2023-05-12T09:09:32-05:00 2022-06-30 872525370 CITRIN COOPERMAN ADVISORS LLC 290 W MT PLEASANT AVENUE 3310 LIVINGSTON NJ 07039 990 2021-07-01 237156720 AMIGOS DEL MUSEO DEL BARRIO INC EL MUSEO DEL BARRIO AMIG 2128317272 1230 FIFTH AVENUE NEW YORK NY 10029 PATRICK CHARPENEL EXECUTIVE DIRECTOR 2128317272 2023-05-11 1 PATRICK CHARPENEL 999009999 PAULA VUKSIC P00360739 9732180500 2023-05-11 0 AAL1 IAL1 2021 2023-04-26 12:10:37Z PATRICK CHARPENEL 1230 FIFTH AVENUE NEW YORK NY 10029 6086371 0 X WWW.ELMUSEO.ORG X 1971 NY TO PRESERVE, INTERPRET, AND PROMOTE THE ARTISTIC HERITAGE OF PUERTO RICANS AND ALL LATIN AMERICANS IN THE UNITED STATES BY MEANS OF EXHIBITIONS, PUBLIC PROGRAMS, PUBLICATIONS, AND EDUCATIONAL ACTIVITIES. 23 23 103 64 0 0 15093782 5376644 47301 204071 44178 -12398 8413 197250 15193674 5765567 0 0 0 0 2825718 3108125 0 0 741208 1746742 3199251 4572460 6307376 10621214 -541809 18789462 17512310 2288954 1662735 16500508 15849575 X EL MUSEO'S MISSION IS TO PRESERVE, INTERPRET, AND PROMOTE THE ARTISTIC HERITAGE OF PUERTO RICANS AND ALL LATIN AMERICANS IN THE UNITED STATES BY MEANS OF EXHIBITIONS, PUBLIC PROGRAMS, PUBLICATIONS, AND EDUCATIONAL ACTIVITIES. 0 0 1567603 CURATORIAL AND EXHIBITIONS: CO-CURATED BY RODRIGO MOURA AND JULIETA GONZALEZRADICAL GESTURES ARE AT THE CORE OF RAPHAEL MONTAEZ ORTIZ' LIFE AND WORK. RADICAL GESTURES THAT PROPOSE DESTRUCTION IN ART AS AN ANTIDOTE TO THE HEGEMONIC NARRATIVE OF EUROCENTRISM, CAPITALISM, AND PROGRESS. RADICAL GESTURES THAT SEEK OUT THE HEALING POTENTIAL IN ART AND THE RETURN TO ANCESTRAL AND INDIGENOUS FORMS OF KNOWLEDGE.THIS EXHIBITION PRESENTS SIXTY-FIVE YEARS OF THE ARTIST'S TRAJECTORY, INCLUDING HIS RADICAL GESTURE OF FOUNDING EL MUSEO DEL BARRIO IN 1969, THE INSTITUTION THAT NOW PRESENTS THIS EXHIBITION, HIS FIRST MAJOR PRESENTATION HERE SINCE 1988. BORN IN BROOKLYN, THE ARTIST'S FORMATIVE YEARS WORKING IN NEW YORK AND HIS ACTIVISM FOR THE PUERTO RICAN COMMUNITY OFFER A STARTING POINT FOR THE EXHIBITION'S NARRATIVE, PRECEDING HIS EVENTUAL RELOCATION TO NEW JERSEY WHERE HE EXPANDED HIS PHILOSOPHICAL THINKING, BECAME A MENTORING PROFESSOR TO NEW GENERATIONS, AND CONTINUED TO EXPERIMENT WITH NEW MEDIA.IN HIS PHD THESIS DEFENDED IN 1982, MONTAEZ ORTIZ ELABORATED ON THE NOTION OF "AUTHENTICATING ART" AS THE CONCEPTUAL FRAMEWORK FOR HIS PRODUCTION. THIS SINGULAR CONCEPT TAKES ON A RANGE OF INTERCONNECTED