The Museum Of Modern Art Presents First US Retrospective In 30 Years Dedicated To Donald Judd, Opening In March 2020

The Museum of Modern Art’s exhibition Donald Judd, to go on view in The Steven and Alexandra Cohen Center for Special Exhibitions in The David and Peggy Rockefeller Building from March 1 through July 11, 2020, will be the first major US retrospective dedicated to Donald Judd (1928–1994) in over three decades. Presented solely at MoMA, the exhibition will explore the remarkable vision of an artist who revolutionized the history of sculpture, highlighting the full scope of Judd’s career through some 60 works in sculpture, painting, and drawing, from public and private collections in the US and abroad. Donald Judd is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Yasmil Raymond, Associate Curator, with Tamar Margalit, Curatorial Assistant, and Erica Cooke, Research Fellow, Department of Painting and Sculpture, MoMA.

Donald Judd. Untitled. 1967. Lacquer on galvanized iron; 12 units, each 9 × 40 × 31″ (22.8 × 101.6 × 78.7 cm), installed vertically with 9″ (22.8 cm) intervals. The Museum of Modern Art, New York. Helen Acheson Bequest (by exchange) and gift of Joseph Helman. © 2019 Judd Foundation/Artists Rights Society (ARS), New York. Photo: John Wronn

Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative, and metaphorical content. He turned to three dimensions as well as industrial working methods and materials in order to investigate “real space,” by his definition. Donald Judd will survey the evolution of Judd’s work, beginning with his paintings, reliefs, and handmade objects from the early 1960s; through the years in which he built an iconic vocabulary of works in three dimensions, including hollow boxes, stacks, and progressions made with metals and plastics by commercial fabricators; and continuing through his extensive engagement with color during the last decade of his life.

Half a century after Judd established himself as a leading figure of his time, there remains a great deal to discover,” said Temkin. “MoMA’s presentation will emphasize the radicality of his approach to art-making and the visual complexity of his work.”

Donald Judd. Untitled. 1991. Enameled aluminum, 59″ × 24′ 7 1/4″ × 65″ (150 × 750 × 165 cm). The Museum of Modern Art, New York. Bequest of Richard S. Zeisler and gift of Abby Aldrich Rockefeller (both by exchange) and gift of Kathy Fuld, Agnes Gund, Patricia Cisneros, Doris Fisher, Mimi Haas, Marie-Josée and Henry R. Kravis, and Emily Spiegel. © 2019 Judd Foundation/Artists Rights Society (ARS), New York. Photo: John Wronn

We want to commend the leadership of MoMA, Ann Temkin, and her team for their in-depth research and their substantial commitment towards this significant exhibition. Don’s work remains as vital today as it was when he created it. We appreciate MoMA providing the opportunity for a new generation to engage with his work in New York,” said Rainer Judd, President, Judd Foundation.

Donald Judd. Untitled. 1966/68. Stainless steel and Plexiglas in six parts, 34 × 34 × 34″ (86.36 × 86.36 × 86.36 cm). Layton Art Collection Inc., Purchase, at the Milwaukee Art Museum. © 2019 Judd Foundation/Artists Rights Society (ARS), New York. Photo: John R. Glembin

The exhibition will be accompanied by a fully illustrated catalogue. The essays included in the catalogue will examine subjects fundamental to Judd’s work and thinking, including methods of fabrication, his early paintings and sketchbooks, his relationship with museums, his interest in site-specific work, and his activities in the realms of design and architecture.

The exhibition is made possible by Hyundai Card.

Leadership support is provided by the Henry Luce Foundation.

The Museum Of Modern Art To Present Its First Solo Exhibition Of The Artist Betye Saar And Her Iconic Work Black Girl’s Window

The Museum of Modern Art announces Betye Saar: The Legends of Black Girl’s Window, an in-depth solo exhibition exploring the deep ties between the artist’s iconic autobiographical assemblage Black Girl’s Window (1969) and her rare, early prints, made during the 1960s. On view from October 21, 2019, through January 4, 2020,

Betye Saar at her Laurel Canyon Studio, Los Angeles, California, 2019. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo David Sprague

Betye Saar: The Legends of Black Girl’s Window is drawn almost entirely from the Museum’s collection, and highlights the recent acquisition of 42 works on paper that provide an overview of Saar’s sophisticated, experimental print practice. The exhibition engages with the themes of family, history, and mysticism, which have been at the core of Saar’s work from its earliest days, and traces a link from her printmaking to the assemblages for which she is best known today.

