SprezzaBox and Esquire Launch New Subscription Boxes

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.

The Academy Museum of Motion Pictures Announces Partnership With Istituto Luce – Cinecittà

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.

Trunk Club Launches New Charitable Giving Platform in Partnership with Dress for Success and Career Gear

Today, Trunk Club announced its new charitable platform, Trunk Club Cares, focused on improving job training and preparedness in local communities through partnerships with nonprofits Dress for Success and 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 To Present Major Group Exhibition Exploring The Artistic Legacy Of American Military Engagement In Iraq

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.

Sue Coe. Bomb Shelter. 1991. Photo-etching on white heavyweight Rives, 9 5/8 × 10 1/2″ (24.4 × 26.7 cm). Courtesy Galerie St. Etienne, New York. Copyright © 1990 Sue Coe
Dia al-Azzawi. War Diary No. 1. 1991. Gouache and charcoal on paper, 28 pages, 12 5/8 x 9 1/2” (32 x 24 cm). Courtesy the artist
Harun Farocki. War at a Distance. 2003. Video (color, sound). 58 min. The Museum of Modern Art. Committee on Film Funds. © 2019 Harun Farocki Filmproduktion

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 York
Guerrilla 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.

Shiseido to Acquire DRUNK ELEPHANT™

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 strategic partnerships. 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.

This Just In!: David Breslin And Adrienne Edwards Will Curate The 2021 Whitney Biennial

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 Award and 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.”