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The Portuguese Restoration of 1640 ended the dynastic union of Portugal and Spain. This book pioneers in reconstructing the global image discourse related to the event by bringing together visualizations from three decades and four continents. These include paintings, engravings, a statue, coins, emblems, miniatures, a miraculous crosier and other regalia, buildings, textiles, a castrum doloris, drawings, and ivory statues. Situated within the academic field of visual studies, the book interrogates the role of images and depictions before, during, and after the overthrow and how they functioned within the intercontinental communication processes in the Portuguese Empire. The results challenge the conventional notion of center and periphery and reveal unforeseen entanglements as well as an unexpected agency of imagery from the remotest regions under Portuguese control. The book breaks new ground in linking the field of early modern political iconography with transcultural art history and visual studies.

Through international case studies, this book explores the causes and effects of historical and contemporary cultural changes in art education. A general broadening of content and methods, a renewed emphasis on student interests, and diverse critical perspectives can currently be seen internationally in art curricula. This book explores ways that visual culture in education is helping to move art curricula off their historical foundations and open the field to new ways of teaching, learning, and prefiguring worlds. It highlights critical histories and contemporary stories, showing how cultural milieu influences and is influenced by the various practices that make up the professional field inside and outside of institutional borders. This book shows students how contemporary art educators are responding, revising, and re-creating the field.

Professional practice is increasingly becoming more complex, demanding, dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels, this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities, work cultures, change and transitions and envisioning new pathways. Chapters address the components of the self-study model, artistic methods and materials, and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals, references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes. The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic, interpretive, rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development, formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities, work cultures and communities, transition and change within professional practice and envisioning new pathways for professional practice. The self-study model is grounded in contemporary theory, practice and compelling research, and embraces robust strategies for understanding the complexities of professional practice that can include dual, multiple, overlapping, hybrid and conflicting professional identities, tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice, concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses. With visual arts practitioners in mind, various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights, themes, issues and questions from their self-study outcomes, how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims. Throughout the text, charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media, methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms, guidelines and rubrics for writing reflections, creating visual responses and using a visual journal in the self-study process. Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.

\"Information Design shows designers in all fields - from user-interface design to architecture and engineering - how to design complex data and information for meaning, relevance, and clarity. Written by a worldwide authority on the visualization of complex information, this full-color, heavily illustrated guide provides real-life problems and examples as well as hypothetical and historical examples, demonstrating the conceptual and pragmatic aspects of human factors-driven information design. Both successful and failed design examples are included to help readers understand the principles under discussion\"-- Provided by publisher.

This collection explores critical and visual practices through the lens of interactions and intersections between pattern and chaos. The dynamic of the inter-relationship between pattern and chaos is such as to challenge disciplinary boundaries, critical frameworks and modes of understanding, perception and communication, often referencing the in-between territory of art and science through experimentation and visual scrutiny. A territory of 'pattern-chaos' or 'chaos-pattern' begins to unfold. Drawing upon fields such as visual culture, sociology, physics, neurobiology, linguistics or critical theory, for example, contributors have experimented with pattern and/or chaos-related forms, processes, materials, sounds and language or have reflected on the work of other artists, scientists and scholars. Diagrams, tessellations, dust, knots, mazes, folds, creases, flux, virus, fire and flow are indicative of processes through which pattern and chaos are addressed. The contributions are organized into clusters of subjects which reflect the interdisciplinary terrain through a robust, yet also experimental, arrangement. These are 'Pattern Dynamics', 'Morph Flux Mutate', 'Decompose Recompose', 'Virus; Social Imaginary' and 'Nothings in Particular'.

Women Artists in the Early Modern Courts of Europe, c. 1450.1700 presents the first collection of essays dedicated to women as producers of visual and material culture in the Early Modern European courts, offering fresh insights into the careers of, among others, Caterina van Hemessen, Sofonisba Anguissola, Luisa Roldán, and Diana Mantuana. Also considered are groups of female makers, such as ladies-in-waiting at the seventeenth-century Medici court. Chapters address works by women who occupied a range of social and economic positions within and around the courts and across media, including paintings, sculpture, prints, and textiles. Both individually and collectively, the texts deepen understanding of the individual artists and courts highlighted and, more broadly, consider the variety of experiences of female makers across traditional geographic and chronological distinctions. The book is also accompanied by the Global Makers: Women Artists in the Early Modern Courts digital humanities project (www.globalmakers.ua.edu), extending and expanding the work begun here.