Betye Saar. Black Girl’s Window. 1969. Wooden window frame with paint, cut-and-pasted printed and painted papers, daguerreotype, lenticular print, and plastic figurine, 35 3/4 × 18 × 1 1/2″ (90.8 × 45.7 × 3.8 cm). The Museum of Modern Art, New York. Gift of Candace King Weir through The Modern Women’s Fund, and Committee on Painting and Sculpture Funds. © 2019 Betye Saar, courtesy the artist and Roberts Projects, Los Angeles. Digital Image © 2018 The Museum of Modern Art, New York, Photo by Rob Gerhardt

Betye Saar: The Legends of Black Girl’s Window is organized by Christophe Cherix, The Robert Lehman Foundation Chief Curator, and Esther Adler, Associate Curator, with Ana Torok, Curatorial Assistant, and Nectar Knuckles, Curatorial Fellow, Department of Drawings and Prints, The Museum of Modern Art. Saar’s Black Girl’s Window (1969), one of her best known works, is at the heart of this exhibition, which provides an opportunity for a close examination of its myriad details and references. The work also serves as a guide to the larger installation, its signature themes explored through other works that reflect the artist’s lifelong muses, including her three daughters, and a range of astrological and mystical symbols. New research into the construction and materials used to create Black Girl’s Window allows for a direct link to be made between Saar’s prints in the Museum’s collection and the assemblage itself. Betye Saar: The Legends of Black Girl’s Window is also the first dedicated examination of Saar’s work as a printmaker, demonstrating how her interest in found objects and assemblage appears even in her early works on paper through her experimental practice.

Betye Saar. Lo, The Mystique City. 1965. Etching with embossing, image: 18 1/2 × 19 13/16″ (47 × 50.4 cm); sheet: 19 13/16 × 22 15/16″ (50.3 × 58.3 cm). The Museum of Modern Art, New York. The Candace King Weir Endowment for Women Artists. © 2019 Betye Saar, courtesy the artist and Roberts Projects, Los Angeles. Digital Image © 2018 The Museum of Modern Art, New York, Photo by Rob Gerhardt
Betye Saar. To Catch a Unicorn. 1960. Etching and aquatint with watercolor additions plate: 14 3/4 × 8″ (37.5 × 20.3 cm); sheet: 16 3/4 × 9 7/16″ (42.6 × 24 cm). The Museum of Modern Art, New York. The Candace King Weir Endowment for Women Artists. © 2019 Betye Saar, courtesy the artist and Roberts Projects, Los Angeles. Digital Image © 2018 The Museum of Modern Art, New York, Photo by Rob Gerhardt

A major figure in postwar art, Betye Saar (b. 1926) has lived and worked in Los Angeles her entire life, and is part of a generation of artists who pursued assemblage there during the 1960s and ’70s, which also included Edward Kienholz, John Outterbridge, and Noah Purifoy. Although best known for sculptures made from found materials, particularly those that challenge derogatory stereotypes of African Americans, Saar’s earliest independent works are prints. Working in a range of techniques, including intaglio and lithography, she created works on paper that reveal a comfort with experimentation and an early interest in incorporating physical traces of the world within her art. The Museum now has the largest public collection of Saar’s printed work, which remains largely unknown even to those familiar with her oeuvre. The prints will be juxtaposed in the exhibition with Black Girl’s Window and a number of other early window assemblages.

Betye Saar. Anticipation. 1961. Screenprint, image: 18 1/8 × 14 7/16″ (46.1 × 36.7 cm); sheet: 21 11/16 × 16 15/16″ (55.1 × 43.1 cm). The Museum of Modern Art, New York. The Candace King Weir Endowment for Women Artists. © 2019 Betye Saar, courtesy the artist and Roberts Projects, Los Angeles. Digital Image © 2018 The Museum of Modern Art, New York, Photo by Rob Gerhardt

The exhibition will be accompanied by the catalogue Betye Saar: Black Girl’s Window, authored by Cherix and Adler, which situates this iconic work within Saar’s early career, and provides a link with the decades of work that follow it.

