This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue. →
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue. →
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.
58 QUINTESSENTIAL TIFFANY Tiffany & Co.
Schlumberger® Sixteen Stone ring. Photograph by Raymond Meier 60 UNLOCK 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 64 MODERN MIDAS Designs that reﬂect the energy of New York in bold, graphic gold. Still life by Richard Burbridge Architectural photographs by Adrian Gaut 74 ARTS & CULTURE: THE WHITNEY How the modern art mecca’s graphic new space was informed by the Whitney Biennial. By Alix Browne 80 MY TIFFANY Filmmaker/author Liz Goldwyn shares the story behind her treasured Tiffany clock.
6 TATE OF GRACE ST ctoria™, Bow and Inﬁnity Tiffany Vi ons celebrate our closest collectio ns with reﬁned diamonds. connection graphs by Mario Sorrenti Photog ed by Tabitha Simmons Style 20 NIGHT MOVES N terpieces are a shimmering Tiffany Mast of movement and light. dream o aphs by Richard Burbridge Photogra 26 LIVING COLOR L ery colored gemstone lies Inside eve of astonishing beauty. a world raphs by Joanna McClure Photogr 34 HEAVY METAL H ool end of the spectrum, On the co right shot of silver. a br graphs by Daniel Jackson Photog ed by Alastair McKimm Style e by Toby McFarlan Pond Still life 48 POINT OF VIEW P 40 years of creating images Af A ter over 4 xtraordinary Elsa Peretti, for the ex mplates the power of respect t.
Hiro contem THISIS TIFFANY AUTUMN/WINTER 2015 COVER LOOK AND OPPOSITE 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 | TIFFANY.COM/FALL
STATEOFGRACE TIFFANY VICTORIA™, BOW AND INFINITY COLLECTIONS CELEBRATE OUR CLOSEST CONNECTIONS WITH REFINED DIAMONDS. Photographs by Mario Sorrenti Styled by Tabitha Simmons
8 | TIFFANY.COM 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 | TIFFANY.COM/FALL
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 | TIFFANY.COM/FALL
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 | TIFFANY.COM/FALL
NIGHT 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 | TIFFANY.COM/FALL
LIVING 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 | TIFFANY.COM/FALL
Rings 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 | TIFFANY.COM/FALL
Tiffany 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 | TIFFANY.COM/FALL
Rings 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 | TIFFANY.COM/FALL
HEAVYMETAL 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 Pond
R 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 | TIFFANY.COM/FALL
R 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 | TIFFANY.COM/FALL
T 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.
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PA LO M A P I CAS S O ® O L I V E L E A F DESIGNS © PALOMA PICASSO 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.
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R E T U R N TO T I F FA N Y ® , T I F FA N Y 18 37 ® , AT L AS ®
OF VIEW POINT 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.
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[ 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 | TIFFANY.COM/PERETTI
“ T HANKS TO EVERYONE WHO CONTINUES TO WORK WIT H T HE SPIRIT OF A CRAFTSMAN WIT HOUT WHOM WE COULD NEVER ` — 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. 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. 56 | TIFFANY.COM/PERETTI
QUINT- ESSENTIAL TIFFANY TIFFANY & CO. SCHLUMBERGER® SIXTEEN STONE RING. Photograph by Raymond Meier 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 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. 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. “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 58 | TIFFANY.COM/FALL
UNLOCK 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 THE 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.
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Previous 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.
Before long, Wen was shooting a designer’s catalogue in Europe, feeling very much like a stranger in a strange land. “I remember it was just after Chinese New Year and I was by myself with two suitcases ﬂying off to Milan,” recalled the girl 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 was so new and unfamiliar. I couldn’t understand what people were saying. I felt quite lost and alone.” Despite the language barrier, Wen was invited to Paris Fashion Week in 2008. The following season, she walked more than 74 runway shows in New York, London, Milan and Paris.
To perfect her craft, she constantly studied her performance on YouTube. To nurture her professional relationships, she sent handwritten thank-you notes to clients and colleagues, bringing old-world charm to her new-world occupation.
Fast forward to 2015, and Liu Wen is now famous around the world, having appeared on countless magazine covers and runways. “I’m so happy and honored when people call me China’s ﬁrst supermodel,” says Wen, her voice swelling with pride. “It is something I still have trouble believing. That kind of acknowledgement makes me want to work even harder.” Hard work and perseverance come naturally to this beautiful dreamer who forged her own path to success through a series of small courageous acts and by saying yes to life’s unexpected opportunities.
“I WAS CURIOUS,” SHE SAID. “I WAS ALWAYS A GOOD STUDENT AND A GOOD KID, DOING EXACTLY WHAT MY PARENTS WANTED ME TO DO.
FINALLY, I HAD SOMETHING THAT WAS ALL MINE, SOMETHING I WANTED TO DO FOR MYSELF AND BY MYSELF.” 63 | TIFFANY.COM/FALL
MODERN MIDAS DESIGNS THAT REFLECT THE ENERGY OF NEW YORK IN BOLD, GRAPHIC GOLD. Still life by Richard Burbridge Architectural photographs by Adrian Gaut 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 | TIFFANY.COM/FALL
AT 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 | TIFFANY.COM/FALL
T 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 THEWHITNEY 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 | TIFFANY.COM/FALL
iano’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.
