This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
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AUTUMN/WINTER
2015
“ONE
SHOULD
EITHER
BE A
WORK
OF ART
OR WEAR
A WORK
OF ART.
—Oscar Wilde
”
It is through connections that our lives grow more
beautiful. The friend whose company gives
us great joy. The artistic inspirations that make our
own work and thoughts more colorful and intense.
The things we live with that are a daily pleasure to see
and to touch. This season, we turn our thoughts to all that
we hold close, and to the meaning and shape these
loved ones and treasured objects bring to our world.
This is Tiffany.
THIS IS
TIFFANY
AUTUMN/WINTER 2015
6 58 74
STTATE OF GRACE QUINTESSENTIAL TIFFANY ARTS & CULTURE:
Tiffany Victoria™, Bow and Infinity Tiffany & Co. Schlumberger® THE WHITNEY
collectio
ons celebrate our closest Sixteen Stone ring. How the modern art mecca’s
connection ns with refined diamonds. Photograph by Raymond Meier
graphic new space was informed
by the Whitney Biennial.
Photog
graphs by Mario Sorrenti
Style
ed by Tabitha Simmons By Alix Browne
60
UNLOCK THE POSSIBILITIES
20 Tiffany Keys are a symbol of all that is possible 80
NIGHT MOVES
N and all that lies ahead. Model Liu Wen MY TIFFANY
Tiffany Mastterpieces are a shimmering considers her own journey to success. Filmmaker/author Liz Goldwyn
dream of
o movement and light. Photograph by Mario Sorrenti
shares the story behind
Photogra
aphs by Richard Burbridge Styled by Tabitha Simmons her treasured Tiffany clock.
Still life by Thomas Milewski
26
L
LIVING COLOR
64
Inside eveery colored gemstone lies MODERN MIDAS
a world of astonishing beauty. Designs that reflect the energy of
New York in bold, graphic gold.
Photogrraphs by Joanna McClure
Still life by Richard Burbridge
Architectural photographs by Adrian Gaut
34
HEAVY METAL
H
On the co
ool end of the spectrum,
a brright shot of silver.
Photog graphs by Daniel Jackson
Style ed by Alastair McKimm
Still life
e by Toby McFarlan Pond
48
POINT OF VIEW
P
Af ter over 4
A 40 years of creating images
for the exxtraordinary Elsa Peretti, COVER LOOK AND OPPOSITE
Hiro contem mplates the power of respectt . PAGE: STATE OF GRACE
Dree Hemingway and Langley Fox
Hemingway wear Tiffany designs in
platinum and 18k gold with diamonds.
Photograph by Mario Sorrenti
Styled by Tabitha Simmons
5 | T I F FA N Y.C O M / FA L L
STATE OF GRACE TIFFANY VICTORIA™, BOW AND INFINITY COLLECTIONS CELEBRATE OUR CLOSEST CONNECTIONS WITH REFINED DIAMONDS. Photographs by Mario Sorrenti Styled by Tabitha Simmons
Previous spread: Tiffany Victoria™ designs in platinum with diamonds. Mixed cluster drop pendant, $20,000. Mixed cluster
drop earrings, $40,000.
This page: Tiffany Victoria™ mixed cluster drop earrings in platinum with diamonds, $40,000.
8 8
| T| I FTFA
I FN
FAY.C
N Y.C
O MO/ FA
M LL
Previous spread: Tiffany Victoria™ designs in platinum with diamonds. Mixed cluster pendant with diamond chain, $30,000.
Mixed cluster pendant, from $4,900. Mixed cluster drop earrings, $40,000. Tiffany Metro
ring in 18k white gold with diamonds, $2,200. Tiffany Bow bracelet in 18k white gold with diamonds, $3,300.
