Andrew Lambirth – författare

"The book’s strength lies in the ability of the contributors to draw conclusions in relation to the reading debate and constructively justify moving away from the reliance on a single phonics approach based on evidence from empirical research. ...The book offers a timely warning against reading becoming synonymous withsynthetic phonics instruction, of children becoming mere ‘functional decoders of print’ (p. 53). The argument turns to the very real need for children to develop andunderstand the ‘joy, relevance and use for reading’ (p. 79); indeed in the current climate of synthetic phonics instruction children are in danger of losing the ability orthe will to look at a book for pleasure."Early Years

Debates about the teaching of reading and particularly which phonics method teachers should use have been simmering for many years. This groundbreaking book offers critical perspectives on the teaching of reading and phonics, openly challenging contemporary policy in both England and the US.

As well as providing refreshing insights into how children encounter texts in the increasingly complex world of literacy, the book celebrates the complexity, pleasure and passion that are the foundations of becoming a successful reader. Each chapter explores in-depth the processes involved as children engage in reading, from their interactions with texts in the very earliest stages through to the primary phase. Drawing on both research and theory, the book also shows how some contemporary understandings of reading are based on over simplistic and rationalised ideas about the reading process.

A unique feature of this book is that it combines academic perspectives with the insights of parents and practitioners. The participation of those most closely involved with children complements the lively debate and contributions from researchers, providing a rich and inclusive range of ideas.

Understanding Phonics and the Teaching of Reading is a stimulating read for educational studies students, students of teaching and learning, policy makers, educational researchers and teachers.

This clear yet authoritative book affirms the vital role of creativity in writing and considers and encourages flexible, innovative practices in teaching. Importantly, the book reflects upon teachers' imaginative and artistic involvement in the writing process as role models, collaborators, artists, and as writers themselves.Arguing that children's creative use of language is key to the development of language and literacy skills, this book focuses on the composition process and how children can express their own ideas. In addition, the authors consider the many forms of creative language that influence the inner and outer voice of children, including reading, investigating, talking and engaging in a range of inspiring activities.Illustrated throughout with many examples of children's writing and drawing, this book also provides suggestions for classroom activities and is a source of inspiration and practical guidance for any teacher looking to deepen their understanding of literacy theory and practice.

This clear yet authoritative book affirms the vital role of creativity in writing and considers and encourages flexible, innovative practices in teaching. Importantly, the book reflects upon teachers' imaginative and artistic involvement in the writing process as role models, collaborators, artists, and as writers themselves.Arguing that children's creative use of language is key to the development of language and literacy skills, this book focuses on the composition process and how children can express their own ideas. In addition, the authors consider the many forms of creative language that influence the inner and outer voice of children, including reading, investigating, talking and engaging in a range of inspiring activities.Illustrated throughout with many examples of children's writing and drawing, this book also provides suggestions for classroom activities and is a source of inspiration and practical guidance for any teacher looking to deepen their understanding of literacy theory and practice.

An appealing picture book of cats depicted by John Craxton, one of the major figures of modern British painting, with an introduction and commentary by Andrew Lambirth, who knew Craxton well. By concentrating on a single subject very dear to John Craxton’s heart – cats – this book offers a much more accessible introduction to this popular artist (championed by David Attenborough and Andrew Marr among many others) than the recently published biography and monograph. Craxton's significance as the early artist companion of Lucian Freud, his time in Greece and his collaborations with Patrick Leigh Fermor have generated growing interest in his art. For John Craxton, cats were an index of moods and states of mind, and a splendidly apposite vehicle for his visual and verbal wit. Craxton loved cats and lived with them, on and off, for most of his life. The cat image came readily to mind and hand, whether he was planning a taverna scene in Crete, or doodling during a telephone conversation. Cats permeate his art, weaving their way through his paintings, drawings and prints, bringing humour and mischief to his images as they did to his daily existence. Affectionate and faithless, they were like so many casual lovers, no better than they should be, and gloriously on the make. In many ways, they are a fitting symbol or leitmotif for Craxton's own happy-go-lucky life. Containing new and original material, this widely accessible introduction to Craxton’s work will appeal to the devotee and the uninitiated alike.

