The Day Our World Changed Childrens Art of 911
Day Our World Changed: Childrens Art of 9/xi
All of America's children were affected by the horrific events of September 11, 2001. At such times of pain and tragedy, children often plough to fine art to express their deepest emotions, and and so they did afterward 9/11. The New York University Child Study Center and the Museum of the Urban center of New York have collaborated on this unusual book, which presents children's artwork created in response to ix/11. Seventy-v works by children 5-18 years one-time, all from the New York area, were selected for the book and accompanying juried exhibition, which is scheduled to open up on September xi, 2002.
Robin F. Goodman, a well-known child mental health expert, discusses the effects of the tragedy on children and their artistic responses to it. The volume will characteristic personal essays past prominent New York artists, writers, historians, and civic and religious leaders; the children's commentary about their art and experiences is also included. The Day Our World Inverse provides insight into what some of our nation's youngest citizens saw on that historic mean solar day and how they foresee the time to come of their city, their nation, and the global community at large.
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Almost the Writer:
Robin F. Goodman is Clinical Associate Professor in Psychiatry and Director of Bereavement Services and Outreach for the Child and Family Recovery Program at the New York University Kid Study Center.
From Library Journal:
Of all of the fine art created in response to 9/11, some of the most moving comes from children. These two books collect work from dissimilar sources. The Solar day Our World Changed is a sophisticated presentation of painting, drawing, collage, and other media contributed by parents and schools all over the New York metropolitan area in the months after the attacks. Goodman, a psychologist and art therapist who works with NYU's Child Study Center, and Fahnestock, a curator at the Museum of the Metropolis of New York, organize the art thematically and contextualize the images with essays by influential child psychologist Harold Koplewicz, political figures (e.g., Rudolph Giuliani), cultural thinkers (e.g., Pete Hamill), and more. Reproduced in expressive full color, the works are remarkable and also very graphic, revealing just how inundated these kids were with imagery and information and how horrified they were. The artists, from five to 18 years old, created circuitous works that capture many aspects of grief; among those worthy of annotation is 17-twelvemonth-old Babul Miah'south "Empire Fallen," a painting of ii dead birds falling through the air. An showroom of this piece of work opened on September 11, 2002, at the Museum of the Urban center of New York, and reproductions of these and other images can be institute online (www. TheDayOurWorldChanged.org). The less formal Do Not Be Lamentable produces the many notes and drawings sent by children from all over the United Sates to the Engine 24 Ladder 5 FDNY firehouse in downtown Manhattan. The insufficiently simple drawings, generally crayon and pencil, tend to offer straight encouragement and thanks. A brief introduction offers the barest context for the images that follow, and children's names and city are listed when bachelor. Proceeds will become to the Children'southward Help Society. Given that many firehouses in the city were covered with these messages of solidarity, this book is a useful record and very interesting next to the comparatively mature The Day Our World Changed. Libraries with enough resources should collect both, but all libraries should have The Twenty-four hours Our World Changed.
Rebecca Miller, "Library Journal"
Copyright 2002 Reed Business Information, Inc.
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