MEANINGS IN HIS PRACTICE AND INCLUDES THE HEALING POTENTIAL OF IMAGINATION, THE COMMUNION BETWEEN PHYSIOLOGICAL AND PSYCHOLOGICAL PROCESSES, AND A MULTIETHNIC APPROACH THAT IN THE ARTIST'S PARTICULAR CASE DEALS WITH HIS PERSONAL HISTORY AND DIVERSE BACKGROUND. TAKING THE CUE FROM ANTHROPOLOGIST EDWARD SAPIR'S 1924 ESSAY CULTURE, GENUINE AND SPURIOUS, MONTAEZ ORTIZ USES THE TERM "AUTHENTICATING" AS ONE THAT IS CHARACTERISTIC OF ANCESTRAL CULTURES, WHEREAS THE "SPURIOUS" RESIDES IN THE ALIENATION BROUGHT ABOUT BY MODERN INDUSTRIALIZATION AND CONSUMER CULTURE. IN THIS SENSE, HIS THINKING AND ARTISTIC PRACTICE CAN BE READ AS A DIALECTIC BETWEEN THE AUTHENTICATING AND THE SPURIOUS, WHICH IN TURN ORGANIZES THE THEMATIC SECTIONS IN THE EXHIBITION AND INFORMS THE CONTEXTUAL RELATIONS BETWEEN ORTIZ AND HIS PEERS, WORKING NOT ONLY IN NEW YORK, BUT IN OTHER PARTS OF THE WORLD. TODAY, WE WITNESS A POST-CARTESIAN TURN IN FIELDS SUCH AS ART, PHILOSOPHY, AND ANTHROPOLOGY. THIS NEW MOMENT ENCOURAGES US TO REEMBRACE MAGICAL THINKING, ANIMISM, AND A SYMBIOTIC RELATION TO NATURE IN ORDER TO COUNTERACT THE POTENTIALLY LETHAL EFFECTS OF UNFETTERED "PROGRESS," ITS CONCOMITANT DESTRUCTION OF OUR ENVIRONMENT, AND THE CONVIVIAL RELATION BETWEEN HUMANS AND OTHER SPECIES. IN THIS CONTEXT, A REVISION OF RAPHAEL MONTAEZ ORTIZ' WORK IS MORE RELEVANT AND NECESSARY THAN EVER.RAPHAEL MONTANEZ ORTIZ: A CONTEXTUAL RETROSPECTIVE IS PRESENTED BY [PRESENTADA POR] LEADERSHIP SUPPORT IS PROVIDED BY TONY BECHARA. MAJOR SUPPORT IS PROVIDED BY THE TERRA FOUNDATION, ANDY WARHOL FOUNDATION, AND ROCKEFELLER BROTHERS FUND. ADDITIONAL SUPPORT IS PROVIDED BY THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS (DCLA). DOMESTICANXOCTOBER 27, 2022 MARCH 26, 2023CURATED BY SUSANNA V. TEMKINDOMESTICANX BRINGS TOGETHER SEVEN LATINX ARTISTS WHOSE PRACTICES ADDRESS HOME, DECORATION, SPIRITUALITY, AND HEALING. THE SHOW IS INSPIRED BY DOMESTICANA, AN IDEA FIRST CONCEPTUALIZED BY ARTIST, SCHOLAR, AND CRITIC AMALIA MESA-BAINS. ORIGINALLY PUBLISHED IN A 1995 ESSAY THAT IS TODAY CONSIDERED AN ESSENTIAL TEXT IN CHICANO/A/X AND LATINO/A/X ART HISTORY, DOMESTICANA OFFERED A RESPONSE TO THE MALE-DOMINATED RASQUACHISMO, AN EARLIER TERM COINED BY SCHOLAR TOMS YBARRA-FRAUSTO. PROPOSED FROM A FEMINIST PERSPECTIVE, DOMESTICANA SHIFTS THE DEFIANT AND MAKE-DO INVENTIVENESS THAT CHARACTERIZES RASQUACHE VERNACULAR