This book builds on the guidance given by the Primary Strategy for Literacy. By 'filling in the gaps' that the planning documentation leaves, the book provides teachers with the structures and ideas to plan creatively and effectively for their children whilst following and enhancing the recommendations of the strategy. It includes:clear and practical ways to plan units of work that embrace reading, writing, speaking and listening, in exciting and active waysexamples of effective practice using children's work that highlight the effects of creative planningsuggestions for texts and resources that can be included in half-termly and termly planning.Written by a team of leading educationalists and teacher educators in the primary literacy field, this edited collection is a must-have for primary teachers wishing to inject creativity into the planning of their literacy lessons.

Making Poetry Matter draws together contributions from leading scholars in the field to offer a variety of perspectives on poetry pedagogy. A wide range of topics are covered including:- Teacher attitudes to teaching poetry in the urban primary classroom- Digital poetry and multimodality- Resistance to poetry in Post-16 EnglishThroughout, the internationally recognised contributors draw on case studies to ensure that the theory is clearly linked to classroom practice. They consider the teaching and learning challenges that poetry presents for those working with learners aged between 5 and 19 and explore these challenges with reference to reading; writing; speaking and listening and the transformative nature of poetry in different contexts.

This engaging text explores discourses involved in the teaching of literacy which can be conceptualised as deriving from the political left. The concept of a left and a right in politics are fully defined and a unique analytical framework is introduced to examine and categorise perspectives for teaching literacy. The book creates a language of critique for methods advocated from liberal, left-leaning sources within the field of education and connects them to left political agendas that aspire to either reform or revolution to change and improve society. These left approaches are then contrasted with politically right agendas. Methods for the teaching of literacy have for many years been seen to be politically motivated by commentators on the left and the right of politics. This book considers the ideological sources of educational practice in literacy. Methods advocated from more liberal perspective are rarely critiqued and examined for their ideological and political roots.

This engaging text explores discourses involved in the teaching of literacy which can be conceptualised as deriving from the political ‘left’. The concept of a ‘left’ and a ‘right’ in politics are fully defined and a unique analytical framework is introduced to examine and categorise perspectives for teaching literacy. The book creates a language of critique for methods advocated from liberal, ‘left-leaning’ sources within the field of education and connects them to left political agendas that aspire to either reform or revolution to change and improve society. These left approaches are then contrasted with politically ‘right’ agendas.Methods for the teaching of literacy have for many years been seen to be politically motivated by commentators on the left and the right of politics. This book considers the ideological sources of educational practice in literacy. Methods advocated from more liberal perspective are rarely critiqued and examined for their ideological and political roots.

UKLA Academic Book Award 2016: Highly CommendedMaking Poetry Happen provides a valuable resource for trainee and practicing teachers, enabling them to become more confident and creative in teaching what is recognized as a very challenging aspect of the English curriculum. The volume editors draw together a wide-range of perspectives to provide support for development of creative practices across the age phases, drawing on learners' and teachers' perceptions of what poetry teaching is like in all its forms and within a variety of contexts, including:- inspiring young people to write poems- engaging invisible pupils (especially boys)- listening to poetry- performing poetry Throughout, the contributors include practical, tried-and-tested materials, including activities, and draw on case studies. This approach ensures that the theory is clearly linked to practice as they consider teaching and learning poetry to those aged between 5 and 19 from different perspectives, looking at reading; writing; speaking and listening; and transformative poetry cultures. Each of the four parts includes teacher commentaries on how they have adapted and developed the poetry activities for use in their own classroom.

UKLA Academic Book Award 2016: Highly CommendedMaking Poetry Happen provides a valuable resource for trainee and practicing teachers, enabling them to become more confident and creative in teaching what is recognized as a very challenging aspect of the English curriculum. The volume editors draw together a wide-range of perspectives to provide support for development of creative practices across the age phases, drawing on learners' and teachers' perceptions of what poetry teaching is like in all its forms and within a variety of contexts, including:- inspiring young people to write poems- engaging invisible pupils (especially boys)- listening to poetry- performing poetry Throughout, the contributors include practical, tried-and-tested materials, including activities, and draw on case studies. This approach ensures that the theory is clearly linked to practice as they consider teaching and learning poetry to those aged between 5 and 19 from different perspectives, looking at reading; writing; speaking and listening; and transformative poetry cultures. Each of the four parts includes teacher commentaries on how they have adapted and developed the poetry activities for use in their own classroom.

