Phylanthropic Inc.’s third Museum Brunch Tour was held on September 6th. During this continuation of the tour, another great group of industry specific influencers attended. Special guests of financial backgrounds were in attendance, and there were various representatives from J.P. Morgan, Macy’s Inc., and more prolific financial organizations. Collectively, all attendees gleefully embraced a day of art and delicious food, and enjoyed time away from the office.

To spark preparation for a new season, The Museum Brunch Tour attended a new exhibition. The Metropolitan Museum of Art offered an up close and personal display of Garry Winogrand’s innovative photography. Garry Winogrand was a prominent New York City street photographer, and he was well known for his captivating work during the 1950s and 1960s.

After the conclusion of the exhibition, attendees were ushered via Uber to the final segment of the exclusive tour. The Parlor Steakhouse located in the Upper East Side, NYC, houses one of the most delightful steakhouse brunches. We feasted on the Parlor’s Bottom’s Up Brunch Prix Fixe, and the menu items were endless and delicious. Items included, Eggs Benedict: Hand Cut Bacon, Buttermilk Biscuit, Hollandaise, Brioche French Toast: Caramelized Apples, Mascarpone Cheese, Vanilla, Maple Syrup, Steak & Eggs: Marinated Hanger Steak, Scrambled Eggs, Home Fries, and Parlor Salad: Crispy Chicken and Shrimp. To end the day on a celebratory note, we toasted to Phyl Jones’ birthday and sipped on filling Bellini’s and Mimosas.

The Museum Brunch Tour is not over yet! The grand finale of this seasonal tour approaches this October. We will end this amazing tour with another group of emerging leaders and key influencers.

About Garry Winogrand:

Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1950s and 1960s, and in both the content and dynamic style he became one of the principal voices of the eruptive postwar decades. Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some 26,000 rolls of film in his short lifetime. Winogrand’s pictures often bulge with 20 or 30 figures, and are fascinating both for their dramatic foregrounds and the sub-events at their edges. Even when crowded with people or at their most lighthearted—he was fond of visual puns and was drawn to the absurd—his pictures convey a feeling of human isolation, hinting at something darker beneath the veneer of the American dream. Early on, some critics considered his pictures formally “shapeless” and “random,” but admirers and critics later found a unique poetry in his tilted horizons and his love of the haphazard.

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