SENSIBILITY TO THE SPECIFIC EXPERIENCE OF WORKING-CLASS WOMEN. DRAWING FROM MESA-BAINS'S OWN ACKNOWLEDGEMENT THAT "TERMINOLOGIES MUST REMAIN POROUS, SENSIBILITIES NEVER COMPLETELY NAMED, AND CATEGORIES SHATTERED," DOMESTICANX EXPANDS THE ARTIST'S INITIAL THEORY THROUGH THE LENS OF QUEERNESS AND INTERSECTIONALITY.ENCOMPASSING PAINTING, TEXTILE, CERAMICS, PHOTOGRAPHY, AND INSTALLATION, THE EXHIBITION FEATURES A RANGE OF MEDIA BY ARTISTS WHOSE DIVERSE BACKGROUNDS EXTEND THE ORIGINAL CHICANA EMPHASIS OF DOMESTICANA. IN ADDITION TO MESA-BAINS, NITZA TUFIO AND MARIA BRITO, FELLOW VETERANA ARTISTS FROM THE SAME GENERATION, ARE REPRESENTED BY BOTH HISTORICAL AND RECENT PIECES. THEIR WORK IS DISPLAYED ALONGSIDE NEWLY CREATED ART BY AMARISE CARRERAS, CIELO FLIX-HERNNDEZ, JOEL GAITAN, AND MISLA, ALL MAKING THEIR MUSEUM DEBUT. EXPLORING SUCH SUBJECTS AS THE ALTAR, FAMILY, SELF-FASHIONING, AND THE DOMESTIC SPHERE, THE EXHIBITION IS ORGANIZED IN IMMERSIVE DISPLAYS DEVELOPED IN CONVERSATION WITH THE ARTISTS. TOGETHER, THESE PRESENTATIONS OFFER A CROSS-GENERATIONAL DIALOGUE THAT REFLECTS THE EMANCIPATORY AIMS OF MESA-BAINS'S EXHORTATION FOR DOMESTICANA AS EXPRESSION TO "UNDO THE WOUNDS OF PATRIARCHY AND COLONIZATION."DOMESTICANX IS SUPPORTED BY THE ROCKEFELLER BROTHERS FUND, WITH ADDITIONAL FUNDING PROVIDED BY THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE NEW YORK CITY COUNCIL.JUAN FRANCISCO ELSO: POR AMRICAOCTOBER 27, 2022 MARCH 26, 2023CURATED BY GUEST CURATOR OLGA VISO IN COLLABORATION WITH SUSANNA V. TEMKINJUAN FRANCISCO ELSO (B. 1956-1988, HAVANA) EMERGED AS AN INTERNATIONALLY RECOGNIZED ARTIST IN CUBA AND MEXICO DURING THE 1980S. USING NATURAL, EARTHEN MATERIALS, HIS SCULPTURAL PRACTICE EXAMINES THE COMPLEX FORMATIONS OF CONTEMPORARY CUBAN, CARIBBEAN, AND LATIN AMERICAN IDENTITIES. IN ELSO'S CONCEPTION, THESE PRISMATIC SUBJECTIVITIES ARE GROUNDED IN RICH, INDIGENOUS HISTORIES THAT HAVE BEEN MATERIALLY SHAPED BY CENTURIES OF COLONIAL OPPRESSION AND THE TRANSATLANTIC SLAVE TRADE. AS REFLECTED IN HIS WORKS THAT CONTEST AND RECONCEIVE INHERITED NARRATIVES AND MYTHOLOGICAL TRADITIONS, ELSO'S AMRICA IS A TRANSNATIONAL AND TRANSHEMISPHERIC CULTURAL IMAGINARY THAT REMAINS UNFINISHED AND IS STILL EVOLVING. BASED IN HAVANA, ELSO WAS PART OF THE FIRST GENERATION BORN AND EDUCATED IN POST-REVOLUTIONARY CUBA. HE BRIEFLY LIVED IN MEXICO CITY IN THE YEARS LEADING