Michele Mattei. Betye Saar. 2012. The Museum of Modern Art Archives, New York. © Michele Mattei. © 2019 Betye Saar, courtesy the artist and Roberts Projects, Los Angeles

SPONSORSHIP:

Major support of the exhibition is provided by The Modern Women’s Fund.

Generous funding is provided by the Alice L. Walton Foundation and the Robert Lehman Foundation. Additional support is provided by The Friends of Education of The Museum of Modern Art. MoMA Audio is supported by Bloomberg Philanthropies. Leadership contributions to the Annual Exhibition Fund, in support of the Museum’s collection and collection exhibitions, are generously provided by the Kate W. Cassidy Foundation, Sue and Edgar Wachenheim III, Mimi and Peter Haas Fund, Jerry I. Speyer and Katherine G. Farley, Eva and Glenn Dubin, The Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The David Rockefeller Council, The Contemporary Arts Council, Anne Dias, Kathy and Richard S. Fuld, Jr., Kenneth C. Griffin, The Keith Haring Foundation, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S. Lauder, and Anna Marie and Robert F. Shapiro.

Major contributions to the Annual Exhibition Fund are provided by the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.

The Museum Of Modern Art Announces The First Major Dorothea Lange Solo Exhibition At Moma In 50 Years

The Museum of Modern Art announces Dorothea Lange: Words & Pictures, the first major solo exhibition at the Museum of the photographer’s incisive work in over 50 years. On view from February 9 through May 2, 2020, in The Paul J. Sachs Galleries in The David and Peggy Rockefeller Building,

Dorothea Lange: Words & Pictures includes approximately 100 photographs drawn entirely from the Museum’s collection. The exhibition also uses archival materials such as correspondence, historical publications, and oral histories, as well as contemporary voices, to examine the ways in which words inflect our understanding of Lange’s pictures. These new perspectives and responses from artists, scholars, critics, and writers, including Julie Ault, Wendy Red Star, and Rebecca Solnit, provide fresh insight into Lange’s practice. Dorothea Lange: Words & Pictures is organized by Sarah Meister, Curator, with River Bullock, Beaumont & Nancy Newhall Curatorial Fellow, assisted by Madeline Weisburg, Modern Women’s Fund Twelve-Month Intern, Department of Photography, The Museum of Modern Art.

Dorothea Lange. Migrant Mother, Nipomo, California. 1936. Gelatin silver print, 11 1/8 x 8 9/16″ (28.3 x 21.8 cm). The Museum of Modern Art, New York. Purchase

Toward the end of her life, Dorothea Lange (1895–1965) remarked, “All photographs—not only those that are so-called ‘documentary,’ and every photograph really is documentary and belongs in some place, has a place in history—can be fortified by words.”

Dorothea Lange. Tractored Out, Childress County, Texas. 1938. Gelatin silver print. 9 5/16 x 12 13/16″ (23.6 x 32.6 cm). The Museum of Modern Art, New York. Purchase

Organized loosely chronologically and spanning her career, the exhibition groups iconic works together with lesser known photographs and traces their varied relationships to words: from early criticism on Lange’s photographs to her photo-essays published in LIFE magazine, and from the landmark photobook An American Exodus to her examination of the US criminal justice system. The exhibition also includes groundbreaking photographs of the 1930s—including Migrant Mother (1936)—that inspired pivotal public awareness of the lives of sharecroppers, displaced families, and migrant workers during the Great Depression. Through her photography and her words, Lange urged photographers to reconnect with the world—a call reflective of her own ethos and working method, which coupled an attention to aesthetics with a central concern for humanity.

Dorothea Lange. The Defendant, Alameda County Courthouse, California. 1957. Gelatin silver print. 12 3/8 x 10 1/8″ (31.4 x 25.8 cm). The Museum of Modern Art, New York. Purchase

It seems both timely and urgent that we renew our attention to Lange’s extraordinary achievements,” said Meister. “Her concern for less fortunate and often overlooked individuals, and her success in using photography (and words) to address these inequities, encourages each of us to reflect on our own civic responsibilities. It reminds me of the unique role that art—and in particular photography—can play in imagining a more just society.

The exhibition begins in 1933, when Lange, then a portrait photographer, first brought her camera outside into the streets of San Francisco. Lange’s increasing interest in the everyday experience of people she encountered eventually led her to work for government agencies, 2 supporting their objective to raise public awareness and to provide aid to struggling farmers and those devastated by the Great Depression. During this time, Lange photographed her subjects and kept notes that formed the backbone of government reports; these and other archival materials will be represented alongside corresponding photographs throughout the exhibition. Lange’s commitment to social justice and her faith in the power of photography remained constant throughout her life, even when her politics did not align with those who were paying for her work.