Making Poetry Matter draws together contributions from leading scholars in the field to offer a variety of perspectives on poetry pedagogy. A wide range of topics are covered including:- teacher attitudes to teaching poetry in the urban primary classroom- digital poetry and multimodality- resistance to poetry in Post-16 English.The internationally recognised contributors draw on data collected through a variety of research methods, including case studies, to ensure that theory on poetry pedagogy is clearly linked to practice. They consider teaching and learning poetry in classrooms across the 5 - 19 age range from different perspectives, looking at reading; writing; speaking and listening and transformative poetry cultures.

In order to be a successful primary teacher you need a clear understanding of good teaching practice across the subjects that make up the primary curriculum.

This second edition has been fully updated to include key points from the 2014 National Curriculum in England, balancing a clear discussion of the principles behind high quality teaching with the requirements of current policy. An emphasis on creative approaches supports you in developing inspiring cross-curricular practice in your classroom.

New to this edition:

Links to the 2014 National Curriculum in England in every chapter Case studies in every chapter provide useful examples of creative teaching in each curriculum subject Expanded coverage on assessment and planning  

This is essential reading for students on primary initial teacher education courses, including university-based (PGCE, PGDE, BA QTS, BEd), school-based (SCITT, School Direct, Teach First) and employment-based routes into teaching.

Learning to read is an exciting and vital part of every child’s development.

The new edition of this book continues to provide trainees and teachers with a broad understanding of teaching reading and phonics, and equip them with the skills necessary to face the reality of the early years classroom in order to meet the needs of individual children.

With vital information on constructing relationships with young readers, and how to plan phonics within a rich, interactive and playful literacy pedagogy, the second edition now includes:

A brand new chapter on babies and early reading More information on language acquisition and how children learn A discussion of children with SEN An appreciation for the rise of digital technologies in relation to reading

Whether you're training to become a teacher, or already working in the classroom this book is ideal for those who wish to embed the teaching of phonics into carefully selected high quality materials - particularly in children's literature.

Learning to read is an exciting and vital part of every child’s development.

The new edition of this book continues to provide trainees and teachers with a broad understanding of teaching reading and phonics, and equip them with the skills necessary to face the reality of the early years classroom in order to meet the needs of individual children.

With vital information on constructing relationships with young readers, and how to plan phonics within a rich, interactive and playful literacy pedagogy, the second edition now includes:

A brand new chapter on babies and early reading More information on language acquisition and how children learn A discussion of children with SEN An appreciation for the rise of digital technologies in relation to reading

Whether you're training to become a teacher, or already working in the classroom this book is ideal for those who wish to embed the teaching of phonics into carefully selected high quality materials - particularly in children's literature.

A celebration of the life and work of the innovative British artist Euan UglowEuan Uglow (1932–2000) was one of the finest painters of his generation. For a long time appreciated only by fellow artists and a relatively small band of devoted collectors, his work is now reaching a wider audience, and its innovative nature is finally being recognised and properly understood. He belongs with the best of twentieth-century British artists: Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud, and Leon Kossoff. As a radical modern master, he is not out of place with Ben Nicholson and Bridget Riley.The Uglow Papers is a celebration of Uglow’s art, life, and teaching, recounted by those who knew him as friend, colleague, or mentor. The book brings together anecdotes and opinions relating to the various decades of his life, from his years as a student in the late 1940s and early 1950s to his development and maturity as an artist and to his tragically early death. His life was a full one, devoted primarily to painting and drawing but also to teaching (mainly at the Slade School of Art) and to spending time with an unexpectedly wide circle of friends.This is the first major monograph on Uglow. Profusely illustrated, it contains much new material about the artist, his teaching, and his friendships. Initiated and edited by Andrew Lambirth, who knew the artist well for the last decade of his life, and with contributions from Frank Auerbach, Sir Paul Smith, and Cherie Blair among others, this book sheds new light on Euan Uglow’s life and work and will be an invaluable source of reference for all those interested in modern art.

This book builds on the guidance given by the Primary Strategy for Literacy. By 'filling in the gaps' that the planning documentation leaves, the book provides teachers with the structures and ideas to plan creatively and effectively for their children whilst following and enhancing the recommendations of the strategy. It includes:clear and practical ways to plan units of work that embrace reading, writing, speaking and listening, in exciting and active waysexamples of effective practice using children's work that highlight the effects of creative planningsuggestions for texts and resources that can be included in half-termly and termly planning.Written by a team of leading educationalists and teacher educators in the primary literacy field, this edited collection is a must-have for primary teachers wishing to inject creativity into the planning of their literacy lessons.

