the aspiring and committed art teacher. In dealing with an interface between visual art theory and practice, Richardson more or less leaves out the significance of text to a visual artist, omits the influence of theatre and dance, and simply dismisses music as a background issue in the art studio in schools. Worse still, references to nature as the ideal determinant for structural rep- ertoire are minimal and evasive. The essence of good art and craft teaching must take account of the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Australian Journal of Education SAGE

Book Review: The Braid of Literature: Children's Worlds of Reading

Australian Journal of Education , Volume 38 (1): 2 – Apr 1, 1994

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Publisher
SAGE
Copyright
© 1994 Australian Council for Educational Research
ISSN
0004-9441
eISSN
2050-5884
DOI
10.1177/000494419403800108
Publisher site
See Article on Publisher Site

Abstract

Australian Journal of Education educational techniques of Kandinsky and Klee in particular are crying out for attention and application. Kandinsky and Klee believed that form was the basis for all visual thinking. Looking at both art and craft manifestations of ideas is quite impossible without first understanding that the operations of form are the matrix of design when applied to either mode of self-expression. This book ought to be an ideal primer for dealing with art in action, but in some ways it fails to prepare the teacher for the basic nutrients of an art and craft student. Consequently the lesson plans or curriculum designs remain veiled by pedagogical uniformity, with little room for innovative practice by the aspiring and committed art teacher. In dealing with an interface between visual art theory and practice, Richardson more or less leaves out the significance of text to a visual artist, omits the influence of theatre and dance, and simply dismisses music as a background issue in the art studio in schools. Worse still, references to nature as the ideal determinant for structural rep- ertoire are minimal and evasive. The essence of good art and craft teaching must take account of the

Journal

Australian Journal of EducationSAGE

Published: Apr 1, 1994

There are no references for this article.