A central focus of the exhibition is An American Exodus, a 1939 collaboration between Lange and Paul Schuster Taylor, her husband and an agricultural economist. As an object and as an idea, An American Exodus highlights the voices of her subjects by pairing first-person quotations alongside their pictures. Later, Lange’s photographs continued to be useful in addressing marginalized histories and ongoing social concerns. Throughout her career as a photographer for the US Government and various popular magazines, Lange’s pictures were frequently syndicated and circulated outside of their original context. Lange’s photographs of the 1930s helped illustrate Richard Wright’s 12 Million Black Voices (1941), and her 1950s photographs of a public defender were used to illustrate Minimizing Racism in Jury Trials (1969), a law handbook published after Black Panther Huey P. Newton’s first trial during a time of great racial strife.

This collection-based exhibition would not be possible had it not been for Lange’s deep creative ties to the Museum during her lifetime. MoMA’s collection of Lange photographs was built over many decades and remains one of the definitive collections of her work. Her relationship to MoMA’s Department of Photography dates to her inclusion in its inaugural exhibition, in 1940 which was curated by the department’s director, Edward Steichen. Lange is a rare artist in that both Steichen and his successor, John Szarkowski, held her in equally high esteem. More than a generation after her first retrospective, organized by Szarkowski at MoMA in 1966, Dorothea Lange: Words & Pictures uses both historical and contemporary words to encourage a more nuanced understanding of words and pictures in circulation.

The exhibition is accompanied by the catalogue Dorothea Lange: Words & Pictures, capturing this renewed consideration of Lange’s work through the particular lens of its relationship to words. Contributors to the exhibition and the catalogue include artists and curators Julie Ault, Sam Contis (in collaboration with Tess Taylor), Sandy Phillips, Wendy Red Star, and Sally Mann; scholars and writers Kimberly Juanita Brown, Jennifer Greenhill, Christina Sharpe, Robert Slifkin, and Rebecca Solnit.

The exhibition is supported by the Annual Exhibition Fund.

The Museum Of Modern Art Announces Sur Moderno: Journeys Of Abstraction—The Patricia Phelps De Cisneros Gift

Major Exhibition at the Opening of New MoMA Will Display Over 100 Important Works by Latin American Artists

The Museum of Modern Art announces Sur moderno: Journeys of Abstraction―The Patricia Phelps de Cisneros Gift, a major exhibition drawn primarily from the paintings, sculptures, and works on paper donated to the Museum by the Colección Patricia Phelps de Cisneros between 1997 and 2016.

Since its founding in 1929, The Museum of Modern Art has collected, exhibited, and studied the art of Latin America. Today, MoMA’s collection includes more than 5,000 works of modern and contemporary art by artists from Latin America distributed across its six curatorial departments, representing important figures in early modernism, Expressionism, Surrealism, abstraction, architecture, and Conceptual and contemporary art.

Alfredo Hlito (Argentine, 1923–1993). Ritmos cromáticos III (Chromatic Rhythms III), 1949. Oil on canvas, 39 3/8 × 39 3/8″ (100 × 100 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund

On view from October 21, 2019, through March 14, 2020, Sur moderno celebrates the arrival of the most important collection of abstract and concrete art from Latin America by dedicating an entire suite of galleries on the Museum’s third floor to the display of artists from Brazil, Venezuela, Argentina, and Uruguay.

Lygia Clark (Brazilian, 1920–1988). Contra relevo no. 1 (Counter Relief no. 1). 1958. Synthetic polymer paint on wood, 55 1/2 × 55 1/2 × 1 5/16″ (141 × 141 × 3.3 cm). The Museum of Modern Art, New York. Promised gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund. Courtesy of “The World of Lygia Clark” Cultural Association

The exhibition highlights the work of Lygia Clark, Gego, Raúl Lozza, Hélio Oiticica, Jesús Rafael Soto, and Rhod Rothfuss, among others, focusing on the concept of transformation: a radical reinvention of the art object and a renewal of the social environment through art and design. The exhibition is also anchored by a selection of archival materials that situate the works within their local contexts. Sur moderno is organized by Inés Katzenstein, Curator of Latin American Art and Director of the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America, The Museum of Modern Art, and consulting curator María Amalia García, Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET)–Universidad Nacional de San Martín, Argentina, with Karen Grimson, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art.

