SprezzaBox,
the premier men’s fashion and lifestyle subscription box, today
announced the launch of the ‘Esquire Box,’ a co-branded
partnership with premium men’s lifestyle magazine brand Esquire
beginning this month.
In
a deal brokered by IMG, the style experts at Esquire
will work closely with the subscription team to design and curate
quarterly boxes with the best and most in-demand men’s fashion
accessories. The Esquire Boxes will be available to new
customers when they sign up.
“In
collaboration with the editors of Esquire, we’re pleased that our
partners at Sprezza have curated an array of fashion accessories that
embody the very essence of style which our readers know and expect,”
said Steve Ross, global head of brand development & chief
licensing officer for Hearst Magazines.
“We are excited to get these into the hands of our 30,000 members,” said Philip Sblendorio, CEO of SprezzaBox. “What makes this partnership even better is that we will be offering this box to all new subscribers, including the millions of Esquire fans. We also have a few other surprises that we will announce soon.”
The Esquire Box. Available to all new SprezzaBox members.
The
cost for the ‘Esquire Box’ is $28 when you sign up for a membership
and is available for immediate shipment.
SprezzaBox
is a global retail monthly men’s fashion accessory subscription
service for men that launched in 2014. Each box contains five to six
different products and brands with a retail value of over $100.
Typical items include ties, socks, pocket squares, grooming products
and more. As one of the leading men’s fashion subscription boxes in
the industry, SprezzaBox has shipped over one million boxes worldwide
( and generated over $40 million in revenue) and has provided over
250,000 customers every month with high-quality accessories at an
affordable cost. SprezzaBox additionally has wholesale,
corporate gifting and wedding divisions and holds a majority interest
in Basic Man, an underwear subscription company.
Esquire
creates engaging conversations that drive the culture with a
unique mix of intellectual showmanship, hilarity, impeccable style,
visual punch and extraordinary writing. Esquire is the
most-honored monthly magazine in America, with 26 National Magazine
Awards, including one for its iPad app, and 88 nominations. In
addition to its U.S. flagship, Esquire publishes 27 editions around
the world. Esquire is published by Hearst Magazines, a
unit of Hearst, a leading global, diversified media,
information and services company.
Hearst
attracts more readers of monthly magazines than any other publisher.
Hearst Magazines’ print and digital assets reach 155 million readers
and site visitors each month—two-thirds of all millennials, and
over 80% of Gen Z and millennial women in the country (source: 2019
comScore/MRI 11-18/S18). With more than 25 brands in the U.S., the
company publishes over 300 editions and 245 websites around the
world. Follow Esquire on Instagram and Twitter at @Esquire.
Annual Series of Italian Film Screenings Will Begin with Centennial Tribute to Federico Fellini
The
Academy Museum of Motion Pictures today announced Istituto
Luce – Cinecittà as a Founding Supporter with a
five-year agreement in support of an annual series of Italian films
and accompanying public programs. The museum will be the world’s
premier institution dedicated to the art and science of movies and
moviemaking. Over the course of the five-year agreement, the Academy
Museum team will curate an annual series of Italian masterpiece film
screenings and programs in consultation with Istituto Luce –
Cinecittà. The first will be a centennial tribute to the
legendary writer-director Federico Fellini (1920–1993),
which will travel to major museums and film institutes in Europe,
Asia, South America, and the United States.
(Four
films directed by Federico Fellini won Academy Awards® for Best
Foreign Language Film. He was nominated 12 times for directing
and writing and, in 1992, received an Academy Honorary Award
in recognition of his place as one of the screen’s master
storytellers.)
Istituto
Luce – Cinecittà is the state-owned company for the
preservation, restoration, and promotion of Italian cinema worldwide,
from a merger of Istituto Luce (founded 1924) and Cinecittà
(founded 1937). Since July 2017, Istituto Luce – Cinecittà has
taken back the legendary Cinecittà Studios and
post-production labs, as well as Cinecittà Digital Factory,
the Studios’ digital center: which is responsible for
post-production to restoration. It also houses the renowned Archivio
Luce, (part of the Unesco’s Memory of the World Register), one
of the largest European documentary and photographic archive; it is
responsible for the distribution of European films and documentaries,
and the promotion of Italian cinema domestically and abroad.