This page: Tiffany Victoria™ designs in platinum with diamonds. Mixed cluster drop earrings, $40,000. Mixed cluster earrings,
from $8,500. Mixed cluster necklace, $100,000. Tiffany Metro designs in 18k white, rose and yellow
gold with diamonds. Rings, $2,200 each. Hinged bangle, $6,200. Tiffany Bow ring in 18k white gold with diamonds, $3,800.
12 | T I F FA N Y.C O M / FA L L
Previous spread: Tiffany Bow necklace in 18k rose gold with diamonds, $10,000. Tiffany Bow ring in 18k rose gold
with diamonds, $3,800.
This page: Tiffany Bow designs with diamonds. Necklace in 18k rose gold, $10,000. Cuff in 18k white gold, $7,500. Tiffany T diamond
line bracelet in 18k white gold, from $15,000. Tiffany Metro bangles in 18k white gold with diamonds, from $6,200.
Next spread: Tiffany Metro bangle in 18k white gold with diamonds, $9,500. Tiffany Infinity cuffs in 18k yellow gold with
diamonds, from $4,900. Tiffany Metro ring in 18k rose gold with diamonds, $2,200. Tiffany Victoria™
designs in platinum with diamonds. Mixed cluster pendant, from $4,900. Mixed cluster earrings, from $8,500.
17 | T I F FA N Y.C O M / FA L LNIGHT
MOVES TIFFANY MASTERPIECES ARE A SHIMMERING
DREAM OF MOVEMENT AND LIGHT.
Photographs by Richard Burbridge
Designs in 18k gold with rose-cut diamonds. Necklace and bracelet with rock crystal, ring and cuff. Prices upon request.
20 | T I F FA N Y.C O M / FA L LLIVING COLOR
INSIDE EVERY COLORED GEMSTONE LIES
A WORLD OF ASTONISHING BEAUTY.
Photographs by Joanna McClure
Ring in platinum with a 16.03-carat round grossularite, price upon request.
27 | T I F FA N Y.C O M / FA L LRings in platinum with white diamonds, from left: 12.70-carat round unenhanced yellow sapphire, price upon request.
Cushion-cut yellow diamond with 18k gold, from $5,050. 8.72-carat square modified yellow diamond with 18k gold, price upon request.
29 | T I F FA N Y.C O M / FA L LTiffany Soleste® rings in platinum with round brilliant diamonds, from top: Pear-shaped tanzanite, $8,800. Cushion-cut
tanzanite, $9,000. Round aquamarine, from $5,700.
30 | T I F FA N Y.C O M / FA L LRings in platinum with colored stones and white diamonds, clockwise from left: 10.04-carat cushion-cut pink spinel,
price upon request. 11.11-carat cushion-cut spessartite, price upon request.
Tiffany Soleste® round pink sapphire, from $7,300. Tiffany Soleste® round pink tourmaline, from $5,200.
32 | T I F FA N Y.C O M / FA L LHEAVY METAL
ON THE COOL END OF THE SPECTRUM,
A BRIGHT SHOT OF SILVER.
Photographs by Daniel Jackson
Styled by Alastair McKimm
Still life by Toby McFarlan PondR E T U R N TO T I F FA N Y ® , T I F FA N Y 18 37 ®
Previous spread: Return to Tiffany® designs in sterling silver. Heart tag bracelet, $300. Heart tag earrings, $150.
This page: Return to Tiffany® designs in sterling silver. Round tag key ring, $135. Circle edge cuff, $485.
On model: Tiffany 1837® designs in sterling silver. Extra wide cuff, $1,175. Wide rings, $275 each. Narrow hoop
earrings, $300. Return to Tiffany® circle edge cuffs in sterling silver, $485 each.
36 | T I F FA N Y.C O M / FA L LR E T U R N TO T I F FA N Y ®
This page: Return to Tiffany® designs in sterling silver. Heart tag bangle with chain, $485. Heart tag earrings, $150.
On model: Return to Tiffany® designs in sterling silver. Heart tag ring, $275. Circle tag rings, $275 each. Double chain
heart tag bracelet, $350.
