The prospect of public speaking is daunting and often frightening for many people. Despite this, most students and professionals must make public presentations in one capacity or another over the course of their careers. What makes dealing with their fear difficult is that most have never been taught how to give a professional presentation. The purpose of this book is to provide some guidance in the 'how to's' of giving professional presentations in the behavioral sciences and related professions.
The book is written specifically for students and professionals who have little or no experience of giving presentations and for those who are particularly anxious about public speaking. It gives concrete advice about designing, delivering, and defending presentations. This advice includes recognition of the appropriate goals of the presentation, using the appropriate fonts, projecting one's voice, and dealing with stage fright. Also included is advice on giving persuasive presentations, drawing on recent social psychological research, and advice on lecturing to students.
Each chapter also includes summary tables to help readers organize their thoughts after each section. The book ends with some examples of good and bad overhead displays and slides.

Related link: Free Email Alerting

The prospect of public speaking is daunting and often frightening for many people. Despite this, most students and professionals must make public presentations in one capacity or another over the course of their careers. What makes dealing with their fear difficult is that most have never been taught how to give a professional presentation. The purpose of this book is to provide some guidance in the 'how to's' of giving professional presentations in the behavioral sciences and related professions.
The book is written specifically for students and professionals who have little or no experience of giving presentations and for those who are particularly anxious about public speaking. It gives concrete advice about designing, delivering, and defending presentations. This advice includes recognition of the appropriate goals of the presentation, using the appropriate fonts, projecting one's voice, and dealing with stage fright. Also included is advice on giving persuasive presentations, drawing on recent social psychological research, and advice on lecturing to students.
Each chapter also includes summary tables to help readers organize their thoughts after each section. The book ends with some examples of good and bad overhead displays and slides.

Related link: Free Email Alerting

A guide to finding, researching and using historical textiles in your stitched work, to bring layers of meaning and a rich sense of emotional connection through place and time.

Renowned textile artist and tutor Hannah Lamb frequently uses and is inspired by old fabrics in her work, from age-worn cotton and linen sheets to delicate lace collars, vintage patchwork to snippets of colourful printed silk. In this book she explores many creative ways to incorporate historical textiles into your own work, from first conception and initial research to the finished piece. Chapters cover:

• Unfolding: how to track down historical textiles in shops, markets, antiques fairs, museum collections and online, or in your own family scrap bag, and how to conduct thorough and meaningful research into them.

• Connecting: how to design and plan your work with historical textiles, starting with mood boards and sketchbooks and progressing to practical creative experimentation, including old-fashioned techniques such as the ‘prick and pounce’ method of pattern transfer, popular in Tudor times.

• Making: the practicalities of using old and fragile materials in your work, and how to combine them with newer fabrics to make cohesive and beautiful pieces that tell powerful stories. This chapter also explores alternative ideas, such as digital printing, that allow you to import the fabric’s essence but leave the original piece intact.

• Gathering: this chapter considers examples of contemporary artworks that respond to textile heritage and place, and studies how we tell histories and whose perspective we tell them from.

This thoughtful, imaginative book is illustrated with inspirational examples of the author’s own work and that of other leading textile artists, and provides a valuable introduction to working with historical textiles to enhance your own pieces of textile art.

James Ravilious (1939-1999) trained as an artist, like his father Eric, but a Cartier-Bresson exhibition converted him to photography, which he taught himself. In 1972, a move to his wife Robin's homeland - a very rural, unspoilt part of North Devon - inspired him. It also produced the perfect job: recording daily life in that traditional bit of old England before it was modernised. He devoted himself to this for more than seventeen years. The results, over 75,000 black and white negatives in the Beaford Archive, form what Barry Lane, Secretary General of the Royal Photographic Society, called `a unique body of work, unparalleled at least in this country for its scale and quality' James was a friendly, modest man with a very unintrusive approach. Because of this, and because of the length of the project, he was able to make a uniquely detailed portrait, intimate and sympathetic, of a whole way of life in one small piece of countryside: its landscapes, its seasons, its people, their hardships and their pleasures. His respect for his subjects is manifest in his work. He never sentimentalised their lives. It was vital to him that his record should be completely honest. But it is not merely social history. It is also the work of someone who composed with the eye of an artist, and who often looked at his world with artists such as Breughel, Claude Lorrain, Thomas Bewick and Samuel Palmer in mind.

In the 21st century photography has come of age as a contemporary art form. Almost two centuries after photographic technology was first invented, the art world has fully embraced it as a legitimate medium, equal in status to painting and sculpture. This book provides an introduction to the extraordinary range of contemporary art photography, from portraits of intimate life to highly staged, 'directorial' spectacle. The vast span of photographers whose work is reproduced includes established artists such as Isa Genzken, Jeff Wall, Sophie Calle, Thomas Demand, Nan Goldin and Sherry Levine, as well as emerging talents such as Sara VanDerBeek, Rashid Johnson, Viviane Sassen and Amalia Ulman. This new edition revitalizes previous discussion of works from the 2000s through dialogue with more recent practice. Adding to the wide selection featured of work, Cotton celebrates a new generation of artists, who are shaping photography as a culturally significant medium for our current socio-political climate.