María Freire (Uruguayan, 1917–2015). Untitled. 1954. Oil on canvas, 36 1/4 × 48 1/16″ (92 × 122 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Gabriel Pérez‑Barreiro

The exhibition is divided into two main sections based on the concept of transformation. The first section, “Artworks as Artifacts, Artworks as Manifestos,” presents a group of works that subverted the conventional formats of painting and sculpture. Cuts, folds, articulated objects, cut-out frames, and experiments that question the autonomy of the art object are some examples of these artists’ material explorations. One of the first works visitors encounter in the exhibition, Willys de Castro’s Active Object (1961), fuses the materiality of painting with the principles of free-standing sculpture, inviting the viewer to circle around a painted canvas. Another work in this section, Gyula Kosice’s Articulated Mobile Sculpture (1948), questions the grounds of traditional sculpture by combining strips of brass to create a movable structure that defies classification.

Hélio Oiticica (Brazilian, 1937–1980). Relevo neoconcreto (Neoconcrete Relief) 1960. Oil on wood, 37 7/8 × 51 1/4″ (96 × 130 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros in honor of Gary Garrels. © Projeto Hélio Oiticica

The exhibition’s inclusion of Spatial Construction no. 12 (c. 1920) by Aleksandr Rodchenko highlights the influence of Russian Constructivism on South American art. Similarly, images of Piet Mondrian’s works were widely circulated and had a great impact on the development of abstraction in the region. His Broadway Boogie Woogie (1942–43), on view in the exhibition, inspired investigations of kineticism among artists such as Jesús Rafael Soto, whose Double Transparency (1956) is an attempt to transform the two-dimensionality of Mondrian’s painting into a three-dimensional experience.

Lygia Pape (Brazilian, 1927–2004). Untitled. 1956. Acrylic on wood, 13 3/4 × 13 3/4 × 3 1/8″ (35 × 35 × 8 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Sharon Rockefeller. Courtesy of Projeto Lygia Pape

In the second section, “Modern as Abstract,” the language of abstraction is displayed as both a product of and a catalyst for the transformation of the artists’ surroundings. The geometrical principles of abstract painting carried over into the everyday, where artists and architects recognized one another as allies, leading to a shared operation and set of ideals. Here, María Freire’s Untitled (1954), for example, is displayed alongside archival materials and works from MoMA’s Architecture and Design collection, in an exploration of public sculptural projects and furniture design.

The final part of the exhibition is dedicated to the grid, one of modern art’s central motifs of experimentation. Gego’s Square Reticularea 71/6 (1971) and Hélio Oiticica’s Painting 9 (1959) are two examples of works in the exhibition that approached the transformation and expansion of the rational grid in different ways. Oiticica disrupted the strict geometric system with his rhythmically arranged rectangles, while Gego warps and deconstructs the reticular structure.

Over the last 25 years, the Colección Patricia Phelps de Cisneros has donated more than 200 works by Latin American artists to The Museum of Modern Art. In addition to those generous donations, in 2016 the Colección Patricia Phelps de Cisneros established the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America at MoMA. The Institute’s programming includes fellowships for scholars, curators and artists, and an extended research initiative that contributes to a series of public programs hosted by the Museum, as well as symposia in Latin America, and publications in digital and printed format.

The exhibition is accompanied by a fully illustrated catalogue, with contributions from such prominent scholars in the field as María Amalia García, Irene V. Small, and Mónica Amor. The volume also includes a conversation between Patricia Phelps de Cisneros and MoMA director Glenn D. Lowry, and a dialogue between Inés Katzenstein, the Museum’s current curator of Latin American art, and Luis Pérez-Oramas, who, in addition to serving as MoMA’s Latin American art curator between 2003 and 2017, was one of the principal curators involved in the development of the Colección Patricia Phelps de Cisneros.

SPONSORSHIP:

Generous funding for the exhibition is provided by Agnes Gund.

Additional support is provided by Adriana Cisneros de Griffin and Nicholas Griffin.