This is the first book to present a comprehensive overview of the entire career of British artist Richard Eurich (1903-1992), a figurative painter of compelling power and often visionary intensity who brought rare imaginative reserves to his depiction of the world around him, as well as to his apprehension of the mysterious and unseen. Eurich was a private man, not much given to self-promotion,  and as such has not received the widespread attention he deserves.The Art of Richard Eurich locates the artist within the context of 20th-century British art, demonstrating his relevance in all quarters of the art world of the period. Eurich was draughtsman, landscape painter, teacher, War Artist, autobiographer, marine painter extraordinaire, portrait painter, figure painter, satirist, genre painter, visual poet of the beach, and occasional sculptor. His many creative talents are brought together in a compelling analysis of how these various parts refer to each other and to the man who was responsible for them. Featuring a wide selection of his artworks, from the topographical to the visionary, from the drawn to the painted, this book unspools the narrative of Eurich's life through expertly chosen examples of his paintings and drawings and places him in relation to his fellow-artists, friends and contemporaries.

This is an update and review of the first major study of the life and art of London-born painter and collagist Francis Davison (1919–1984). After reading English and Anthropology at Cambridge, he wrote poetry, and took up drawing in 1946. On marriage to artist Margaret Mellis in 1948, the couple settled in Suffolk where they ran a smallholding at Syleham before moving to Southwold. By the early 1950s Davison’s paintings had become simplified shapes and it was not long before he ceased painting in favour of working in collage. Over the next 20 years reference to landscape disappeared and the colour range was extended. Davison relied entirely on found, used and unpainted papers, which were cut and fitted with great exactitude. By the end of his life he had developed a method of tearing paper that gave him complete mastery over his material. A very private man, Davison shunned publicity and insisted that only the most basic information should accompany the showing of his work. Reflecting this, he never received the recognition his work deserved, and there was only one substantial exhibition during his lifetime – at the Hayward Gallery in 1983 – but critical attention has grown since his death in the mid-1980s. Davison’s work was greatly admired by many of his contemporaries, most notably Patrick Heron and Roger Hilton. He is now seen as a major abstract collagist, with exhibitions at many public and commercial galleries. His work is held in the Arts Council collection.

A centennial celebration of the contemporary British painter Diana Armfield. Diana Armfield has a highly personal attachment to subject and a subtly distinctive affinity with the rhythms of form and tone. These qualities have made her an important, influential figure in modern British art—and a very popular one. She has received her widest acclaim for her flower paintings, but her work is much broader than that. This book—created to mark her one-hundredth birthday—is also a rich representation of the painter's feeling for landscape and place. Featuring two hundred illustrations, including a number of more recent works, this book is a fascinating exploration of her life and work to date. An interview with Armfield by Andrew Lambirth and an essay on her work round out the volume.

Told in his own words, in response to questions from the writer and art critic Andrew Lambirth, this book chronicles Andrew Logan's life and work through expressive anecdote and factual recollection. Reflections is a look back, but also a look at the present and a look forward: it is about the meaning of Andrew's world and the sculpture he has made to fill it, and about his approach to art, to friendship and to living in London and Wales. The Alternative Miss World, founded by Andrew in 1972, is at the heart of his philosophy, not just the world's greatest drag act (though it is this too), but an exhilarating celebration of the transformative power of the imagination. Andrew's work, which is all about joy and beauty, is inspiring and uplifting. This book, based upon discursive interviews dealing with all periods of his career, explains and contextualises it fully for the first time.

Born in 1943 in Bristol, Nigel Hall RA studied at the West of England College of Art in Bristol and at the Royal College of Art in London before winning a Harkness Fellowship to study in America, where he travelled in California and the Mojave Desert.One of the foremost sculptors of his generation, Hall has created acclaimed works in steel, aluminium and polished wood. As a boy he watched and worked with his grandfather, a stonemason who restored churches and other buildings in the West of England: ‘Experience of carving has affected the way I make sculpture and drawings, which is very much to do with light and shade, and edge.’In this appealing new volume, Hall’s skill as a draughtsman is revealed, as is the importance of drawing to his sculptural practice. Indeed, his abstract drawings in gouache and charcoal show the same preoccupation with space and balance as his sculptures. Some 80 of Hall’s beautiful works on paper are included, with an intriguing introduction to them by the renowned art writer Andrew Lambirth.

