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Earlier this morning the American Library Association (ALA) announced the 2012 youth media awards winners. A full list of the winners can be found here.
Highlights from the list include:
John Newbery Medal for the most outstanding contribution to children’s literature: Dead End in Norvelt, written by Jack Gantos.
Two Newbery Honor Books also were named:Inside Out and Back Again, written by Thanhha Lai; and Breaking Stalin’s Nose, written and illustrated by Eugene Yelchin.
Randolph Caldecott Medal for the most distinguished American picture book for children: A Ball for Daisy, illustrated and written by Chris Raschka.
Three Caldecott Honor Books also were named: Blackout, illustrated and written by John Rocco; Grandpa Green, illustrated and written by Lane Smith; and Me … Jane, illustrated and written by Patrick McDonnell.
Coretta Scott King (Author) Book Award recognizing an African American author and illustrator of outstanding books for children and young adults: Kadir Nelson, author and illustrator ofHeart and Soul: The Story of America and African Americans.
Two King Author Honor Book recipients were selected: Eloise Greenfield, author of The Great Migration: Journey to the North, illustrated by Jan Spivey Gilchrist; and Patricia C. McKissack, author of Never Forgotten, illustrated by Leo and Diane Dillon.
Coretta Scott King (Illustrator) Book Award: Shane W. Evans, illustrator and author of Underground: Finding the Light to Freedom.
One King Illustrator Honor Book recipient was selected: Kadir Nelson, illustrator and author of Heart and Soul: The Story of America and African Americans.
Coretta Scott King – Virginia Hamilton Award for Lifetime Achievement: Ashley Bryan.
Pura Belpré (Illustrator) Awardhonoring a Latino writer and illustrator whose children’s books best portray, affirm and celebrate the Latino cultural experience: Diego Rivera: His World and Ours, written and illustrated by Duncan Tonatiuh.
Two Belpré Illustrator Honor Books were selected: The Cazuela that the Farm Maiden Stirred illustrated by Rafael López, written by Samantha R. Vamos; and Marisol McDonald Doesn’t Match /Marisol McDonald no combina, illustrated by Sara Palacios, written by Monica Brown.
Pura Belpré (Author) Award:Under the Mesquite written by Guadalupe Garcia McCall.
Two Belpré Author Honor Books were named: Hurricane Dancers: The First Caribbean Pirate Shipwreck written by Margarita Engle; and Maximilian and the Mystery of the Guardian Angel: A Bilingual Lucha Libre Thriller, written by Xavier Garza.
0 Comments on 2012 ALA Youth Media Awards Winners Announced! as of 1/1/1900
Check out this live footage from 1939 - in COLOUR - of Diego Rivera painting murals for the Pan American Unity Expo. He does it for real, painting with fresh-ground pigments into damp plaster (ie, no screwing up! you have to get it right the first time).
Review: Frida Kahlo. Her Photos. Ed. Pablo Ortíz Monasterio. México DF, Editorial RM, 2010.
ISBN : 978-607-7515-51-7 (Spanish) / 978-84-92480-75-3 (English)
Michael Sedano
Readers do not come to photography books for text, particularly with the title Frida Kahlo Her Photos. Turn page stop enjoy, turn, enjoy, turn...page after page, 401 photographs in all.
So many faces, places, and still lifes. Some instantly recognized, others sublimely anonymous. Editor Pablo Ortiz Monasterio has filled his six hundred pages amply with both. Mejor, Editorial RM ordered 130-gram Lumi Matt Art paper that holds detail superbly in the warm-toned grayscale and sepia reproductions.
Three preliminary essays set the context for the collection. When Diego Rivera died, he directed a friend to hold the material fifteen years. Instead, the thousands of fotos remained locked in adisused space at La Casa Azul for fifty years.
The collection amasses personal snapshots typical of any family album. As well, the collection includes signed work by such photographic luminaries as Man Ray, Imogen Cunningham, Edward Weston,Tina Modotti. Some images are signed by Kahlo, others most likely are her work but unsigned. Several defaced fotos display Kahlo's active involvement in images as tokens of enmity or other emotional connection.
There’s also a trove of historical images purchased by Rivera and Kahlo of European and Soviet history. The section essayist avers such artifacts inform a view of the collectors' interests and values. Maybe. That section could easily have waited for another volume, its pages instead taken with more family, friends and at-work subjects.
Ortiz divides the book in seven section, each with a leading essay. The essays are helpful. and adequately brief. Still, to consume and enjoy these images, no other knowledge required but eyes to see.