39 | T I F FA N Y.C O M / FA L LT I F FA N Y E AST W EST ™, T I F FA N Y I N FI N I T Y, T I F FA N Y 18 37 ® , R E T U R N TO T I F FA N Y ®
This page: Tiffany East West™ 2-Hand watch in stainless steel, $3,500. Tiffany Infinity ring in sterling silver, $275.
On model: Tiffany 1837® designs in sterling silver. Narrow hoop earrings, $300. Interlocking circles pendant, $250.
Return to Tiffany® heart tag bangle with chain in sterling silver, $485. Tiffany East West™ 2-Hand watch in stainless steel, $3,500.
Next spread: Return to Tiffany® designs in sterling silver. Heart tag earrings, $150. Multi-heart tag bracelet, $385.
Heart tag bracelets, $300 each.
40 | T I F FA N Y.C O M / FA L LDESIGNS © PALOMA PICASSO
PA LO M A P I CAS S O ® O L I V E L E A F This page: Paloma Picasso® Olive Leaf designs in sterling silver. Large pendant, $495. Small pendant, $300.
On model: Paloma Picasso® Olive Leaf designs in sterling silver. Cuffs, $1,150 each. Band ring, $300.
Next spread: Designs in sterling silver. Return to Tiffany® circle duo pendant, $225. Return to Tiffany® heart tag earrings, $150.
Tiffany 1837® cuffs, $300 each. Coin edge tag pendant, $325; engraving additional. Atlas® pierced rings, $200 each.
45 | T I F FA N Y.C O M / FA L LR E T U R N TO T I F FA N Y ® , T I F FA N Y 18 37 ® , AT L AS ®
POINT
VIEW
OF
AFTER OVER 40 YEARS OF CREATING IMAGES
FOR THE EXTRAORDINARY ELSA PERETTI,
HIRO CONTEMPLATES THE POWER OF RESPECT.
When Florence-born Elsa Peretti joined Tiffany in 1974, her organic,
sensual forms revolutionized jewelry design and seduced the world.
A masterful artist, Peretti explores nature with the acumen of a scientist
and the vision of a sculptor. She allows us to see elemental shapes in
intriguing and beautiful new ways. A key collaborator in expressing her
vision is renowned photographer Hiro, who has been inspired by Elsa
Peretti’s magnificent designs for over 40 years.
I FIRST MET ELSA PERETTI when Diana Vreeland sent her to
my studio to model in the late 1960s. At the time there were a
number of European girls who were beginning to invade the
New York fashion world. They seemed to travel in packs but not Elsa.
She arrived alone. Instantly I felt that she was sophisticated,
beautiful and strong.
It wasn’t until the early 1970s that I actually photographed her
designs, and in 1984 I began to collaborate with Elsa at her request.
We had run into each other in New York. Elsa told me that she was
working on a catalogue to celebrate her 10th year with Tiffany and
asked if I might like to photograph it. “I don’t do catalogues,” I told
her, and I really didn’t want anything to do with it. But then I
thought, well, if we did a portfolio of loose images, that might
actually be interesting. She thought maybe we could do 10 shots,
but I suggested 11. In this crazy fashion world you always want to
do something that’s a little off, a little bit unexpected, surprising!
Opposite page: Elsa Peretti® Bone cuff in 18k gold.
48 | T I F FA N Y.C O M / P E R E T T I“ [a
—
And so we started working together. Actually not really working
together at all. You see the funny thing about Elsa—and the most
wonderful thing—is that she trusts the people she collaborates
with implicitly. She brings me her design but does not
direct my focus. She leaves me totally alone to choose
a direction for myself. She has an amazing eye,
immaculate instincts, and a clear vision of how things
look, but she never, ever tells me what she thinks I
should do. Do you know how rare that is?
