The Nine-Ton Cat and giveaway winner

Thanks to everyone who participated in last month's giveaway for How the Sphinx Got to the Museum by Jessie Hartland (Blue Apple Books, 2010).  In that post, I asked commenters for their best behind-the-scenes-at-the-museum questions (such as this one from Janelle's daughter, who asks, "Why can't I touch that?").

Some of those questions--about curatorial work, exhibition design, conservation and more--are answered in The Nine Ton Cat:  Behind the Scenes at an Art Museum by Peggy Thomson with Barbara Moore; edited by Carol Leon (Houghton Mifflin, in association with the National Gallery of Art, Washington, DC, 1997).  Now out-of-print (and maybe slightly out-of-date as well), The Nine-Ton Cat is a book for older readers (9-12 and up), who might be inspired to consider a museum-related career.  It's loosely organized around a day at the National Gallery, beginning at 6am with a guard patrolling the halls and ending at 6m with a planning meeting for this very book.

In between, The Nine-Ton Cat takes you into the "private spaces" of the museum:  the design studio, conservation lab, library, and greenhouse (yes, the National Gallery has its own greenhouses on site) for a close look at the work that goes on there.  Detailed text, with lots of quotes from unnamed Gallery staff, and photographs contribute to the behind-the scenes appeal.

I would love to see an updated edition of The Nine-Ton Cat, perhaps in a larger, more clearly organized format (it's easy to lose your place, in much the same way that it's easy to get lost at the Gallery).  In the meantime, congratulations to Christine Mingus, winner of How the Sphinx Got to the Museum!  I think her elementary school students will love it.

[One of my favorite anecdotes from The Nine-Ton Cat:  The head of the horticultural staff wishes that Rubens Peale (in a portrait painted by his brother Rembrandt, 1801) would water his geranium! It does look a little wilted, doesn't it?]

Arcimboldo and The Tale of Despereaux

I skipped lunch the other day to watch the exhibition film for Arcimboldo, 1526-1593: Nature and Fantasy, currently on view at the National Gallery, which references the character of Boldo in the animated feature The Tale of Despereaux.  That's Boldo in the image above, a character composed entirely of fruits and vegetables, pots and pans--distinctly resembling the composite heads painted by his namesake, the Renaissance artist Arcimboldo.

Unfortunately, I couldn't remember a character named Boldo in Kate DiCamillo's Newbery Award-winning novel The Tale of Despereaux: Being the Story of a Mouse, a Princess, Some Soup, and a Spool of Thread (illustrated by Timothy Basil Ering with no apparent debt to Arcimboldo; Scholastic, 2003) and was forced to reread it.  In vain, as it turns out: Boldo (a sort of soup genie) was created for the movie version of the book (which I also watched this weekend). The animation, by London-based Framestore, employs a palette and lighting drawn from the Dutch Masters; and the movie also spotlights two portraits, one of the deceased Queen and another of Princess Pea.  Altogether I prefer the movie.  You can watch a video podcast (of the exhibition film, that is! It's narrated by Isabella Rossellini) here, or better yet, at the National Gallery til January 9, 2011.

[Here's Arcimboldo's Vertumnus (c. 1591, on loan from Skokloster Castle in Sweden) for comparison to Boldo.  Note especially the apple cheeks!]

Urban Animals

No,  not pigeons, rats, or raccoons.  Urban Animals by Isabel Hill (Star Bright Books, 2009) is about animals in architecture, and it works as an introduction to architectural terms (like keystone, column, and bracket), as well as an I Spy book that might inspire you and your kids to look for the animals in your own built environment (or in a nearby city; author and photographer Isabel Hill found all of these animals in New York).

I like the design details of Urban Animals itself:  Colorful cartoon animals correspond to the mostly monochrome architectural ones, and coordinating accents (photo corners on the detail shots, the hand-printed font used for architectural terms) brighten things up.  The rhyming text (it's all in couplets) is relatively utilitarian.  Here's a typical double-page spread:

There's also an Architectural Glossary at the back of the book, helpfully keyed to a line drawing of a city block; and a list of "Animal Habitats" that gives the NYC street address (as well as the architects and construction dates) of the buildings featured in the book.

It's interesting to think about why a particular animal might have been incorporated into a building's design:  the cow on the Sheffield Farms Milk Plant makes sense, and so does my favorite, the squirrel on the Kings County Savings Bank, but what about the alligator on Liberty Tower?

[Local folks, check out the National Building Museum's Calendar of Events for animal sightings in Washington, DC.  I'll let you know if we spot any more!]

Registered!

I'll be attending the ALSC Preconference "Drawn to Delight:  How Picture Books Work (and Play) Today" this June at the Corcoran.  I'm not a children's librarian, but I do work with children and art in museums using the Visual Thinking Strategies that inform Megan Lambert's Whole Book Approach to picture books.  If you're wondering what VTS and WBA are all about, I highly recommend (another acronym) SLJ's two-part series on "Art in Theory and Practice" by Wendy Lukehart (1/1 and 2/1/2010).  For more information about the preconference, see below:
 
"Drawn to Delight: How Picture Books Work (and Play) Today"
Friday, June 25 from 8:00 a.m. - 6:30 p.m., Washington, D.C.

Learn to better utilize picture books in your library's programming by seeing these books through the eyes of the people who create them!  Art directors, museum educators, and award-winning illustrators will take you through the creative and collaborative journey of picture book development during this inspirational Preconference at the Corcoran Galley of Art in Washington, D.C.  Studio demonstrations, hands-on opportunities and original art door prizes are just a few of the elements that await participants.
 
Why the ALSC Preconference?

  • Provides you with a one of a kind look into the world of picture books--you won't find a more in-depth, day-long workshop on the subject anywhere else!
  • Learn from more than 15 top authors and illustrators including three Caldecott medal winners, two Caldecott honor winners and one Belpré medal winner.
  • Transfer the knowledge gained back to your library to provide better experiences for young patrons and families reading picture books.
  • Hands-on opportunities during artist-lead small group studio sessions taking place throughout the gallery.
  • Unbeatable ALSC member rate of $195 for the entire day; this includes: preconference registration, continental breakfast, lunch, evening reception, admission to the Corcoran Gallery of Art, and a chance to win original art work by the illustrators.
  • If you're not attending the ALA Annual Conference that's not a problem!  You do NOT need to register for conference to attend the preconference.

Register here
Tickets: Advance: ALA Member $249; ALSC Member $195; Retired Member $180; Student Member $180; Non-Member $280.  Onsite cost is $325 for all.
Event Code: ALS1

[Me again.]  I hope to see you there!  Along with Jerry Pinkney, Brian Selznick, David Small, Laura Vaccaro Seeger, Kadir Nelson, Yuyi Morales, and Timothy Basil Ering.  But if you can't make it, not to worry:  I'll write about it here, too.