Nonetheless, historically aware readers will recognize Frida, Diego and numerous famous people. Famous people know famous people, and Diego and Frida were really famous so there's no dearth of famous faces to learn or acknowledge. Connecting faces with art, O'Gorman and Orozco, for example adds to the book's multiple pleasures.
The collection presents a significant number of bled-to-the-edge fotos and a few double truck pages reproducing exceptional frames. Descriptive text with fotos adds context, leading to numerous “So that’s what Mrs. Trotsky looked like!” moments. (326)
As mementoes, fotos act as a kind of prosthesis for memory, for
1 Comments on Review: Frida Kahlo Her Photos. On-Line Floricanto: Japan. Conjunto Update., last added: 4/19/2011
The Américas Book Award for Children’s and Young Adult Literature is given in recognition of U.S. works of fiction, poetry, folklore, or selected non-fiction (from picture books to works for young adults) published in the previous year in English or Spanish that authentically and engagingly portray Latin America, the Caribbean, or Latinos in the United States. The award, which is sponsored by the U.S. Consortium of Latin American Studies Programs (CLASP), reaches beyond national borders to focus on the the diversity of cultural heritage throughout the continents of North and South America.
The award winners and commended titles are selected for their:
distinctive literary quality;
cultural contextualization;
exceptional integration of text, illustration and design;
The full commended list can be found here. The winning books will be honored at a ceremony during Hispanic Heritage Month (15 September – 15 October 2010) at the Library of Congress, Washington, D.C.
Here is a love confession to something old and something new--old like last year old, and I am talking about picture books of course, those that I read as 2009 was dying out and giving room to the New Year.
So, as I was finishing last year, these are the books that made me blush:
The most felt book I read last year. If you want to know what I am talking about make sure to read the poem "No More Cezannes". However I was caught from the first book's lines: "What is life but a story? I choose to embellish my life story. / I am DIEGO--the charming, monstrous, caring, hideous, Mexican Muralist."
Parra is becoming one of my favorite illustrators; his paintings remind me of living my childhood. Here is Mora's way of reminding us of all the ordinary, yet fantastic things to be grateful for: "For the sun that wakes me up so that I don't sleep for years and years and grow a long white beard, thanks"
Of course, if a book is illustrated with the paintings of Diego Rivera, the book has to be extraordinary. Even the endpapers are a vision. But what I didn't expect was that this book would be such of such a loving telling. Diego's daughter writes in the introduction, "When most people think of my father, Diego Rivera, they think of him as a famous painter. and they're right, he did grow up to be a famous painter. But before he became a famous artist, he was like you--a child." The selection of paintings are those that Diego painted of children, sometimes of Guadalupe herself, but also of mothers looking for a better life for their children, of piñatas being broken, of a coutry teacher giving reading lessons to children and adults alike. This book feels like looking at the family album while someone tells the stories behind.
Today I am sharing a series of photos shot at Mexico City's Secretaría de la Educación Publica across a span of ten years, first in 1995 and again in 2005. With some trepidation, I hope to revisit these walls in the near future to see what progress time has produced. I hesitate because once photographers were free to photograph any wall. My most recent visit to el Castillo de Chapultepec, zealous guards threatened to confiscate my camera if I so much as raised the viewfinder to my eye! Fortunately, the educators have a much friendlier actitud. On the 1995 visit, I spent an entire morning in the Secretariat, shooting every panel possible, plus some interiors. It is a short walk from the Secretariat to el Zocalo and el Palacio Nacional, where Rivera has covered the second floor with a richness of precolumbian themed work. There, again, I took detailed images.
On my most recent visit, I reached the Secretariat late in the day and was able only to rush through a couple of interiors and cursory shots of key panels. Sadly, I didn't make the effort to track down the worst of the samples and cannot illustrate a before-and-after of the destroyed panels.
As the first pair of photos illustrates, certain of Rivera's frescoes were totally obliterated and their reappearance on the walls must be seen as instauration rather than restoration.
I did, however, have the good fortune of shooting Rivera's 1923 work, "La Feria Del Dia de los Muertos," during its ongoing restoration. The first set of images shows an artist patiently cleaning the substrate at the bottom of the mural.
I did not find a guide to ask if the damage resulted from weatherization or terremoto.
Ni modo, the work was in dishearteningly terrible shape. At bottom center, large swaths of detail have disappeared. Have a look at the next image, at right and below. Note the figure of a woman in yellow dress in the 1995 image. Left of her all that remains is white plaster. In the close-up you can make out the artist using a point to clean off the surface in preparation for a repaint.