The
collaboration between Istituto Luce – Cinecittà and the
Academy of Motion Picture Arts and Sciences dates back to the
1990s. The two organizations have presented many great exhibitions
and tributes together, honoring Federico Fellini, Roberto
Rossellini, Dante Ferretti, and Sophia Loren to name but a
few.
The
partnership was announced today on the occasion of the first Academy
of Motion Picture Arts and Sciences member event in Italy,
co-hosted by Istituto Luce – Cinecittà, with the support of
Mastercard. At the reception and dinner to be held at Palazzo
Barberni in Rome this evening, Academy CEO Dawn Hudson and
Academy President David Rubin will welcome nearly 200 Academy
members, filmmakers, artists, and dignitaries, and celebrate the
great achievements of Italian cinema.
The
Academy Museum will be the world’s premier institution
dedicated to the art and science of movies. The Museum will be
simultaneously immersive, experimental, educational, and
entertaining. More than a museum, this dynamic film center will offer
unparalleled experiences and insights into movies and moviemaking.
Designed by Pritzker Prize–winning architect Renzo Piano,
the Museum is restoring and revitalizing the historic Saban
Building—formerly known as the May Company building
(1939)—at the corner of Wilshire Boulevard and Fairfax
Avenue. The Saban Building will feature six floors, including
exhibition spaces, the 288-seat Ted Mann Theater, an education
studio, special event spaces, conservation areas, a café, and store.
The new spherical addition will connect to the Saban Building via
glass bridges and will feature the state-of-the-art 1,000-seat David
Geffen Theater and the rooftop Dolby Family Terrace with
sweeping views of the Hollywood Hills.
“We
are pleased to partner with Istituto Luce – Cinecittà to bring
iconic Italian cinema to movie fans visiting the Academy Museum from
around the world,” said Academy CEO Dawn Hudson.
“Federico Fellini was my first love in international film—his
work defines the art of cinema. And through the years, many more of
Italy’s great films and directors will be featured.”
President
and CEO of Istituto Luce – Cinecittà Roberto Cicutto said,
“We are proud of our friendship with the Academy of Motion
Picture Arts and Sciences, which shares our deep commitment to
preserving films and film heritage, and we are delighted to align
ourselves with the Academy Museum. This new, Renzo Piano-designed,
institution is certain to become one of the great international
beacons for everyone who loves film. We look forward to launching the
series in Los Angeles next year.”
Bernardo
Rondeau, Head of Film Programming at the Academy Museum, said,
“The Academy Museum is committed to celebrating the highest
achievements in global cinema. We are excited to collaborate with
Istituto Luce – Cinecittà for this five-year series of Italian
cinema. We will provide an Academy experience to present each of the
films in this series.
The
Campaign for the Academy Museum is headed by chair Bob Iger and
co-chairs Annette Bening and Tom Hanks. These industry leaders join
other generous philanthropists who have named spaces, including
Cheryl and Haim Saban (The Saban Building), The David Geffen
Foundation (The David Geffen Theater), Dalian Wanda Group (The Wanda
Gallery), Rolex (Rolex Gallery), Dolby Laboratories/Family of Ray
Dolby (The Dolby Family Terrace), The Walt Disney Company (The Walt
Disney Company Piazza), Marilyn and Jeffrey Katzenberg (The Marilyn
and Jeffrey Katzenberg Gallery), Steven Spielberg (The Spielberg
Family Gallery), Shirley Temple Black and Family (Shirley Temple
Education Studio), Cecilia DeMille Presley (Founders Room), Gale Anne
Hurd (Hurd Gallery), NBCUniversal, Netflix (Netflix Terrace),
Participant Media, Gerry Schwartz and Heather Reisman (Gerry Schwartz
and Heather Reisman Mezzanine), The Simms/Mann Family Foundation (Ted
Mann Theater), Jeff Skoll, The Fran and Ray Stark Foundation, Warner
Bros. Entertainment (The Warner Bros. Entertainment Gallery),
Wasserman Foundation (Wasserman Bridge), and Wolfgang Puck Catering
and Events LLC/Compass Group USA, Inc. The Academy Museum’s Digital
Engagement Platform is sponsored by Bloomberg Philanthropies.