Bryan Robertson (1925-2002) was the greatest director the Tate Gallery never had. In 1952, at the age of 27, and against formidable competition (which included David Sylvester and Lawrence Gowing), he became Director of the Whitechapel Gallery, a post he held until 1969. While there he effected a revolution in the British museum world, bringing the more innovative and radical American and European contemporary artists to the UK, as well as programming a series of exhibitions devoted to British artists in mid-career. He was the first to show Pollock, Rothco, Rauschenberg and Johns in England, matching this withhistorical re-evaluations of Turner, Stubbs, Bellotto and Rowlandson. Among Europeans he showed Mondrian, de Stäel, Malevich and Poliakoff , and the English artists included Barbara Hepworth, Alan Davie, Ceri Richards and Keith Vaughan. Among younger painters and sculptors he identified the New Generation of Caro, Hoyland, Riley, Jones and Caulfield, and stage-managed a flow of exhibitions which transformed the Whitechapel and made it the gallery to visit. Robertson was a man of vision and flair, and this book celebrates his lasting infl uence over the way we look at and think about art, as witnessed through the words of his friends and contemporaries and in excerpts from his own written works.

From childhood, Christopher Miles was fascinated by celluloid. This love of the moving image announced itself early: he was just 17 when the BBC screened his first film in 1957. To be a filmmaker, Miles had to sidestep parental plans to enrol him in the family steelworks. He had already been filming in communist China and Argentina when he escaped to Paris where he made his first professional film. Later, working mostly in Europe and America, Miles made a string of intriguing and unusual films, two exploring his obsession with D.H. Lawrence, others bringing works by Jean Anouilh and Jean Genet to the big screen. He writes revealingly of his relationship with his father, of whether he is related to the royal family, and of the host of key figures in the film industry he worked with. Among the stars of his films are Ian McKellen, Ava Gardner, John Gielgud, Susannah York, Franco Nero and Charlotte Rampling. This compelling account goes behind the scenes, setting the films in context and giving the reader a very personal view of contemporary film-making.

In order to be a successful primary teacher you need a clear understanding of good teaching practice across the subjects that make up the primary curriculum.

This second edition has been fully updated to include key points from the 2014 National Curriculum in England, balancing a clear discussion of the principles behind high quality teaching with the requirements of current policy. An emphasis on creative approaches supports you in developing inspiring cross-curricular practice in your classroom.

New to this edition:

Links to the 2014 National Curriculum in England in every chapter Case studies in every chapter provide useful examples of creative teaching in each curriculum subject Expanded coverage on assessment and planning  

This is essential reading for students on primary initial teacher education courses, including university-based (PGCE, PGDE, BA QTS, BEd), school-based (SCITT, School Direct, Teach First) and employment-based routes into teaching.

John Nash (1893–1977) is the quintessential twentieth-century painter of the English countryside. Nash began as a watercolour painter, and the medium remained his mainstay throughout a long career. He also worked regularly in oil paint and was an immensely skilled draughtsman and wood engraver. A dedicated gardener and plantsman, his botanical studies are of real quality. This is the first full-length monograph to deal with all aspects of his career.

Irish-born designer Eileen Gray (1878-1976) is widely known today as a pioneer of both Art Deco and Modernism. In a career spanning nearly 80 years she produced innovative designs for furniture, lighting, carpets, interiors and architecture. Much less well known is that throughout her life as a designer and an architect she never stopped producing small paintings and drawings. This book is the first to focus on Eileen Gray's important but essentially private work as a painter.Eileen Gray considered herself a designer and an architect, not a painter: she viewed her work as a painter with great modesty, treating it as a private occupation and a vehicle for artistic expression during periods when she could not design furniture. Much of her artwork has disappeared, either lost in the Second World War or destroyed by the artist herself. But a body of works on paper, produced between the 1920s and the 1950s, has survived: elegant, geometric drawings and gouaches of muted tonality and subtle power.This book, which reproduces unseen material from the Eileen Gray archive and draws on Gray's correspondence with her niece Prunella Clough on the nature of painting, will be a revelation to her many followers and admirers.