She has a profound understanding of what it means to
be a team, and profound respect for what it means to
be an artist. Between Elsa and me, there is no ego. I get
to choose the piece I want to shoot and then live with
it. I carry it around with me in my pocket. I hold it a
lot. I look at it often. And then there is always a small
spark lit by the beauty of her designs, a slender thread
of an idea that I can grasp, and it grows.
The photo of the Bone cuff came about after I had
gone to look at the “Tutankhamun” exhibit at The
Metropolitan Museum of Art. The Egyptians saw
beauty in death. They believed in adorning bones.
What a wonderful perspective! Their celebration was
organic. I wanted to use that celebration to exhibit
Elsa’s cuff. I spent days preparing bones to make them
white and sculptural. We photographed the Bone cuff
on the bones but by midafternoon that day I looked at
the images and thought, “something is missing.” I felt
that the image needed some life, some color. I told my
assistants to find some ladybugs. By this time it was
2:30 on a Friday in New York. They looked at me with
the very real worry of not being able to find the bugs
in what remained of the day. They started to make
calls to California where it was some hours earlier. In
the end the Department of Agriculture at Berkeley
University was the answer. I got the ladybugs and that
made all the difference.
Previous spread: Elsa Peretti® sterling silver flatware.
This page and opposite page: Elsa Peretti ads for her
sterling silver pitcher and Diamonds by the Yard® collection.
53 | T I F FA N Y.C O M / P E R E T T I“ THANK S TO EVE RY O NE WH O C O NTINUE S TO W O RK WITH TH E
SPIRIT O F A C RAFTSMAN WITH O UT WH OM W E C O ULD NEVE R
$ [`
—
There were many more adventures on the way to getting an image
to the strongest possible place. One of Elsa’s favorite designs is the
Open Heart pendant, and I wanted to photograph
the sky as a part of that image. I’ve always been
fascinated by the sky. Even as a young boy I studied
it. The constant and changing ambience of clouds
and mist engage me. For this image I looked at the
sky for a long time. We photographed this at my
country studio in Pennsylvania. We were able to
capture the shimmering orb that encloses the Open
Heart against the perfect sky.
We also photographed the Bottle pendant in the
country. I sent the whole team out into the field
behind the studio to find a praying mantis. And that
praying mantis makes the photograph. My process
evolves during a session. I start with an idea or
vision and the image develops all the way through
the day. The creativity doesn’t end with the first
exposure. It’s important to keep your mind open to
all the possibilities. That allows the magic.
With all of these choices, I never have to explain
myself to Elsa. She knows immediately why I do what
I do. I am so grateful for that. For me, if someone
trusts you completely, you are obligated to do your
very best for them and you must return that trust.
This is an unspoken oath among artists. Elsa allows
me to create freely, with an open heart and mind,
with no fear. And that is an act of radical generosity.
Previous spread: Elsa Peretti® Teardrop pendant.
This page and opposite page: Ads for an Elsa Peretti®
Bottle pendant in sterling silver and Open Heart
necklace in 18k gold.
56 | T I F FA N Y.C O M / P E R E T T IQUINT-
ESSENTIAL
TIFFANY
Jean Schlumberger’s witty and exciting designs made him a darling of
Parisian creative circles. Hired by Elsa Schiaparelli, the famed
couturier, to create jewelry for her collections, he rose to become the
TIFFANY & CO. SCHLUMBERGER ®
SIXTEEN STONE RING.
Photograph by Raymond Meier
most acclaimed jewelry designer of his time. In 1956, Schlumberger
joined Tiffany & Co. where his nature-inspired jewels were quickly
embraced by the world’s most fashionable women including Elizabeth
Taylor, legendary Vogue editor Diana Vreeland and Babe Paley.
“ FOR ME, THE ART OF THE JEWEL IS ABOVE ALL
A MEANS OF EXPRESSION, WITH POSSIBILITIES
OF PURE AND DURABLE BEAUTY WHICH GO
BEYOND THE USUAL FRAMEWORK OF FASHION.”