Today,
Trunk Club announced
its new charitable platform, Trunk Club Cares, focused on
improving job training and preparedness in local communities through
partnerships with nonprofitsDress
for Successand Career
Gear.
Trunk Club (PRNewsfoto/Trunk Club)
Trunk
Club committed more than $30,000 and employee volunteers to both
organizations, which serve communities through innovative programming
designed to help individuals find employment.
“At Trunk Club, we understand the power of a good outfit and how that boost of confidence can impact your day-to-day work and career, regardless of your experience or where you are in your career,” said Fanya Chandler, president of Trunk Club. “We designed this program by listening carefully to our employees’ and customers’ passions for giving back. We’re proud and honored to support both of these organizations that share our values and are making a tremendous impact in our communities.“
Dress for Success client practices interview skills with Trunk Club employee at the styling service’s Chicago headquartes
Trunk
Club partnered with Dress for Success to host four
volunteer days for employees at their boutiques where employees
worked with program clients to create interview outfits.
Additionally, Trunk Club hosted a resume boot camp during which Dress
for Success clients learned about interview best practices and had
mock interviews with Trunk Club employees. Finally, Trunk Club
stylists shared their time and style expertise to outfit 20 Dress for
Success clients and senior executives in Chicago for a fashion show
fundraiser.
Dress
for Success is a global not-for-profit organization dedicated to
empowering women to achieve financial independence by providing a
network of support, professional attire and the development tools to
help them thrive in work and in life. The organization’s programs
center on workforce development, employment retention, financial
literacy as well as leadership and civic responsibility. These
programs rely on the generosity of corporate sponsors and a staff of
more than 25,000 volunteers worldwide. To date, Dress for Success has
helped more than one million women and operates in nearly 30
countries in more than 150 cities. (For more information, visit
https://dressforsuccess.org/.)
“We’re so happy to partner with an organization so well aligned with our mission,” said Joi Gordon, CEO of Dress for Success. “Trunk Club is doing important work in their communities to help people become financially independent and reach their goals.”
Trunk
Club is also teaming up with Career Gear by providing employee
volunteers who provide pro-bono styling services to program
participants.
“We
may provide the suit, but we are really in the confidence business.
We want to help men help themselves while they strive to live their
best lives,” said Jesseca Kendall, director of
community engagement at Career Gear.
For
over 20 years, Career Gear‘s mission has been to provide men
with the tools they need to successfully achieve financial
independence and become stronger members of their communities. We
work tirelessly to boost confidence for improved employment outcomes
by focusing on image presentation. (For more information, visit
https://careergear.org/.)
In
addition to these partnerships, Trunk Club continues to be active in
its local communities with employee-driven activations. Annually,
employees nominate and vote on their favorite charitable
organizations to receive grants that help achieve their missions.
Last year’s winning organizations were Chicago’s Anti-Cruelty
Society, St. Jude’s Children’s, and the Alzheimer’s
Association.
Trunk
Club is a Chicago-based personalized styling service for men and
women, offering both virtual and in-person shopping options. Shoppers
can visit Trunk Club’s retail Clubhouses in Boston, Chicago,
Dallas, Los Angeles, New York City, Washington D.C., for an in-person
styling session or custom fitting for any occasion. For those who
prefer an at-home experience, Trunk Club offers a virtual styling
option, where a personal stylist sends a curated Trunk of clothing to
their home based on the customer’s style, fit, and lifestyle
preferences. Trunk Club offers everything from weekend casual
clothing to formal wear, and as a subsidiary of Nordstrom, the
clothes and service are on par with those standards. (For more
information, visit www.trunkclub.com.)
MoMA
PS1 will present a large-scale group exhibition examining the
legacies of American-led military engagement in Iraq beginning with
the Gulf War in 1991. Through more than 250 works, the exhibition
explores the effects of these wars on artists based in Iraq and its
diasporas, as well as those responding to the war from the West.
