This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.

 
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
AUTUMN/WINTER
     2015
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
“ONE
SHOULD
 EITHER
   BE A
 WORK
 OF ART
OR WEAR
A WORK
 OF ART.
     —Oscar Wilde
                     ”
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.
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
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
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
STATE OF GRACE
   TIFFANY VICTORIA™, BOW AND INFINITY
  COLLECTIONS CELEBRATE OUR CLOSEST
  CONNECTIONS WITH REFINED DIAMONDS.
 Photographs by Mario Sorrenti Styled by Tabitha Simmons
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
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
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
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
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
This is Tiffany. Autumn/Winter 2015. Tiffany & Co. Catalogue.
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 L
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   |   T I F FA N Y.C O M / FA L L
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   |   T I F FA N Y.C O M / FA L L
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   |   T I F FA N Y.C O M / FA L L
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   |   T I F FA N Y.C O M / FA L L
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   |   T I F FA N Y.C O M / FA L L
HEAVY 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 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   |   T I F FA N Y.C O M / FA L L
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   |   T I F FA N Y.C O M / FA L L
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.

                                                   40   |   T I F FA N Y.C O M / FA L L
DESIGNS © 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 L
R 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 I
QUINT-
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 L
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

                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 L
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.

                                                                                                                               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 L
DESIGNS 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 L
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   |   T I F FA N Y.C O M / FA L L
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

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 L
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.
                                                                                                                “ 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 L
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
                                                 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 L
TO 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
                                                                                                                                                                             Page 68: “Sky Reflector-Net” (2013) © James Carpenter Design Associates, Grimshaw Architects, and Arup. Commissioned and
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
                                                                                                                                                             T I F FA N Y ®, T I FFA N Y & C O. ®, T&C O. ®, T I FFA N Y V I CTO R I A™, AT L AS ®, T I F FA N Y S O L EST E ®, T I FFA N Y 1 8 37 ®, T I FFA N Y & C O. S C H LU M B ER G ER ®,
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
so unusual and it was something that was obviously very                        me. Today, it lives on my dressing table next to a photograph of               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. EL SA P ER E T T I ® and Diamonds by the Yard ® are trademarks of Elsa Peretti. Elsa Peretti designs copyrighted by Elsa Peretti.
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
                                                                                                                                                                 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   |   # M Y T I F FA N Y
You can also read
NEXT SLIDES ... Cancel