“It’s interesting just how much the Biennial inﬂuenced the design of this building,” she observes.
“A lot of the thinking that Adam [Weinberg, the Whitney’s Director] and I did with Renzo was inﬂuenced by how artists have used the [old] building historically. Probably there is no greater time that artists take over the building than at the Biennial.” Indeed, in the past decades artists have occupied just about any 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 inﬂatable sculpture to the rooftop, essentially transforming the building into a giant pedestal. The Sculpture Court, meanwhile, has been used alternatively as an animal habitat (Fritz Haeg, 2008 Biennial) and a human one (Coco Fusco, 1993 Biennial).
Charles Ray 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.” he current building is even more accommodating by design, with several sanctioned outdoor spaces as well as a black box theater for performance art. For the opening exhibition “America Is Hard to See,” Mary Heilmann colonized a large terrace with her brightly colored chairs, and as part of a ﬁve-year 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. ” “ You just never know how people are going to reinvent the space. ” Previous spread, left: Installation view “Andy Warhol” (May 1–June 20, 1971) Whitney Museum of American Art, New York.
Photograph by Geoffrey Clements. Right: The new Renzo Piano designed building. Photograph © Adrian Gaut. This page: Doug Aitken, “New Opposition II,”(2001). Chromogenic print, Sheet: 55½ × 4715⁄16 in. (141 × 121.8 cm) Whitney Museum of American Art, New York; purchase, with funds from the Director’s Discretionary Fund in honor of Steven Ames 2002.323 © 2001 Doug Aitken. Opposite page: Michele Abeles, “Baby Carriage on Bike or Riot Shield as Carriage,” 2015. 204 × 348 in. (518.2 × 883.9 cm). Collection of the artist; Courtesy 47 Canal, New York © Michele Abeles. 76 | TIFFANY.COM/FALL
This page: Edward Ruscha, “Large Trademark with Eight Spotlights,” 1962.
Oil, house paint, ink and graphite pencil on canvas, 6615⁄16 × 133⅛ in. (170 × 338.1 cm). Whitney Museum of American Art, New York; 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 cover, designed by Christopher Wool, for 1989 Biennial (April 18 – July 9, 1989). uch, 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 that’s the artists themselves. This place is always ﬁguring itself out. It’s a kind of blessing and a curse because you have to go with that. If you try to ﬁx it, you fail, because then you become parochial, then you become provincial.
The artists keep you from doing that.” “ Artists don’t feel bound by some linear notion of art history. ” 78 | TIFFANY.COM/FALL
MY TIFFANY FILMMAKER/AUTHOR LIZ GOLDWYN SHARES THE STORY BEHIND HER TREASURED TIFFANY CLOCK. Photograph courtesy of Liz Goldwyn TO ORDER, CALL 800 843 3269 OR VISIT TIFFANY.COM. My grandmother, Frances, gave this clock to my grandfather, Samuel Goldwyn Jr., in 1949 on the occasion of their 24th wedding anniversary. It’s especially meaningful because it’s one of the things that I’d always admired that my father kept on his bureau. It’s got the initials SG on it, which are also my father’s initials, and they’re kind of tarnished with age. I would always play with the clock when I was a little girl.
I liked that it could fold up. It just seemed like this heavy object that was kind of a secret. It seemed so unusual and it was something that was obviously very sentimental to my father because of where he kept it. When my father passed away it was given to me. In the past year or so, I’ve been thinking a lot about the idea of time, and how we measure it. I like imagining that this vintage clock holds all these memories and sentiments that my grandparents or my father were experiencing then that I am experiencing now. I grew up in the house that my grandparents built and I would always imagine what their lives were like.
This clock is a symbol of their marriage and their time—literally their time—that has been passed down to me. Today, it lives on my dressing table next to a photograph of my grandmother.
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 socioeconomic standards. Page 68: “Sky Reﬂector-Net” (2013) © James Carpenter Design Associates, Grimshaw Architects, and Arup. Commissioned and owned by Metropolitan Transportation Authority Arts for Transit and Urban Design.
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TIFFANY® , TIFFANY & CO.® , T&CO.® , TIFFANY VICTORIA™, ATLAS® , TIFFANY SOLESTE® , TIFFANY 1837® , TIFFANY & CO. SCHLUMBERGER® , TIFFANY EAST WEST™, RETURN TO TIFFANY® , TIFFANY BLUE BOX® , the Tiffany Blue Bag and the color Tiffany Blue are trademarks or registered trademarks of Tiffany and Company and its affiliates, in the U.S. and other countries. All designs copyrighted by Tiffany and Company, except where otherwise noted. ELSA PERETTI® and Diamonds by the Yard® are trademarks of Elsa Peretti. Elsa Peretti designs copyrighted by Elsa Peretti. PALOMA PICASSO® is a trademark of Paloma Picasso.
Paloma Picasso designs copyrighted by Paloma Picasso. Prices valid as of June 2015 and subject to change without notice. Merchandise shown may not be available in all locations. Items may appear larger or smaller than actual size due to photography techniques. To remove your name from our mailing list, please contact customer service. © Tiffany and Company, 2015. USFALL15 80 | #MYTIFFANY