Leadership contributions to the Annual Exhibition Fund, in support of the Museum’s collection and collection exhibitions, are generously provided by the Kate W. Cassidy Foundation, Sue and Edgar Wachenheim III, Mimi and Peter Haas Fund, Jerry I. Speyer and Katherine G. Farley, 3 Eva and Glenn Dubin, The Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch, The David Rockefeller Council, The Contemporary Arts Council of The Museum of Modern Art, Anne Dias, Kathy and Richard S. Fuld, Jr., Kenneth C. Griffin, The Keith Haring Foundation, Marie-Josée and Henry R. Kravis, Jo Carole and Ronald S. Lauder, and Anna Marie and Robert F. Shapiro.

Major contributions to the Annual Exhibition Fund are provided by the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman, Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.

GLIDDEN Paint DOESN’T Announce a 2020 Color of the Year

The GLIDDEN® paint brand announced it’s not announcing a 2020 Color of the Year. As a matter of fact, this is the brand’s official breakup letter with Color of the Year selections.

While other paint brands are celebrating their varying “it” paint colors for the next year, Glidden wants to help do-it-yourselfers (DIYers) and procrastipainters alike get rolling on the paint projects they’ve been putting off by cutting ties with trends and simplifying the color selection process.

Glidden paint is unveiling the color people actually will use in 2019 and beyond – Whirlwind (PPG1013-3), a fail-proof cool gray with a touch of blue.

Image Credit: While other paint brands are celebrating their varying “it” paint colors for next year, GLIDDEN® paint is unveiling the color people actually will use in 2019 and beyond – Whirlwind (PPG1013-3), a fail-proof cool gray with a touch of blue. (Photo: Business Wire)

Grays have been trending for more than a decade,” said Kim Perry, Glidden paint’s color guru. “If it’s not broke, don’t fix it! Whirlwind was one of our top tinted colors this year, so DIYers can rest easy knowing they can enjoy it for years to come. Instead of staring blankly at a paint color card questioning all your life choices, you can spend time doing what you really want to do. Like drinking wine or binge watching TV in your freshly painted living room.

Try using Whirlwind on the walls of a cute galley kitchen, pairing it with navy blue cabinets and quartz countertops, or in a living room layered with various shades of gray and canary yellow accent pillows – the combination represents sunshine and happiness, if that’s your thing. If you’re successfully #adulting, pair Whirlwind on the exterior of your home with a vibrant red door and gray deck furniture – making everyone in the cul-de-sac stare with envy and sheer admiration.

Think of Whirlwind as your easy-to-get-along-with color that’s an alternative to basic white or beige,” said Perry. “Gray colors whisper, while other colors scream on your wall. Not literally – but who wants a screaming anything in their house?

Learn more about Glidden paint and check out helpful tools at glidden.com.

Macy’s Celebrates Hispanic Heritage Month by Embracing Unity Through the Art, Music, and Fashion of Latinx Creators

Special appearances by Grammy winners Jesse & Joy, musical talent Amara La Negra, Buzzfeed’s Curly Velasquez, Grammy nominated Los Rakas, and comedian and actor Cheech Marin

Local art displays featuring artists, David Le Batard and Gonzalo “Papi” Le Batard, and Salvadorian art

Stitch Lab and Macy’s introducing Latinx brands at select stores

Macy’s will celebrate Hispanic Heritage Month, September 15 through October 15, highlighting the creation of unity through art, music and fashion. During the month-long celebration, Macy’s will host free events around the country to celebrate how visual art, music and fashion by Latinx producers can create harmony across different cultures and communities.

Macy’s is thrilled to provide a platform for Latinx musicians, artists and designers, as well as our own colleagues, to shine at our stores nationwide,” said Shawn Outler, Macy’s chief diversity officer. “We are proud to support the work and influence of these leaders in the Hispanic community – bringing individuals together to honor their culture with pride.”

Special In-Store Appearances

Cheech Marin, Mexican-American comedian, actor and one of the world’s largest collectors of Chicano art, will visit Macy’s Victoria Gardens on September 18 to discuss the new Cheech Marin Center for Chicano Art, Culture & Industry. The center is scheduled to open in 2021 in collaboration with the Riverside Art Museum.

At Macy’s Valley Fair on September 28, Latin Hip-Hop duo and Panamanian cousins, Los Rakas, will perform hits that led to their 2017 Grammy nomination. The duo will take guests on a cultural journey through their music.

