The production of a database could be greatly ad-
vanced with the involvement of scientific orga-
nizations like the American Association for the
Advancement of Science (aaas), the world’s larg-
est general scientific society and the publisher of
Science magazine, and the American Institute of
Biological Sciences (aibs), which includes seventy-
eight member societies and organizations. The
Council of Science Editors Web site provides links
at http://www.councilscienceeditors.org/services/
societylinks.cfm (accessed November 1, 2004).
82. Science Art is not recognized as a subject heading by
the Library of Congress, the Society of Animal Art-
ists, or the Watercolor Society, nor in the Getty Art
and Architecture Thesaurus or The Grove Dictionary of
Art, nor in the online databases ARTbibliographies
Modern, Artstore, or the Art Museum Image Con-
sortium (amico). The authors are contacting a long
list of competitions, exhibitions, galleries, muse-
ums, art magazines, and nature and bird organiza-
tions both in the United States and abroad to explain
the value of making it a category. For a list of gal-
leries that regularly exhibit bird art, see The Artists
Registry for Ornithological Researchers, which is
accessible at birds.stanford.edu.
83. Parents of young children might draw on books
that have stood the test of time, like the 100 titles by
Thornton Burgess (1910–1965), as well as a wealth
of new multimedia resources and books that come
with seals of approval in the form of annual awards.
An example is Daniel and His Walking Stick, writ-
ten by Wendy McCormick and illustrated by Con-
stance R. Bergum, which won the 2006 Giverny
Award for the best children’s science picture book;
it shows how one generation e=ectively passes along
knowledge about nature to the next. The best books
for students in k-12 also come with seals of approval.
They are occasionally written by authors who or-
dinarily write for adults, as is the case with Carl
Hiaasen’s Hoot—a middle-school mystery about
Burrowing Owls and eco-avengers, which became a
2003 Newbery Metal Honor Book and a 2006 mo-
tion picture. Collaboration between authors and
artists producing nature-related Science Art for chil-
dren can e=ectively introduce them to elements of
the environment, but an international online regis-
try of artists specializing in this kind of art for chil-
dren has yet to be established.
84. The Environmental Literacy Council received a
three-year grant from the National Science Foun-
dation for a joint project with the National Sci-
ence Teachers Association to produce resources for
middle- and high-school science teachers that illus-
trate the application of core science ideas to environ-
mental issues. The council also received a two-year
grant from the National Endowment for the Human-
ities to produce a series of environmental history
teaching guides in collaboration with the National
Humanities Center. “Our classrooms must become
places where students achieve a deep understanding
of complex environmental issues. A forest, for exam-
ple, may be at one and the same time a place of great
beauty; a natural resource critical to the health and
well-being of neighboring communities; a local eco-
system, supporting rich plant and animal life; and a
vital component in the planet’s great biogeochemi-
cal cycles for regulating global climate. The Coun-
cil seeks to help teachers and their students see this
forest and its trees: to analyze and evaluate risk, and
to understand the limits and impact of our actions.”
The council’s Web site is http://www.enviroliteracy.
org/index.php (accessed October 30, 2004). Teach-
ers of upper-level environmental science courses
can share exam questions with colleagues and use
the Environmental Science Testbank to create on-
line environmental science tests for students, select-
ing questions by topic and form (true/false, multiple
choice, short answer, or essay) from a list of submit-
ted questions.
85. Information on the emergence of science in the
modern sense of the term is readily available
through online and print encyclopedias. Penny Ol-
sen’s coverage of Australian bird art in Feather and
Brush (2001) includes the work of 100 artists and
highlights similarities between Australian and U.S.
bird art. For example, both Neville W. Cayley’s and
Roger Tory Peterson’s field guides, published in
1931 and 1934 respectively, marked the beginning
of modern birding in those countries, and the lull
in the production of bird art between World War II
and the rise of the Environmental Movement in the
1960s (which some credit to the expanded popular-
ity of nature photography) gave way to a renaissance
of sorts with the widespread exhibition of images de-
picting jeopardized species. Other well-documented
books featuring bird art include those by Christine
Jackson, Roger Pasquier and John Farrand, Jr., and
A. M. Lysaght. See also Appendix 1 and Selected
Bibliography.