An imperfect but worthwhile portrait of two unique collectors of modern art and the artists who surrounded them.
“Dorothy and Herbert lived for ART.”
When the term art collector is used, a librarian and a postal worker don’t usually come to mind. But Dorothy and Herbert Vogel, formerly painting students themselves, were bitten by the art bug. Beginning in the 1960s, they lived frugally, saved their money, and “if Dorothy and Herbert liked the art, could carry it in a cab or subway…move it up the elevator, and fit it into their tiny Upper East Side apartment, they bought it,” filling their small apartment from floor to ceiling with exciting pieces. Lyrical, energetic text and memorable, innovative illustrations (including a particularly dramatic double gatefold) capture the Vogels’ love of art and the artists of New York’s SoHo community, show how Dorothy and Herbert became mentors and hosts, and include interesting details. There is no list of the art and artists depicted, though the illustrator’s website contains a key and includes web-based resources, many on Wikipedia. While the text is sometimes a bit vague (it explains that they decided to “share [their collection] with the world” without explicitly stating that instead of selling or showing it, they donated it), overall, this is a warm and thoughtful depiction of the two collectors as well as an engaging introduction to the world of modern art. The title characters are White; street scenes reflect New York City’s racial diversity.
An imperfect but worthwhile portrait of two unique collectors of modern art and the artists who surrounded them. (author’s note, illustrator’s note, glossary, sources) (Picture book/biography. 5-8)Pub Date: Oct. 5, 2021
ISBN: 978-1-951836-21-4
Page Count: 40
Publisher: Cameron + Company
Review Posted Online: Sept. 23, 2021
Kirkus Reviews Issue: Oct. 15, 2021
A unique angle on a watershed moment in the civil rights era.
The New Orleans school child who famously broke the color line in 1960 while surrounded by federal marshals describes the early days of her experience from a 6-year-old’s perspective.
Bridges told her tale to younger children in 2009’s Ruby Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes. “I didn’t find out what being ‘the first’ really meant until the day I arrived at this new school,” she writes. Unfrightened by the crowd of “screaming white people” that greets her at the school’s door (she thinks it’s like Mardi Gras) but surprised to find herself the only child in her classroom, and even the entire building, she gradually realizes the significance of her act as (in Smith’s illustration) she compares a small personal photo to the all-White class photos posted on a bulletin board and sees the difference. As she reflects on her new understanding, symbolic scenes first depict other dark-skinned children marching into classes in her wake to friendly greetings from lighter-skinned classmates (“School is just school,” she sensibly concludes, “and kids are just kids”) and finally an image of the bright-eyed icon posed next to a soaring bridge of reconciliation. (This book was reviewed digitally.)
A unique angle on a watershed moment in the civil rights era. (author and illustrator notes, glossary) (Autobiographical picture book. 6-8)Pub Date: Sept. 6, 2022
ISBN: 978-1-338-75388-2
Page Count: 48
Publisher: Orchard/Scholastic
Review Posted Online: June 21, 2022
Kirkus Reviews Issue: July 15, 2022
PERSPECTIVES
Blandly inspirational fare made to evoke equally shrink-wrapped responses.
An NBA star pays tribute to the influence of his grandfather.
In the same vein as his Long Shot (2009), illustrated by Frank Morrison, this latest from Paul prioritizes values and character: “My granddad Papa Chilly had dreams that came true,” he writes, “so maybe if I listen and watch him, / mine will too.” So it is that the wide-eyed Black child in the simply drawn illustrations rises early to get to the playground hoops before anyone else, watches his elder working hard and respecting others, hears him cheering along with the rest of the family from the stands during games, and recalls in a prose afterword that his grandfather wasn’t one to lecture but taught by example. Paul mentions in both the text and the backmatter that Papa Chilly was the first African American to own a service station in North Carolina (his presumed dream) but not that he was killed in a robbery, which has the effect of keeping the overall tone positive and the instructional content one-dimensional. Figures in the pictures are mostly dark-skinned. (This book was reviewed digitally.)
Blandly inspirational fare made to evoke equally shrink-wrapped responses. (Picture book. 6-8)Pub Date: Jan. 10, 2023
ISBN: 978-1-250-81003-8
Page Count: 32
Publisher: Roaring Brook Press
Review Posted Online: Sept. 27, 2022
Kirkus Reviews Issue: Oct. 15, 2022
BOOK REVIEW
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