Star of Love & Hip-Hop: Miami, Amara La Negra, will appear in New York City at Macy’s Herald Square on October 10, performing her top hits. The Afro-Latina from Miami, FL, and born to Dominican parents, is a musical powerhouse to all.

Mexican siblings, composers, musicians, and social activists, Jesse & Joy, will perform at Macy’s Dadeland on October 12 and Macy’s Memorial City on October 13.

Additional Events

Macy’s locations in Florida, Illinois, and California, including Macy’s Victoria Gardens, Macy’s Baldwin Hills, Macy’s Pembroke Lakes, and Macy’s Gurnee Mills stores, will honor unity through unique forms of local Hispanic art. Local artists David Le Batard and Gonzalo “Papi” Le Batard will be featured at Macy’s Pembroke Lakes.

Macy’s and Stitch Lab are uniting forces to promote emerging Latinx brands across the United States by showcasing four talented designers from Latin America exclusively at The Market @ Macy’s. Josefina by Vero Solis and Quote Me will be available at Macy’s Century City and Macy’s Fashion Show Mall, and PETRA and Demasiado will be available at Macy’s Lenox Square and Macy’s North Star Mall for the months of September and October. The Market @ Macy’s is a full-service marketplace that offers shoppers the chance to discover new products, services, and activations each month in a boutique setting.

Hispanic Community Engagement

Macy’s is dedicated to making life shine brighter through service to our customers, colleagues, and communities. In honor of Hispanic Heritage Month, Macy’s will provide a total of $40,000 in grants to organizations that support education through scholarships and enlightening school programs.

Current partners, who are helping with the grant distribution, are the Hispanic Federation, Hispanic Scholarship Fund and LULAC. The Hispanic Federation aims to provide parents and children alike with the tools to succeed in the education system. The Hispanic Scholarship fund empowers families with the knowledge and resources to successfully complete a high education, while providing scholarship and support to as many students as possible. LULAC, League of United Latin American Citizens, is the oldest surviving Latino civil rights organization in the United States and focuses on the advancement of the Hispanic population in the United States.

Event Listing

Macy’s Hispanic Heritage Month events will be held at the following stores:

  • Macy’s Victoria Gardens (Rancho Cucamonga, CA) – Wednesday, Sept. 18 at 6 p.m. Chicano Art with Cheech Marin
  • Macy’s Baldwin Hills (Los Angeles) – Saturday, Sept. 21 at 2 p.m. honoring Salvadorian culture with Curly Velasquez and Salvies Who Lunch
  • Macy’s Valley Fair (Santa Clara, CA) – Saturday, Sept. 28 at 2 p.m. celebrating through music with bilingual Hip-Hop duo Los Rakas
  • Macy’s Pembroke Lakes (Miami) – Friday, Oct. 4 at 6 p.m. with Miami artists David Le Batard and Gonzalo “Papi” Le Batard
  • Macy’s Herald Square (New York City) – Thursday, Oct. 10 at 6 p.m. celebrating through music with Dominican-American Artist Amara La Negra
  • Macy’s Gurnee Mills (Chicago) – Saturday, Oct. 12 at 2 p.m. celebrating art and music for families
  • Macy’s Dadeland (Miami) – Saturday, Oct. 12 at 2 p.m. celebrating through music with Mexican Pop Duo Jesse & Joy
  • Macy’s Santa Ana Mainplace (Santa Ana, CA) – Saturday, Oct. 12 at 2 p.m. embracing style with best-selling author and expert Erika De La Cruz
  • Macy’s Memorial City (Houston) – Sunday, October 13 at 2 p.m. celebrating through music with Mexican American Pop Duo Jesse & Joy

For additional information on Macy’s Hispanic Heritage Month festivities and special guests, please visit www.macys.com/celebrate.

Wrangler® Brings Iconic Designs to Fred Segal Sunset With Capsule Collection

Immersive Wrangler Pop-Up Experience At Fred Segal La Will Explore Archival Pieces From 1919, The 60s, 70s And 80s.

Wrangler®, a global icon in jeanswear and casual apparel, took over the pop up at Fred Segal Sunset (California) to present a modern day, immersive interpretation of four of the brand’s pivotal points in history. The six-week long Wrangler Pop Up Experience at iconic, experiential retailer Fred Segal’s flagship location, located at 8500 Sunset Boulevard in Los Angeles, opened to the public on Sept. 7.