—JEAN SCHLUMBERGER
A true Schlumberger classic is the Sixteen Stone ring, one of the most
famous creations in Tiffany’s history. The strong defining X that
anchors this iconic ring—and also lashes his bracelets of enamel and
massive gold chains—is a mark of harmony and balance. It reveals the
designer at his most refined, devising an elegant counterpoint to the
exotic birds, flowers and ocean life that characterize many of his
magnificent creations for Tiffany & Co. For its timeless pefection, the
Sixteen Stone ring deserves a place of honor in every stylish woman’s
jewelry box.
Tiffany & Co. Schlumberger® Sixteen Stone ring in platinum
and 18k gold with diamonds, from $9,000.
58 | T I F FA N Y.C O M / FA L LUNLOCK THE
POSSIBILITIES
TIFFANY KEYS ARE A SYMBOL OF ALL THAT IS
POSSIBLE AND ALL THAT LIES AHEAD. MODEL LIU WEN
CONSIDERS HER OWN JOURNEY TO SUCCESS.
Photograph by Mario Sorrenti
Styled by Tabitha Simmons Still life by Thomas Milewski
As a child in Yongzhou, Hunan Province, Liu Wen was a tomboy with only the most modest
dreams for the future. “I never for a moment thought about being famous,” she said. “I wanted to
be a teacher and stay at home with my family, just have a normal job. Modeling changed my life.”
Today, the woman dubbed “China’s first supermodel” is considered one of the world’s most
beautiful women, with more than 10 million social media followers. Not bad for a humble
construction worker’s daughter from rural China who was discovered after entering a modeling
contest at the urging of her mother.
“I was quite tall and a slouchy tomboy. My mom thought it would help me become more
feminine,” she recalled with a grin. At the time, the 17-year-old did not consider herself
attractive, and classmates teasingly called her “Mulan” because she dressed more like a boy than
“I’M SO HAPPY AND HONORED WHEN PEOPLE CALL
ME CHINA’S FIRST SUPERMODEL.”
a girl. To everyone’s surprise, Wen won the local competition, which brought her to the attention
of the modeling community in China. After completing high school at age 18, she decided to try
modeling full-time and moved to Beijing, a 20-hour train ride from Yongzhou.
61 | T I F FA N Y.C O M / FA L LPrevious spread, on Liu Wen: Tiffany Keys
kaleidoscope key in platinum with a
yellow diamond and white diamonds, from
$8,650. Chain in platinum, from $400.
Chains sold separately.
This page: Tiffany Keys in sterling silver, 18k
white, yellow and rose gold and platinum. Fleur
de lis keys with diamonds, from $2,300.
Quatra heart key, $4,600. Tiffany Victoria™
key with diamonds, $10,500. Knot keys, from
$370. Daisy keys with diamonds, from $375.
Crown keys, from $295. Oval keys, from $160.
Petals keys with diamonds, from $8,300.
Kaleidoscope key with a yellow diamond and
white diamonds, from $8,650. Vintage oval key
with diamonds, $2,000.
runway shows in New York, London, Milan and Paris. To perfect
“I WAS CURIOUS,” SHE SAID. “I WAS ALWAYS
her craft, she constantly studied her performance on YouTube.
A GOOD STUDENT AND A GOOD KID, DOING To nurture her professional relationships, she sent handwritten
EXACTLY WHAT MY PARENTS WANTED ME TO thank-you notes to clients and colleagues, bringing old-world
DO. FINALLY, I HAD SOMETHING THAT WAS charm to her new-world occupation.
ALL MINE, SOMETHING I WANTED TO DO FOR
Fast forward to 2015, and Liu Wen is now famous around
MYSELF AND BY MYSELF.” the world, having appeared on countless magazine covers
and runways.
Before long, Wen was shooting a designer’s catalogue in Europe,
feeling very much like a stranger in a strange land. “I’m so happy and honored when people call me China’s first
supermodel,” says Wen, her voice swelling with pride.