UP TO HIS UNTIMELY DEATH FROM CANCER AT AGE 32. YET, THE ARTIST'S MODEST ARTISTIC OUTPUTSOME THIRTY EXTANT SCULPTURES AND WORKS ON PAPER PRODUCED BETWEEN 1978 AND 1988HAS CONTINUED TO HAVE A GLOBAL RESONANCE. HIS BEST-KNOWN SCULPTURE, POR AMRICA [FOR AMERICA] (1986), IS CONSIDERED AN ICON OF LATE 20TH CENTURY LATIN AMERICAN ART, AND AN IMPORTANT PRECURSOR TO TODAY'S POST- AND DECOLONIAL PERSPECTIVES IN CONTEMPORARY ART.DESPITE ELSO'S INFLUENCE HIS ARTISTIC PRODUCTION HAS HAD VERY LITTLE EXPOSURE IN THE US SINCE THE EARLY 1990S. THE EPHEMERAL NATURE OF HIS PRACTICE, COUPLED WITH THE COMPLEXITIES OF USCUBAN POLITICAL RELATIONS, HAS MADE THE LOAN AND DISPLAY OF HIS WORK A CHALLENGE. DESPITE SUCH LIMITATIONS, THIS EXHIBITION BRINGS TOGETHER NEARLY ALL OF ELSO'S MATURE OEUVRE FOR THE FIRST TIME SINCE HIS SOLO EXHIBITION IN HAVANA IN 1982, INCLUDING NEWLY DISCOVERED DRAWINGS AND WORKS PREVIOUSLY BELIEVED LOST. PRESENTED THROUGH A CONTEXTUAL RATHER THAN MONOGRAPHIC APPROACH, ELSO'S PRESCIENT WORK IS POSITIONED AT THE CENTER OF A MULTIGENERATIONAL DIALOGUE OF ARTISTS ACTIVE IN THE CARIBBEAN, AND THROUGHOUT NORTH, SOUTH, AND CENTRAL AMERICA. ORGANIZED INTO SEVERAL, INTERRELATED THEMATIC SECTIONS FEATURING 45 WORK BY MORE THAN 30 ARTISTS, THE PRESENTATION OFFERS VITAL CROSSCURRENTS BETWEEN ELSO'S ART AND THE CREATIVE OUTPUT OF BOTH CLOSE COLLEAGUES AND OTHERS WHO, DESPITE HAVING NOT KNOWN HIM, DEMONSTRATE PARALLEL AFFINITIES. TOGETHER, ELSO AND THESE POLYPHONIC VOICES REFLECT A REORIENTATION OF WESTERN HEGEMONIES AND OPEN NEW POSSIBLE ALTERNATIVES ROOTED IN THE AMERICAS AN AMBITION WHICH ECHOES EL MUSEO DEL BARRIO'S OWN FOUNDATIONAL ETHOS AND CONTINUED COMMITMENTS. JUAN FRANCISCO ELSO: POR AMRICA IS ACCOMPANIED BY A BILINGUAL PUBLICATION, CO-PUBLISHED BY EL MUSEO DEL BARRIO AND [NAME] PUBLICATIONS.THE EXHIBITION IS MADE POSSIBLE THANKS TO MAJOR SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS. ADDITIONAL SUPPORT IS PROVIDED BY TONY BECHARA; CELSO GONZALEZ-FALLA; CRAIG ROBINS; STEVEN AND JUDY SHANK, AND JOHN THOMSON. COMMISSIONS ARE MADE POSSIBLE BY VIA ART FUND AND THE ELIZABETH FIRESTONE GRAHAM FOUNDATION. SUPPORTED IN PART WITH PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE NEW YORK CITY COUNCIL.METHUSELAHREYNIER LEYVA NOVO'S METHUSELAH IS A DIGITAL ARTWORK THAT VIRTUALLY REPRODUCES THE OVER 6,000 MILE TRANSNATIONAL MIGRATORY JOURNEY OF