When restrictive immigration laws were introduced in the late-nineteenth and early-twentieth centuries, they involved new requirements for photographing and documenting immigrants--regulations for visually inspecting race and health. This work is the first to take a comprehensive look at the history of immigration policy in the United States through the prism of visual culture. Including many previously unpublished images, and taking a new look at Lewis Hine's photographs, Anna Pegler-Gordon considers the role and uses of visual documentation at Angel Island for Chinese immigrants, at Ellis Island for European immigrants, and on the U.S.-Mexico border. Including fascinating close visual analysis and detailed histories of immigrants in addition to the perspectives of officials, this richly illustrated book traces how visual regulations became central in the early development of U.S. immigration policy and in the introduction of racial immigration restrictions. In so doing, it provides the historical context for understanding more recent developments in immigration policy and, at the same time, sheds new light on the cultural history of American photography.

Do you ever wish you had a photographic memory? Imprint 25 classic photographs on your mind by matching the two halves of the image and piecing together the history of photography in the process. Featuring 25 world-famous photographers, from Anna Atkins to Martin Parr, this unique new memory game is a perfect gift for fans of photography and art. MATCH IT: A fun, simple game of matching pairs. In the format of a classic memory game, this unique photographic memory game will have you piecing together famous artworks! BEAUTIFULLY DESIGNED: Discover 50 cards imprinting 25 classic photographs on your mind by matching the two halves. EASY TO PLAY: Easy to understand instructions make it possible to start playing right away. HIGHEST QUALITY: Includes a full colour booklet with information on all 25 world-famous photographers from Anna Atkins to Martin Parr and many more GIFTS: The perfect gift for photography and art fans or simply people wanting to get to know photographers work more. Other Match It games available from Laurence King Publishing include: You Callin' Me a Cheetah?, Who Did This Poo?, Twins Memory Game, Pick a Flower, Match These Bones, Match a Mummy, Match a Leaf, Dogs & Puppies, Cats & Kittens, Do You Look Like Your Dog?, Do You Look Like Your Cat?

This book examines the archival aesthetic of mourning and memory developed by Latin American artists and photographers between 1997-2016. Particular attention is paid to how photographs of the assassinated or disappeared political dissident of the 1970s and 1980s, as found in family albums and in official archives, were not only re-imagined as conduits for private mourning, but also became allegories of social trauma and the struggle against socio-political amnesia. Memorials, art installations, photo-essays, street projections, and documentary films are all considered as media for the reframing of these archival images from the era of the Cold War dictatorships in Argentina, Chile, Guatemala, and Uruguay. While the turn of the millennium was supposedly marked by "the end of history" and, with the advent of digital technologies, by "the end of photography," these works served to interrupt and hence, belie the dominant narrative on both counts. Indeed, the book's overarching contention is that the viewer's affective identification with distant suffering when engaging these artworks is equally interrupted: instead, the viewer is invited to apprehend memorial images as emblems of national and international histories of ideological struggle.

This selection of women's writings on photography proposes a new and different history, demonstrating the ways in which women's perspectives have advanced photographic criticism over 150 years, focusing it more deeply and, with the advent of feminist approaches, increasingly challenging its orthodoxies. Included in the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and Carol Squiers.

From German colonialism to the post-apartheid present, Brandt’s photographs present new views of Namibia that intertwine its many histories

Featuring images and video stills made over more than a decade, The Distance Within reflects on photographer Nicola Brandt’s (born 1983) German and Namibian ancestry and deconstructs certain established ways of seeing Namibia. Brandt traveled the country extensively, documenting landscapes and people, structures and encounters, to reveal ensnared histories of German colonialism, National Socialism and apartheid. Markers of these histories range from the ephemeral and private, such as a dilapidated mound of stones as a roadside memorial, to official sites of remembrance and resistance, particularly for colonial atrocities. Alongside her images, Brandt assembles texts by scholars in photography, postcolonial cultures, memory and genocide studies, as well as archival material, to understand enduring blind spots. The result is an intersectional argument in favor of reclaiming suppressed Indigenous stories and identities, undoing romantic notions of whiteness and, ultimately, illuminating what has not been visible.

Photography of art has served as a basis for the reconstruction of works of art and as a vehicle for the dissemination and reinterpretation of art. This book provides the first definitive treatment of the subject, with essays from noted authorities in the fields of art history, architecture, and photography. The essays explore the many meanings of photography as documentation for the art historian, inspiration for the artist, and as a means of critical interpretation of works of art. Art History Through the Camera's Lens will be important reading for students, historians, librarians, and curators of the visual arts. Readership: Academics and professionals in the areas of art history, history of photography, archival management, archaeology, historiography, philosophy of art, and critical theory.

Focusing on the later work of the American photographer Francesca Woodman (1958-1981), Claire Raymond takes up the question of the disintegrative condition of the art she produced in the last year of her life. Departing from the techniques of her earlier compositions, Woodman worked in the diazotype process for many of these late pieces, most importantly the monumental Blueprint for a Temple. Raymond shows that through her use of diazotype, a medium that breaks down when exposed to light, Woodman created art that is both supremely evocative aesthetically and inherently unstable physically. Woodman, Raymond contends, was imaginatively responding to the end of the durable image, a historical reality acknowledged in the way her work plays the ephemeral and evanescent against the monumental and enduring. Raymond focuses on the theoretical and the curatorial issues surrounding Woodman's diazotypes, a thematic and practical distress that haunts much of her later art, especially the artist's book and photo series Some Disordered Interior Geometries and Portrait of a Reputation. Rather than conceiving of Woodman herself as fragile, an artist chronicling and seeming to yearn for her own disappearance, Raymond juxtaposes Woodman's career-spanning documentation of her own image against other post-war witnesses of trauma - an artist standing in the museum ruins where she emerges most distinctly as a figure of postmodernity.