Featuring the work of over 75 artists including Afifa Aleiby, Dia
Azzawi, Thuraya al-Baqsami, Paul Chan, Harun Farocki, Tarek
Al-Ghoussein, Guerrilla Girls, Thomas Hirschhorn, Hiwa K, Hanaa
Malallah, Monira Al Qadiri, Nuha al-Radi, and Ala Younis,
Theater of Operations: The Gulf Wars 1991–2011 will
be on view across the entire MoMA PS1 building from November 3,
2019 through March 1, 2020.
While
brief, the 1991 Gulf War marked the start of a lengthy period of
military involvement with Iraq that led to more than a decade of
sanctions and the 2003 Iraq War. The invasion in 2003
galvanized a broader international response, prompting anti-war
protests around the globe. Though the Iraq War officially ended in
2011, artists have continued to explore these conflicts and their
ongoing impacts. The works in Theater of Operations reveal how
this period was defined by unsettling intersections of
spectacularized violence, xenophobia, oil dependency, and new
imperialisms.
Michel Auder. Gulf War TV War (still). 1991 (Edited 2017). Hi8 video and mini-DV transferred to digital video. 102 min. Courtesy the artist and Martos Gallery, New YorkGuerrilla Girls. Estrogen Bomb. 2003–2017. Poster. 24 × 24″ (61 × 61 cm). Courtesy the artists
In
conjunction with Theater of Operations, MoMA PS1 is publishing
a catalog with contributions by Zainab Bahrani, Rijin Sahakian,
Nada Shabout, McKenzie Wark, and the exhibition curators,
addressing art historical and political subjects relating to the
exhibition.
Monira Al Qadiri. Behind the Sun. 2013. Video (color, sound). 10 min. Courtesy the artist
Theater
of Operations: The Gulf Wars 1991–2011 is organized by
Peter Eleey, Chief Curator, and Ruba Katrib, Curator, MoMA
PS1.
Afifa Aleiby. Gulf War. 1991. Oil on canvas, 39 3/8 x 27 1/2” (100 x 70 cm). Courtesy the artist
Major
support for Theater of Operations: The Gulf Wars 1991–2011
is provided by The Andy Warhol Foundation for the Visual Arts.
Generous funding is provided by The International Council of The
Museum of Modern Art. Additional support is provided by the MoMA
PS1 Annual Exhibition Fund.
Himat M. Ali. Al Mutanabbi Street Baghdad. 2007 Mixed media on paper;12 bound books in wooden slipcase, Each: 13 3/8 × 9 13/16″ (34 × 25 cm). Courtesy the artist and Azzawi Collection, London. Photo: Anthony Dawton
PS1
MoMA PS1 is devoted to today’s most experimental,
thought-provoking contemporary art. Founded in 1976 as the P.S.1
Contemporary Art Center, it was the first nonprofit arts center
in the United States devoted solely to contemporary art and is
recognized as a defining force in the alternative space movement. In
2000 The Museum of Modern Art and P.S.1 Contemporary Art
Center merged, creating the largest platform for contemporary art
in the country and one of the largest in the world. Functioning as a
living, active meeting place for the general public, MoMA PS1 is
a catalyst for ideas, discourses, and new trends in contemporary art.
Hours:
MoMA PS1 is open from 12:00 p.m. to 6:00 p.m., Thursday through
Monday. Closed on Thanksgiving, Christmas, and New Year’s Day.
Admission:
$10 suggested donation; $5 for students and senior citizens; free for
New York City residents, MoMA members, and MoMA admission ticket
holders within 14 days of visit. Free admission as a Gift to New
Yorkers made possible by the AnnaMaria and Stephen Kellen Foundation.
Directions:
MoMA PS1 is located at 22-25 Jackson Avenue at 46th Ave in Long
Island City, Queens, across the Queensboro Bridge from midtown
Manhattan. Traveling by subway, take the E, M, or 7 to Court Sq; or
the G to Court Sq or 21 StVan Alst. By bus, take the Q67 to Jackson
and 46th Ave or the B62 to 46th Ave.