Notice how in 2005 all of the bottom center has been restored. Figures emerge to the left of the yellow clad woman. Now the work bench dedicates itself to work higher up, at lintel level. When I stood next to the work however, I could not make out what aspects were under repair or restoration. Study the over-under close-up and note the excellent quality of the surface.
Below see an over-under layout of close-ups showing more or less the same region. This is a set of figures at the far left of the panel, above the lintel and just to the right of the half-round clerestory of the portal. At top, the restored sections are barely noticeable. At bottom, the damage makes your heart stop.
I am working on a series of illustrated lectures on Mexico City's mural frescoes--Rivera, Siquieros, O'Gorman--and welcome leads to books and other resources. One highly informative resource I found for the Education Secretariat and the National Palace is a long out-of-print tourist manual, by R. S. Silva E., Diego Rivera's frescoes in the National Palace of Mexico, City: a descriptive guide. Mexico City : Sinalomex Editorial, 1965. I am grateful to John McDonald, a senior librarian at the Claremont Colleges Libraries, for letting me borrow the book from the Honnold Library. The title is also available at UC Berkeley. Silva points out that the personages in the Dia de los Muertos detail include actress Celia Montalban and bullfighter Juan Silveti, with the cigar.
You can click on each of the images in today's post to view the files in much larger, better detailed size. In fact, I've laid out the Rivera over-under image as a picture postcard that you can print on heavy photo stock and mail to friends. Click here for this, and other, print 'em yourself postcards from Read! Raza.
4 Comments on Rivera Frescoes: Instauration, Restoration, last added: 7/30/2008
Fascinating, Michael! Thanks for sharing these photographs.
I'd be curious to hear more about the method of restoration. I studied with Dr. James Beck at Columbia and he led the resistence to what he called the "repainting" of the Sistine Chapel ceiling. He said that Michaelangelo always applied a “l’ultima mano,” a layer of glue that muted the colors, and that the Disneyesque colors of the "restoration" went against the artist's intentions.
I doubt that Rivera had such concerns, but I hope they are being true to his original work.
ann, thank you. glad you like 'em. i linked the title to the secretariat's discussion of the murals, including some general details of restoration, both earilier and the efforts currently underway.
Here's the link in plain: http://www.sep.gob.mx/wb/sep1/sep1_Murales_de_la_SEP
In the book, "Mexico A History In Art" by Bradley Smith, Doubleday & Company, Inc. ISBN: 0-385-03239-0, first printed in 1968, pages 249-288 contain illustrations and discussions of techniques, artist's motivations and political pressures. It makes the period 1910-1940, Revolution And Progress, come alive for me because Diego and Frieda were close friends of my aunt Maximina Landa Sanchez and my cousin, Esther Alaniz Rousseau. My mamá gave me the book when I earned my BA in Chicano Studies.
According to my paternal grandfather, Andres Lujan, who did some plastering work for Diego, here in L.A., Diego would be in favor of restoration. He told his workers to take good care of things when he was away. The method he told them to use was whatever the WPA would pay for.
The last time I was in La Capitál, in 1990, I noticed workers restoring Diego's murals on the walls of El Palacio Nacional De Méjico. I had to buy a packet of post cards in order to see what they were white washing. I remember thinking that they better do it his way or else he'll be back to haunt them! Ha Ha! Ha! Ha!.
nlf
Michael Collins said, on 7/20/2008 6:42:00 PM
It seems like the photograhs inspired the core process -
"...instauration rather than restoration."
What a shame. But it seems like all is not lost. Excellent investigation. The lecture series sounds fascinating.
When last seen, our hero was putting down his computer and heading for the tent...
The tent was full. We explained to people that we couldn't technically show the whole film there yet (which I think was a good thing, given that it was a very hot tent and lots of people had small children and babies with them who would probably not have enjoyed a 2 hour film followed by a Q&A) and I showed about half-an-hour's worth of clips, and then did an audience Q&A -- excellently moderated by Paul Blezard -- that was enormously fun.
I'm now immortalised in The Guardian blog (not sure about the use of the word "sidled", which I always thought meant involved either walking sideways or at least looking like you ought to be, but Imogen's spot-on about the jet lag) (and I got off more lightly than Anne Fine did).
Then a signing and lots of interviews (the BBC Wales one should show up here), and onto the train back to London carrying a case of champagne, a "thank-you-for-coming" gift from the Hay festival. Given that I can't bring a case of champagne back into the US, nor can I drink a case of champagne between here and Tuesday morning, I'll need to figure out what to do with it.
