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Maira Kalman, the author of the bestsellers The Principles of Uncertainty and The Elements of Style, and Alex Kalman, the designer, curator, writer, and founder of Mmuseumm, combine their talents in this captivating family memoir, a creative blend of narrative and striking visuals that is a paean to an exceptional woman and a celebration of individuality, personal expression, and the art of living authentically. In the early 1950s, Jewish émigré Sara Berman arrived in the Bronx with her husband and two young daughters When the children were grown, she and her husband returned to Israel, but Sara did not stay for long. In the late 1960s, at age sixty, she left her husband after thirty-eight years of marriage. One night, she packed a single suitcase and returned alone to New York City, moving intoa studio apartment in Greenwich Village near her family. In her new home, Sara began discovering new things and establishing new rituals, from watching Jeopardy each night at 7:00 to eating pizza at the Museum of Modern Art’s cafeteria every Wednesday. She also began discarding the unnecessary, according to the Kalmans: "in a burst of personal expression, she decided to wear only white." Sara kept her belongings in an extraordinarily clean and organized closet. Filled with elegant, minimalist, heavily starched, impeccably pressed and folded all-white clothing, including socks and undergarments, as well as carefully selected objects—from a potato grater to her signature perfume, Chanel No.19—the space was sublime. Upon her death in 2004, her family decided to preserve its pristine contents, hoping to find a way to exhibit them one day. In 2015, the Mmuseumm, a new type of museum located in a series of unexpected locations founded and curated by Sara’s grandson, Alex Kalman, recreated the space in a popular exhibit—Sara Berman's Closet—in Tribeca. The installation eventually moved to the Metropolitan Museum of Art, and in spring 2019, will become an outdoor monument to independence at the National Museum of American Jewish History on Independence Mall in Philadelphia. Inspired by the exhibit, this spectacular illustrated memoir, packed with family photographs, exclusive images, and Maira Kalman's distinctive paintings, is an ode to Sara’s life, freedom, and re-invention. Sara Berman’s Closet is an indelible portrait of the human experience—overcoming hardship, taking risks, experiencing joy, enduring loss. It is also a reminder of the significance of the seemingly insignificant moments in our lives—the moments we take for granted that may turn out to be the sweetest. Filled with a daughter and grandson’s wry and touching observations conveyed in Maira’s signature script, Sara Berman’s Closest is a beautiful, loving tribute to one woman’s indomitable spirit.
“Sublime . . . Kalman’s elegantly witty and at times melancholy narrative runs arm in arm with her unmistakable paintings on a serendipitous romp through the history of the world.” —Vanity Fair “Wildly original . . . there’s nothing else even remotely like it . . . This hilarious, wise, and deeply moving volume [is] the ultimate picture book for grown-ups.” —O Magazine Maira Kalman paints her highly personal worldview in this inimitable combination of image and text An irresistible invitation to experience life through a beloved artist's psyche, The Principles of Uncertainty is a compilation of Maira Kalman's New York Times columns. Part personal narrative, part documentary, part travelogue, part chapbook, and all Kalman, these brilliant, whimsical paintings, ideas, and images - which initially appear random - ultimately form an intricately interconnected worldview, an idiosyncratic inner monologue.
From Maira Kalman, the author of the bestsellers The Principles of Uncertainty and The Elements of Style, comes this beautiful pictorial and narrative exploration of the significance of objects in our lives, drawn from her personal artifacts, recollections, and selections from the collection of the Cooper-Hewitt, Smithsonian Design Museum. With more than fifty original paintings and featuring bestselling author and illustrator Maira Kalman’s signature handwritten prose, My Favorite Things is a poignant and witty meditation on the importance of both quotidian and unusual objects in our culture and private worlds. Created in the same colorful, engaging, and insightful style as her previous works, which have won her fans around the world, My Favorite Things features more than fifty objects from both the Cooper-Hewitt, Smithsonian Design Museum and Kalman’s personal collections: the pocket watch Abraham Lincoln was carrying when he was shot, original editions of Winnie-the-Pooh and Alice in Wonderland, a handkerchief in memoriam of Queen Victoria, an Ingo Maurer lamp, Rietveld’s Z chair, a pair of Toscanini’s pants, and photographs Kalman has taken of people walking towards and away from her. A pictorial index provides photographs of the actual objects and a short description of them, enhancing the reading experience. As it speaks to the universal experience and importance of beloved objects in our lives—big and small, famous and private—this unique work is a fresh way of examining and understanding our society, history, culture, and ourselves.