The limited-edition Wrangler collection for men and women celebrates the legacy that defines the brand today, pulling straight from the brand’s archives and taking cue from distinctive eras that testify to its cultural influence as a whole. Further tapping into the brand’s heritage, many of the products were handmade at the Wrangler Service Supply Center incorporating denim from Cone Mills, which is headquartered in its hometown of Greensboro, N.C.

This archive-inspired capsule, “Bluebell 1919,” celebrates the foundation of the Wrangler brand – from the laborers who wore its first coveralls to the talented tradespeople who made them. (Photo: Business Wire)

Wrangler and Fred Segal have both held significant roles in the history of fashion for decades,” said Tom Waldron, global brand president at Wrangler. “As Wrangler evolves in front of a global audience, we embrace the opportunity to bring new experiences to consumers that allow us to stay true to our heritage, but show an unexpected and fresh twist.

Every design in this collection, “War & Peace,” captures a monumental moment in time – one longing for change. Bold, rebellious pieces are complemented by fun and carefree tiedye for a juxtaposition of two attitudes. (Photo: Business Wire)

The featured era will rotate every few weeks, highlighting one-of-a-kind pieces inspired by each decade’s attitude. The three additional eras, along with foundational product in vintage-inspired denim washes and T-shirts, will also be featured in the space throughout the duration of the pop-up.

  • 1919: Wrangler can trace its roots back to the emerging textile mills of Greensboro, where the Blue Bell Overall Company was born. This archive-inspired capsule, “Bluebell 1919,” celebrates the foundation of the Wrangler brand – from the laborers who wore its first coveralls to the talented tradespeople who made them. Authentic Blue Bell patches can be seen on workwear-inspired jackets and coveralls that have been updated as stylish wardrobe essentials.
  • 1960s: As one of the most culturally complex periods in recent past, the Sixties were simultaneously unpredictable and pervaded by infectious optimism. It was during this decade that Wrangler became the definitive brand of youth culture, with garments worn by revolutionaries, riders, and rock stars alike. Every design in this collection, “War & Peace,” captures a monumental moment in time – one longing for change. Bold, rebellious pieces are complemented by fun and carefree tiedye for a juxtaposition of two attitudes.
  • 1970s: Empowered by the appeal of protest and the promise of progress, the Seventies was a decade defined by bold experimentation. This psychedelic age introduced a new cultural landscape, which frequently blurred the lines between art, fashion, and music. Flirty flares, hypnotic patterns, and colorful prints from this capsule, “Psychedelic,” highlight the exhilarating sound and style of the extraordinary disco era.
  • 1980s: With an attitude impacted by the pulse of pop culture, the Eighties ushered in an era where style reigned supreme. Wrangler answered the call of this legendary decade in denim with front-row seats at top racetracks, leading the racing craze with booty shorts, graphic tees, and the Wrangler Jeans Machine. The “Racing” collection pays tribute to Wrangler’s ties to racing and the fashions of this time in history.

Fred Segal opened its doors in 1961, debuting fashion denim as a lifestyle concept that instantly secured the brand as an integral part of the Los Angeles scene and celebrity culture. A unique retailer that offers an effortless, lifestyle experience inspired by the free-spirited style of Los Angeles, Fred Segal has discovered and launched some of the most beloved fashion and lifestyle brands throughout the decades.

Fred Segal is a place of invention and reinvention, for the best brands in the world,” said John Frierson, president of Fred Segal. “We love the references to Wrangler’s incredible heritage story in this experiential pop up, but we’re also excited to launch these exclusive new products that are highly relevant right now.”

Today, Fred Segal, which is owned by Global Icons, offers a curated and refreshing selection of new brands together with food and pop culture experiences. In addition to its flagship location on Sunset Blvd. in West Hollywood, CA, the brand has expanded to Los Angeles International Airport’s International Terminal, Malibu Village and has opened stores in Europe & Asia including Taipei, Zurich, Basel, Bern and Lausanne. FredSegal.com and on Instagram @FredSegal.

To complete the pop up experience, guests can grab a selfie next to a custom Wrangler Indian Bobber Scout and pose in front of the large Wrangler logo that changes with each decade.

The Wrangler capsule collection apparel will be available in-store exclusively at Fred Segal Sunset for a limited time, with select pieces available online. An exclusive launch party will be held Sept. 19 for influencers and media to experience the first featured era – the 70s.