“I remember it was just after Chinese New Year and I was by “It is something I still have trouble believing. That kind of
myself with two suitcases flying off to Milan,” recalled the girl acknowledgement makes me want to work even harder.”
who didn’t see her first fashion magazine until age 16. “I spoke no
English or Italian. It was like being a baby again. Everything Hard work and perseverance come naturally to this beautiful
was so new and unfamiliar. I couldn’t understand what people dreamer who forged her own path to success through
were saying. I felt quite lost and alone.” a series of small courageous acts and by saying yes to life’s
unexpected opportunities.
Despite the language barrier, Wen was invited to Paris Fashion
Week in 2008. The following season, she walked more than 74
63 | T I F FA N Y.C O M / FA L LDESIGNS THAT REFLECT THE ENERGY OF
NEW YORK IN BOLD, GRAPHIC GOLD.
Still life by Richard Burbridge
Architectural photographs by Adrian Gaut
MODERN
MIDAS
T I F FA N Y T
Tiffany T smile pendants in 18k yellow and rose gold, from $600. Also available with diamonds, from $1,900.
65 | T I F FA N Y.C O M / FA L LAT L AS ® Atlas® pendants in 18k gold, from $1,600.
AT L AS ® , T I F FA N Y T, T I F FA N Y & C O. S C H LU M B ER G ER ®
From top: Tiffany & Co. Schlumberger® two-row
diamond rope bangle in 18k gold and
platinum, $11,600. Tiffany T wire bracelet in
18k rose gold with diamonds, $3,200. Atlas®
bracelets. Narrow open bangle in 18k yellow gold,
$3,500. Open hinged bangle in 18k rose gold
with diamonds, $11,000. Closed hinged bangle
in 18k rose gold with diamonds, $6,500.T I F FA N Y 18 37 ® , AT L AS ® , T I F FA N Y T
Rings in 18k yellow and rose gold, from left: Tiffany 1837® narrow ring, $950. Atlas® wide open ring with diamonds, $2,100.
Tiffany T wire ring with diamonds, $1,600. Atlas® narrow pierced ring with diamonds, $850. Atlas® open ring, $900.
70 | T I F FA N Y.C O M / FA L LT I F FA N Y T, AT L AS ®
Cuffs and bracelet in 18k yellow gold, from top:
Tiffany T cutout cuff with white ceramic,
$8,500. Tiffany T square bracelet,
$5,200. Atlas® wide cuff, $12,500.ARTS & CULTURE
THE WHITNEY
HOW THE MODERN ART MECCA’S
GRAPHIC NEW SPACE WAS INFORMED
BY THE WHITNEY BIENNIAL.
By Alix Browne
The news that the Whitney Museum of American Art was moving from its Marcel
Breuer designed bunker on New York’s Upper East Side to a brand new Renzo
Piano designed building downtown near the High Line made the front page of The
New York Times above the fold. Only slightly second to this announcement came
the news that in the wake of
that move, the Whitney
Biennial, the museum’s most
anticipated and high-profile
exhibition since its inception,
would be postponed one year,
until 2017.
The Biennial—sponsored by
Tiffany & Co. through 2021—
not only takes the cultural
pulse of America every two
years, but with its emphasis on
emerging artists it has an
uncanny way of predicting
the future.
“The Biennial is such a
signature project for the
Whitney and it’s an ambitious
project,” says Donna De Salvo,
the Whitney’s deputy director
for international initiatives
and senior curator. “We were moving and had a lot on our plate and it seemed the
right thing for the curators and the artists we might be working with in the future
to really get a sense of what the building is and to understand it.”
74 | T I F FA N Y.C O M / FA L Liano’s critically acclaimed design, which includes
generous, loft-like galleries and expansive floor-to-
ceiling windows, nearly doubled the museum’s
exhibition space. Much has been made of the fact
that there are now two floors entirely dedicated
to the Whitney’s vast permanent collection, which
in the relatively diminutive Breuer building often
languished in storage. But as De Salvo points out,
when she and her colleagues were considering what the new
building should be, the Biennial was always at the back of
their minds.