From the critically acclaimed artist, designer, and author of the bestsellers The Principles of Uncertainty and My Favorite Things comes a wondrous collection of words and paintings that is a moving meditation on the beauty and complexity of women’s lives and roles, revealed in the things they hold. “What do women hold? The home and the family. And the children and the food. The friendships. The work. The work of the world. And the work of being human. The memories. And the troubles. And the sorrows and the triumphs. And the love.” In the spring of 2021, Maira and Alex Kalman created a small, limited-edition booklet “Women Holding Things,” which featured select recent paintings by Maira, accompanied by her insightful and deeply personal commentary. The booklet quickly sold out. Now, the Kalmans have expanded that original publication into this extraordinary visual compendium. Women Holding Things includes the bright, bold images featured in the booklet as well as an additional sixty-seven new paintings highlighted by thoughtful and intimate anecdotes, recollections, and ruminations. Most are portraits of women, both ordinary and famous, including Virginia Woolf, Sally Hemings, Hortense Cezanne, Gertrude Stein, as well as Kalman’s family members and other real-life people. These women hold a range of objects, from the mundane—balloons, a cup, a whisk, a chicken, a hat—to the abstract—dreams and disappointments, sorrow and regret, joy and love. Kalman considers the many things that fit physically and metaphorically between women’s hands: We see a woman hold a book, hold shears, hold children, hold a grudge, hold up, hold her own. In visually telling their stories, Kalman lays bare the essence of women’s lives—their tenacity, courage, vulnerability, hope, and pain. Ultimately, she reveals that many of the things we hold dear—as well as those that burden or haunt us—remain constant and connect us from generation to generation. Here, too, are pictures of a few men holding things, such as Rainer Maria Rilke and Anton Chekhov, as well as objects holding other objects that invite us to ponder their intimate relationships to one another. Women Holding Things explores the significance of the objects we carry—in our hands, hearts, and minds—and speaks to, and for, all of us. Maira Kalman’s unique work is a celebration of life, of the act and the art of living, offering an original way of examining and understanding all that is important in our world—and ultimately within ourselves.
With great style, wit, and joy, Maira Kalman and Barbara Scott-Goodman celebrate their favorite dessert. In Cake, renowned artist and author Maira Kalman and food writer Barbara Scott-Goodman bring us a beautifully illustrated book dedicated to their love of cakes. Filled with Kalman's inimitable illustrations and memories, from chocolate cake on a terrace in Tel Aviv as a child to a gorgeous pink cake enjoyed over Lucretius and Nietzsche in Rome, and sprinkled with seventeen mouthwatering recipes prepared by Scott-Goodman, Cake is a joyful and whimsical celebration of a timeless dessert.
Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.
An NPR Best Book of 2022 “A master class in family and political drama, in star-crossed love stories and in capturing the enormity of what home is.”—NPR When Isabel Perez travels to Barcelona to save her sister Beatriz, she discovers a shocking family secret in New York Times bestselling author Chanel Cleeton’s new novel. Barcelona, 1964. Exiled from Cuba after the revolution, Isabel Perez has learned to guard her heart and protect her family at all costs. After Isabel’s sister Beatriz disappears in Barcelona, Isabel goes to Spain in search of her. Joining forces with an unlikely ally thrusts Isabel into her sister’s dangerous world of espionage, but it’s an unearthed piece of family history that transforms Isabel’s life. Barcelona, 1936. Alicia Perez arrives in Barcelona after a difficult voyage from Cuba, her marriage in jeopardy and her young daughter Isabel in tow. Violence brews in Spain, the country on the brink of civil war, the rise of fascism threatening the world. When Cubans journey to Spain to join the International Brigades, Alicia’s past comes back to haunt her as she is unexpectedly reunited with the man who once held her heart. Alicia and Isabel’s lives intertwine, and the past and present collide, as a mother and daughter are forced to choose between their family’s expectations and following their hearts.
'Feeling Backward' weighs the cost of the contemporary move to the mainstream in lesbian and gay culture. It makes an effort to value aspects of historical gay experience that now threaten to disappear, branded as embarrassing evidence of the bad old days before Stonewall. Love argues that instead of moving on, we need to look backward.
They draw you in with the promise of empowerment, self-discovery, women helping women. The more secretive those connections are, the more exclusive you feel. Little did you know, you just joined a cult. Sex trafficking. Self-help coaching. Forced labor. Mentorship. Multi-level marketing. Gaslighting. Investigative journalist Sarah Berman explores the shocking practices of NXIVM, a cult run by Keith Raniere and many enablers. Through the accounts of central NXIVM figures, Berman uncovers how dozens of women seeking creative coaching and networking opportunities instead were blackmailed, literally branded, near-starved, and enslaved. Don't Call It a Cult is a riveting account of NXIVM's rise to power, its ability to evade prosecution for decades, and the investigation that finally revealed its dark secrets to the world.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.