Back to the London hotel on a train that got in late (you've been spared the saga of the Friday night journey down to Hay, on a train that also got in late which meant that we wound up eating in the staff tent as they closed for the night and then set off down windy narrow lanes hunting for a house that refused to be where our driver had been told it was). Holly went out to the pub with her boyfriend for a bit, while I, spoiled for choice on What to Do in the West End of London on a Saturday Night, communed with my jetlag and opted for a) a long bath, of the kind where you read the paper and it gets bubbles all over it and you don't care immediately followed by b) bed.
Slept for ten blessed hours. Am now more or less up and more or less human, although my hair looks like I had a long bath and then forgot to dry it before I went to sleep and is sticking out around my head like an Einstein fright-wig.
Today I will get to see an (almost) finished Stardust. Unless a couple of extra people show up, in which case I'll nobly give up my seat (it's not a big screening room).
Here's a TV spot -- having seen a lot of the TV spots last time I was in the UK, this isn't one I remember as being among my half-dozen favourites (I liked the ones that had Charlie Cox in them and looked like Stardust was a funny and exciting sort of romance with magic in it) but it's not one of the bad ones...
So the other day I caught this little rumor on Sci Fi Wire, saying you're getting ready to direct your own adaptation of Death: The High Cost of Living. (Said rumor here: http://www.scifi.com/scifiwire/index.php?id=41698) I assumed at the time you'd be flooded with inquiries about it, and would post either a refutation or a sort of sly non-comment winkwink, but so far you haven't said anything. Can it be that no one's asked? I'd love to know!
- Rachel
Lots of people have asked, and as soon as I can say something a bit more definite I shall. For right now, I can probably say that Guillermo is still executive producing Death (as I mentioned here), I'll be directing, that it certainly appears to be on the way to happening, and that no, the actress who would be playing Didi has not been cast although I've met some of the possibles.
I have a dilemma. I am borrowing the Coraline audiobook from the library. I imported it to my computer to keep the discs safe while I listen. (My father borrows my computer and leaves my discs all over the room so they are hard to find.)
I know that I haven't paid for Coraline, and I should remove it from my computer when I return the discs to the library. But I'm very fond of Coraline, and I am going to buy it when I can- the book and the audiobook. (And the movie, when it's out.)
Would you mind if I kept Coraline on my computer until I buy it, or at least recieve it for some gift-giving occasion?
Thanks for making such a fantastic audiobook, by the way! -Anna
I'm glad you liked it! The last time I was asked something like this (similar, but not quite the same) was here --
... you know, Blogger is weird sometimes. The last paragraph of this post just vanished completely, without me doing anything to it. Grr.
I don't mind at all. The disks have to go back to the library because someone else may need them, but I can't see why you need to have the object in your possession in order to listen to it, whether it's an MP3 CD or an Audio CD version of the audio book -- you aren't stopping someone else from listening to it. Again, I'd rather that you didn't pass on your copy to anyone. And I'd like it if the US signed up for PLR. But listen away...
Read the rest of this post
0 Comments on jet-lag, and a disreputable beardlet as of 6/3/2007 5:35:00 AM
I'm home. I still have a dog, and I also still have bees. Probably a few thousand more bees than when I left. Still have three cats. I have less of a sofa than I had before, due to the dog eating it while I was away, but it wasn't a sofa I liked much, so I can live with that.
This is a picture of the dog on his way to eat another sofa probably.
A few people wrote to ask why I hadn't said anything here about my appearance at the Hay on Wye festival in a couple of weeks, and it's because since I'd agreed to do it, the powers organising it hadn't sent me any details or information to put up here, so I didn't know when it was or what was happening. And now I've found out the details (mostly via the FoEM site) I've also learned that Event 328 -- Which is a preview screening of STARDUST followed by a Q&A with me - is, um, sold out. If you're there anyway, it might not be a bad idea to hang around and see if anyone with a ticket doesn't show up.
There seems to be an awful lot of travel in my future, now that I just want to stay home and walk the dog and write. Two college graduations (Holly's this weekend, Mike's next weekend) over the next two weeks, then the UK STARDUST trip. In addition to which, I had tea with the amazing Guillermo Del Toro yesterday in London, and... well, we'll see. But it may involve another plane journey.
0 Comments on The mathematics of dogs and sofas as of 1/1/1970
The 
distinctive literary quality;
0 Comments on Love declaration as of 1/1/1900
Thanks Em! Fascinating.