“ You just never he current building is even more accommodating by
design, with several sanctioned outdoor spaces as
know how people well as a black box theater for performance art. For
the opening exhibition “America Is Hard to See,”
are going to reinvent Mary Heilmann colonized a large terrace with her
brightly colored chairs, and as part of a five-year
the space. ” collaboration with TF Cornerstone and the High
Line, Michele Abeles installed a billboard-sized work
on the façade of nearby 95 Horatio Street. The elevators are home
to the new building’s only commissioned work—an installation
by the late artist Richard Artschwager—but that doesn’t mean
De Salvo and her team thought of every possibility. Far from it.
“You know artists will push against anything,” De Salvo insists. “You
just never know how people are going to reinvent the space.” Or, on the
other hand, how the space is going to reinvent the Biennial.
De Salvo is curious to see how artists respond not just to the site itself
but also to the neighborhood. “There’s the whole history of the West
Side with artists like David Wojnarowicz and Gordon Matta-Clark,
the gay scene, it was a pretty rough-and-tumble area. And there are
remnants of it. There’s a kind of layered archaeology and some artists
really take that on. I think the Biennial always surprises. We never
know where it’s going to go.”
“It’s interesting just how much the Biennial influenced the design of
this building,” she observes. “A lot of the thinking that Adam Previous spread, left: Installation view
[Weinberg, the Whitney’s Director] and I did with Renzo was “Andy Warhol” (May 1–June 20, 1971) Whitney
influenced by how artists have used the [old] building historically. Museum of American Art, New York.
Photograph by Geoffrey Clements.
Probably there is no greater time that artists take over the building Right: The new Renzo Piano designed
than at the Biennial.” building. Photograph © Adrian Gaut.
This page: Doug Aitken, “New Opposition
“ It’s interesting just II,”(2001). Chromogenic print, Sheet: 55 ½ ×
47 15⁄16 in. (141 × 121.8 cm) Whitney Museum of
Indeed, in the past decades artists have occupied just about any American Art, New York; purchase, with
how much the Biennial space they could get their hands on—and the museum happily
allowed them to do so. In 2004, Paul McCarthy lashed a 64-foot tall
funds from the Director’s Discretionary Fund
in honor of Steven Ames 2002.323
© 2001 Doug Aitken.
influenced the design inflatable sculpture to the rooftop, essentially transforming the
building into a giant pedestal. The Sculpture Court, meanwhile, has
Opposite page: Michele Abeles, “Baby
Carriage on Bike or Riot Shield as Carriage,”
of this building. ” been used alternatively as an animal habitat (Fritz Haeg, 2008
Biennial) and a human one (Coco Fusco, 1993 Biennial). Charles Ray
2015. 204 × 348 in. (518.2 × 883.9 cm).
Collection of the artist; Courtesy 47 Canal,
New York © Michele Abeles.
once parked a 12 x 47-foot toy fire truck outside the museum on
Madison Avenue. “People did things in the stairwells, in the
elevators,” De Salvo recalls. “One year, I believe Kenny Scharf did
something in the bathrooms. In a sense the artists see the building
as an instrument.”
76 | T I F FA N Y.C O M / FA L Luch, of course, will depend on the curator (or
curators). “Many of the past Biennials have included
historical figures and there were times that it was
just about the youngest cutting-edge artists, so we
never really know,” De Salvo explains. “Our curators
travel and really go and look and it is about gauging
both the art that is being made but also what’s in
the air. It’s been a long time since there has been a
zeitgeist where you could say it’s all about this, because you can say it’s
all about this today, and next week it’s all about something else. The
world moves fast. People consume. And they consume very quickly. It’s
very hard to put your finger on the pulse of any one thing. In the end,
the curators have to put forward what they think. It’s impossible
to be comprehensive.”