Information:
For general inquiries, call (718) 784-2084 or visit momaps1.org.
Acquisition Adds Innovative, Rapidly-Growing Prestige Skincare Favorite to Shiseido’s Global Portfolio of Prestige Brands
Shiseido Company, Limited (Tokyo Stock Exchange, First Section: 4911) (“Shiseido”) announced that Shiseido Americas Corporation (“Shiseido Americas”), a subsidiary of Shiseido, has signed a definitive agreement to acquire DRUNK ELEPHANT™ (“Drunk Elephant”), a leading and fast-growing prestige skincare brand and a recognized expert in developing clean compatible and effective products for $845,000,000. The acquisition of Drunk Elephant strengthens Shiseido’s leadership in the global prestige skincare market.
Masahiko
Uotani, President and CEO of Shiseido, said, “We are
thrilled to announce the acquisition of Drunk Elephant, one of the
fastest-growing prestige skincare brands in history. This transaction
is squarely aligned with Shiseido’s VISION 2020 goal of
accelerating growth and creating value through strategicpartnerships. Drunk Elephant’s approach strongly resonates with
its highly engaged and loyal consumers, who value the integrity and
effectiveness of Drunk Elephant’s formulations combined with a fun,
curious approach. I am confident that under Marc Rey’s leadership
in the Americas and Shiseido’s global platform and unique
resources, we will strongly support Drunk Elephant on its ongoing
growth trajectory. I am very pleased to welcome Tiffany and the Drunk
Elephant team to the Shiseido Family and together, pursue our
long-term mission of “BEAUTY INNOVATIONS FOR A BETTER WORLD”.
Tiffany Masterson, Founding Partner and Chief Creative Officer of Drunk Elephant (Photo: Business Wire)
Drunk
Elephant was founded in 2013 by Tiffany Masterson as a
solutions-oriented, cross-generational brand for all skin types, and
has since experienced exponential growth across a full range of
consumer demographics, including Gen Z and Millennials. Its curated
assortment of iconic hero products use biocompatible ingredients that
directly benefit the skin’s health and support the integrity and
effectiveness of the formulations. Drunk Elephant’s effective
products, unique and playful brand voice, and strong community
engagement have helped to build a loyal following, creating
substantial room for further growth as it is introduced to more
consumers around the world.
Drunk Elephant Logo (Photo: Business Wire)
Ms.
Masterson, Founding Partner and Chief Creative Officer at Drunk
Elephant, said, “I started this business as an industry
outsider, and from the beginning I did things a little differently.
To join with a powerhouse beauty company such as Shiseido that leads
the industry in innovation and global excellence is a dream come true
for me and for Drunk Elephant. We share similar values, most
importantly an unwavering commitment to the consumer. I chose a
partner who will let the brand continue to be itself, with the same
formulations and the same team.”
Drunk Elephant Products (Photo: Business Wire)
Drunk
Elephant is known for creating the Clean Compatible category
and is beloved for powerful, effective, biocompatible formulas that
help consumers achieve healthy, glowing skin and only uses
ingredients that either directly benefit the skin’s health or
support the integrity and effectiveness of the formulations. Drunk
Elephant’s streamlined offerings, free of the Suspicious Six
(Essential Oils, Drying Alcohols, Chemical Sunscreens, SLS, Silicones
and Fragrances/Dyes) provide solutions-oriented skincare for all
skin. Drunk Elephant is offered in select global markets. (For more
information, please visit www.DrunkElephant.com.)
As
a result of this merger, Drunk Elephant will be able to leverage
Shiseido’s global platform and resources to expand into new and
existing markets both in the Americas and internationally including
Europe and Asia. Shiseido’s Global Innovation Center and Digital
Center of Excellence will provide a wealth of expertise and a unique
support network, maximizing Drunk Elephant’s opportunities for
growth and development across all channels.