A SINGLE MONARCH BUTTERFLY. THE PROJECT FOLLOWS A BUTTERFLY AVATAR AS IT TRAVELS FROM SOUTHERN CANADA, ACROSS THE UNITED STATES, AND INTO MEXICO, AND BACK, AS PART OF THE ANNUAL REPRODUCTIVE CYCLE OF THE SPECIES. THIS EPIC JOURNEY IS HOSTED AND REPRODUCED IN REAL TIME ON A DEDICATED WEBSITE, MOBILE APP, AND A MIXED-REALITY INSTALLATION ON VIEW IN EL MUSEO DEL BARRIO'S ROOM 110. 1170224 154885 MUSEUM/THEATRE OPERATIONS: MUSEUM OPERATIONS: EL MUSEO IS OPEN THURSDAY THROUGH SUNDAY FROM 11 AM TO 5 PM. IN ADDITION TO EXCITING EXHIBITIONS, EDUCATIONAL AND PUBLIC PROGRAMS AND CULTURAL CELEBRATIONS, IT OFFERS VISITOR AMENTITIES SUCH COAT CHECK AND MUSEUM SHOP. GUEST ARE ENCOURAGED TO RESERVE A TIME TICKET IN ADVANCE AND WALK-INS ARE ALLOWED AS SPACE PERMITS. VACCINE CHECKS WERE REQUIRED MOST OF FY22. MASK WEARING WAS REQUIRED ALL OF FY22.THEATRE - THE HISTORIC AND BEAUTIFUL TEATRO IS THE ONLY THEATER OF ITS KIND IN THE UPPER EAST SIDE OF MANHATTAN. CONSISTING OF A PROSCENIUM ARCH STAGE WITH AN ORCHESTRA PIT AND SEATING FOR 572 GUESTS, IT HAS BEEN ACKNOWLEDGED AS A LANDMARK QUALITY INTERIOR VENUE FOR ITS REMARKABLE SERIES OF 30-FOOT MURALS AND STAINED-GLASS ROUNDELS. EL TEATRO IS IDEAL FOR AWARD SHOWS, LECTURES, CONCERTS, OPERAS, MEDIA EVENTS, FILM/PHOTO SHOOTS, GRADUATIONS, CONFERENCES AND MORE. RIVERSIDE SYMPHONY FEATURED A CONCERT AT EL TEATRO WITH LEAH BRZYSKI, SORPRANO, ZACH FINKELSTEIN, TENOR AND DIETER HENNINGS, GUITAR ON MARCH 6, 2022 THAT BROUGHT IN 241 PEOPLE. BLUE HILL TROUPE, LTD, PRESENTED GILBERT & SULLIVAN'S "THE SORCERER" FROM APRIL 27, 2022 TO APRIL 30, 2022 THAT BROUGHT IN 1,186 PEOPLE. OPERA LAFAYETTE'S INAUGURAL NEW YORK FESTIVAL CELEBRATES THE ERA OF MARIE ANTOINETTE, REDISCOVERED FROM JUNE 7-9, 2022, A THREE-DAY EVENT FEATURING BAROQUE MUSIC PERFORMED BY INTERNATIONAL MUSICIANS THAT BROUGHT IN 439 PEOPLE. MANHATTAN EDUCATIONAL OPPORTUNITY CENTER (MEOC) HAS THEIR GRADUATION ON JUNE 16, 2022 THAT BROUGHT IN 268 PEOPLE. HYDE LEADERSHIP CHARTER SCHOOL-BRONX CELEBRATED THEIR HIGH SCHOOL GRADUATION ON JUNE 2, 2022 THAT BROUGHT IN 305 PEOPLE. 