At the end of the day, it all comes down to the artists themselves.
“Artists don’t feel bound by some linear notion of art history. They
are open in that way. They are looking at things and it’s all about their
vision,” says De Salvo, adding that the Museum, too, has become more
open when it comes to its definition of “American Artist,” with a valid
U.S. passport no longer the criteria for admittance into the Biennial or,
for that matter, the permanent collection.
“The greatest interest is talking about art in the United States,” De
Salvo says. “In a world where there is a greater nomadic existence,
there’s something powerful and productive about being able to have
a sense of depth. I think that the Whitney’s focus and one of its great
strengths is the capacity to look at contemporary art within the
framework of the United States, but we allow for fluidity because
This page: Edward Ruscha, “Large that’s the artists themselves. This place is always figuring itself out.
Trademark with Eight Spotlights,” 1962. Oil, It’s a kind of blessing and a curse because you have to go with that. If
house paint, ink and graphite pencil on
you try to fix it, you fail, because then you become parochial, then you
canvas, 66 15⁄16 × 133 ⅛ in. (170 × 338.1 cm).
Whitney Museum of American Art, New York; become provincial. The artists keep you from doing that.”
purchase, with funds from the Mrs. Percy Uris
Purchase Fund 85.41 © Ed Ruscha.
Roy Lichtenstein, “Little Big Painting,” 1965.
Oil and acrylic on canvas, 68 × 80 in. (172.7 ×
203.2 cm). Whitney Museum of American
Art, New York; purchase, with funds from the
Friends of the Whitney Museum of American
Art 66.2 © Estate of Roy Lichtenstein.
Opposite page: “1989 Biennial” catalogue
“ Artists don’t feel
cover, designed by Christopher Wool, for
1989 Biennial (April 18 – July 9, 1989). bound by some linear
notion of art history. ”
78 | T I F FA N Y.C O M / FA L LTO ORDER, CALL 800 843 3269 OR VISIT TIFFANY.COM.
FILMMAKER/AUTHOR LIZ GOLDWYN
SHARES THE STORY BEHIND HER TREASURED
TIFFANY CLOCK.
Photograph courtesy of Liz Goldwyn
MY TIFFANY
My grandmother, Frances, gave this clock to my grandfather, father passed away it was given to me. In the past year or so, Tiffany & Co. views the protection of the environment as both a moral obligation and a business imperative. We proudly state that this catalogue is printed on paper
that is Forest Stewardship Council ® (FSC ®) certified. It contains fiber from forests that are carefully managed, responsibly harvested and adhere to strict environmental and
Samuel Goldwyn Jr., in 1949 on the occasion of their 24th wedding I’ve been thinking a lot about the idea of time, and how we socioeconomic standards.
anniversary. It’s especially meaningful because it’s one of the measure it. I like imagining that this vintage clock holds all these
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things that I’d always admired that my father kept on his bureau. memories and sentiments that my grandparents or my father were
owned by Metropolitan Transportation Authority Arts for Transit and Urban Design.
It’s got the initials SG on it, which are also my father’s initials, and experiencing then that I am experiencing now. I grew up in the
they’re kind of tarnished with age. I would always play with the house that my grandparents built and I would always imagine what YouTube is a registered trademark of Google Inc.
clock when I was a little girl. I liked that it could fold up. It just their lives were like. This clock is a symbol of their marriage and
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seemed like this heavy object that was kind of a secret. It seemed their time—literally their time—that has been passed down to T I FFA N Y E AST W EST ™, R E T U R N TO T I FFA N Y ®, T I FFA N Y B LU E B OX ®, the Tiffany Blue Bag and the color Tiffany Blue are trademarks
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sentimental to my father because of where he kept it. When my my grandmother. PA LO M A P I CAS S O ® is a trademark of Paloma Picasso. Paloma Picasso designs copyrighted by Paloma Picasso. Prices valid as of June 2015 and subject to
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