Marc
Rey, CEO, Shiseido Americas and Chief Growth Officer of Shiseido,
said, “This new and incredibly exciting partnership builds on
Shiseido’s significant momentum and successful track record of
acquiring distinctive, best-in-class brands. Drunk Elephant is
changing the way people understand and experience beauty by offering
products that are effective and clean compatible. Drunk Elephant is
built on a strong brand foundation and a unique philosophy that fits
perfectly with Shiseido’s values and skincare heritage. Our
innovative and people-first cultures are well aligned, and we share
an unwavering commitment to our consumers. I also believe the brand
will contribute to the business performance of Shiseido Americas. We
are thrilled to welcome Tiffany and the Drunk Elephant team to the
Shiseido family and I know they will feel at home from day one.”
The
transaction was led by Shiseido Americas and the New
York-based Shiseido Global M&A team, in close coordination
with Shiseido Company, Limited, the company’s headquarters.
Upon closing, Drunk Elephant will operate within Shiseido Americas,
and Tiffany Masterson, Founding Partner and Chief Creative Officer of
Drunk Elephant, will continue in her role as Chief Creative
Officer and assume the additional role of President,
reporting directly to Marc Rey. The transaction is subject to
customary regulatory approvals and closing conditions and is expected
to close before year end.
Jefferies
LLC acted as financial advisor to Shiseido Americas, and Jones
Day served as Shiseido Americas’ legal counsel. Financo and
Moelis & Company, LLC served as Drunk Elephant’s financial
advisors and Sidley Austin LLP as legal counsel.
The Whitney Museum of American Art announced today that its 2021 Biennial, the 80th edition, will be co-organized by two brilliant members of the Museum’s curatorial department, David Breslin and Adrienne Edwards. The 2021 Whitney Biennial exhibition will open in the spring of 2021 and is presented by Tiffany & Co., which has been the lead sponsor of the Biennial since the Museum’s move downtown.
Image credit: Adrienne Edwards and David Breslin. Photograph by Bryan Derballa
Alice
Pratt Brown Director Adam D. Weinberg noted: “The central
aim of the Biennial is to be a barometer of contemporary American
art. Each Biennial is a reflection of the cultural and social moment
as it intersects with the passions, perspectives, and tastes of the
curators. David and Adrienne will be a great team. They are
inquisitive, curious, and are acutely attuned to the art of the
current moment. No doubt they will bring fresh outlooks to this
historic exhibition and reinvent it for these complex and challenging
times.”
With
a long history of exhibiting the most promising and influential
artists and provoking debate, the Whitney Biennial is the Museum’s
signature survey of the state of contemporary art in the United
States. The Biennial, an invitational show of work produced in the
preceding two years, was introduced by Gertrude Vanderbilt Whitney in
1932, and it is the longest continuous series of exhibitions in the
country to survey recent developments in American art.
Initiated by founder Gertrude Vanderbilt Whitney in 1932, the Whitney Biennial is the longest-running survey of American art. More than 3,600 artists have participated, including Edward Hopper, Georgia O’Keeffe, Jacob Lawrence, Alexander Calder, Louise Bourgeois, Joan Mitchell, Jackson Pollock, Willem de Kooning, Robert Rauschenberg, Claes Oldenburg, Roy Lichtenstein, Agnes Martin, Cy Twombly, Andy Warhol, Ellsworth Kelly, Richard Serra, Lynda Benglis, Frank Bowling, Joan Jonas, Barbara Kruger, Jean-Michel Basquiat, Jenny Holzer, David Wojnarowicz, Glenn Ligon, Yvonne Rainer, Zoe Leonard, Kara Walker, Cindy Sherman, Nan Goldin, Mike Kelley, Lorna Simpson, Renée Green, Wade Guyton, Julie Mehretu, Cecilia Vicuña, Mark Bradford, Daniel Joseph Martinez, Ellen Gallagher, Rachel Harrison, Wu Tsang, Nick Mauss, Sarah Michelson, Laura Owens, Postcommodity, Pope.L, Jeffrey Gibson, and Tiona Nekkia McClodden.
The biennials were originally organized by medium, with painting alternating with sculpture and works on paper. Starting in 1937, the Museum shifted to yearly exhibitions called Annuals. The current format—a survey show of work in all media occurring every two years—has been in place since 1973. The 2019 Biennial (still on partial view on the Museum’s sixth floor until October 27) was organized by two Whitney curators, Jane Panetta and Rujeko Hockley. It featured seventy-five artists and collectives working in painting, sculpture, installation, film and video, photography, performance, and sound.
David
Breslin was recently named the DeMartini Family Curator and
Director of Curatorial Initiatives, a role he will assume this
month. Since joining the Museum in 2016 as DeMartini Family Curator
and Director of the Collection, Breslin has spearheaded the Museum’s
collection-related activities, curating a series of major collection
exhibitions and overseeing acquisitions. Working closely with his
curatorial colleagues, he has organized or co-organized four timely
and thematized collection displays, including Where We Are:
Selections from the Whitney’s Collection, 1900–1960, An
Incomplete History of Protest: Selections from the Whitney’s
Collection, 1940–2017, Spilling Over: Painting Color
in the 1960s, and The Whitney’s Collection:
Selections from 1900 to 1965, which is currently on view on
the Museum’s seventh floor. In 2018, he co-curated (with David
Kiehl) the landmark retrospective David Wojnarowicz:
History Keeps Me Awake at Night.
Breslin
came to the Whitney from the Menil Drawing Institute, where he
created an ambitious program of exhibitions and public and scholarly
events and helped to shape the design of the Institute’s new
facility. He also oversaw work on the catalogue raisonné of the
drawings of Jasper Johns and grew the collection. Prior to the
Menil, Breslin served as the associate director of the research and
academic program and associate curator of contemporary projects at
the Clark Art Institute in Williamstown, MA; he also oversaw
the Clark’s residential fellowship program and taught in the
Williams College Graduate Program in the History of Art.
Breslin co-edited Art History and Emergency: Crises in the Visual
Arts and Humanities (Yale University Press, 2016), a volume that
grew from a Clark Conference he organized with art historian Darby
English.
In
2018, Adrienne Edwards was named Engell Speyer Family
Curator and Curator of Performance at the Whitney. Previously,
she served as curator of Performa since 2010 and as Curator at
Large for the Walker Art Center since 2016.
At
the Whitney, Edwards curated Jason Moran, the artist’s first
museum show, now on view on the Museum’s eighth floor. She
originated the exhibition at the Walker in 2018; it previously
traveled to the ICA Boston and the Wexner Center for the
Arts. The exhibition features a series of performances, Jazz on a
High Floor in the Afternoon, curated by Edwards and Moran. She
organized the event commencing the construction of David
Hammons’s Day’s End, featuring a commission by composer
Henry Threadgill and a “water” tango on the Hudson
River by the Fire Department of the City of New York’s
Marine Company 9. Earlier this year, Edwards organized Moved
by the Motion: Sudden Rise, a series of performances based on
a text co-written by Wu Tsang, boychild, and Fred Moten,
which presented a collage of words, film, movements, and sounds.
For
Performa, Edwards realized new boundary-defying commissions,
as well as pathfinding conferences and film programs with a wide
range of over forty international artists. While at the Walker, she
co-led the institution-wide Mellon Foundation Interdisciplinary
Initiative, an effort to expand ways of commissioning, studying,
collecting, documenting, and conserving cross-disciplinary works.
Edwards’s curatorial projects have included the critically
acclaimed exhibition and catalogue Blackness in Abstraction,
hosted by Pace Gallery in 2016. She also organized Frieze’s
Artist Awardand Live program in New York in 2018. Edwards
taught art history and visual studies at New York University
and The New School, and she is a contributor to the National
Gallery of Art’s Center for the Advanced Study in Visual Art’s
forthcoming publication Black Modernisms.
Scott
Rothkopf, the Whitney’s Senior Deputy Director and Nancy and Steve
Crown Family Chief Curator, said, “David and Adrienne truly
represent the best spirit and ideals of the Whitney. Not only are
they devoted to—and beloved by—living artists, but they bring to
the art of our time a deep historical and scholarly awareness. The
most recent editions of the Biennial have reaffirmed its vitality and
relevance, and I look forward to discovering how another pair of
Whitney curators will lend their voices to our signature exhibition.”