430115 COMMUNICATIONS:THE MARKETING AND COMMUNICATIONS DEPARTMENT IS CENTRAL TO THE MUSEUM'S ABILITY TO PROMOTE ITS EXHIBITIONS AND PROGRAMS TO OUR COMMUNITY OF NEIGHBORS, ARTISTS, VISITORS, AND SUPPORTERS. ALL MEDIA RELATIONS, ADVERTISING, WEB AND SOCIAL MEDIA COMMUNICATIONS, AS WELL AS PRINT MARKETING AND BRAND DEVELOPMENT IS CONDUCTED BY THE DEPARTMENT. IN ADDITION, THE DEPARTMENT IS ALSO THE FIRST POINT OF CONTACT FOR ANY PRESS RELATED MATTERS PERTAINING TO EL MUSEO. IN FY22, THE DEPARTMENT PUBLICIZED ALL EL MUSEO DEL BARRIO'S EDUCATION AND PUBLIC PROGRAMS, AS WELL AS FOUR EXHIBITIONS: ESTAMOS BIEN - LA TRIENAL 20/21; EN FOCO: THE NEW YORK PUERTO RICAN EXPERIENCE, 1973-1974; POPULAR PAINTERS & OTHER VISIONARIES; AND RAPHAEL MONTAEZ ORTIZ: A CONTEXTUAL RETROSPECTIVE. THE DEPARTMENT MANAGED ALL MEDIA INQUIRIES AND REPRESENTED THE MUSEUM IN INTERVIEWS AND INFORMATION REQUESTS. IN ADDITION, THE DEPARTMENT MAINTAINED AN ACTIVE PRESENCE THROUGH EL MUSEO'S WEBSITE AND SOCIAL MEDIA OUTLETS. 990300 107879 990300 107879 4158242 1 1 0 1 0 0 0 1 0 1 1 0 0 0 0 1 1 0 0 0 0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 96 0 1 103 1 0 0 0 0 0 1 1 0 0 0 0 0 0 X 23 23 0 0 0 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 0 0 NY X X PATRICK CHARPENEL- EXECUTIVE DIRECTOR 2128317272 1230 FIFTH AVENUE NEW YORK NY 10029 MARIA EUGENIA MAURY CHAIR 5.00 X X 0 0 0 ANTONIO BECHARA CHAIR EMERITUS 2.00 X X 0 0 0 CLAUDIA MARMOLEJO SECOND VICE CHAIR 5.00 X X 0 0 0 STANLEY STAIRS SECRETARY 5.00 X X 0 0 0 ALFONSO BARROS TREASURER 5.00 X X 0 0 0 ANGELA CABRERA TRUSTEE 2.00 X 0 0 0 GILBERTO CARDENAS TRUSTEE 2.00 X 0 0 0 PATRICK COLLINS TRUSTEE 2.00 X 0 0 0 AGUSTIN COPPEL LUKEN TRUSTEE 2.00 X 0 0 0 JUAN DOMINGO BECKMANN TRUSTEE 2.00 X 0 0 0 MYRIAM GUADALUPE DE LA VEGA TRUSTEE 2.00 X 0 0 0 MARCELO ETCHEBARNE TRUSTEE 2.00 X 0 0 0 ELLA FONTANALS CISNEROS TRUSTEE 2.00 X 0 0 0 MICHEL GOGUIKIAN TRUSTEE 2.00 X 0 0 0 JOSE ANTONIO LLORENTE TRUSTEE 2.00 X 0 0 0 MARIA MARTINEZ DE LA CRUZ TRUSTEE 2.00 X 0 0 0 ISABEL NAZARIO TRUSTEE 2.00 X 0 0 0 RAMIRO ORTIZ MAYORGA TRUSTEE 2.00 X 0 0 0 GABRIELA PALMIERI TRUSTEE 2.00 X 0 0 0 PEDRO PEDRAZA TRUSTEE 2.00 X 0 0 0 YOLANDA SANTOS TRUSTEE 2.00 X 0 0 0 MONICA TAVARES TRUSTEE 2.00 X 0 0 0 MONICA VIDAL TRUSTEE 2.00 X 0 0 0 BILL DE BLASIO MAYOR 1.00 X 0 0 0 GALE BREWER PRESIDENT OF BOROUGH OF MANHATTAN 1.00 X 0 0 0 GONZALO CASALS COMISSIONER, DEPARTMENT OF CULTURAL AFFAIRS 1.00 X 0 0 0 DIANA AYALA COUNCIL MEMBER 1.00 X 0 0 0 PATRICK CHARPENEL EXECUTIVE DIRECTOR 35.00 X 238278 0 22378 CARLOS GALVEZ DEPUTY EXECUTIVE DIRECTOR 35.00 X 207288 0 5501 EVELYN RIVERA DIRECTOR OF FINANCE 35.00 X 148426 0 17018 RODRIGO TEIXERIA LOPES MOURA CHIEF CURATOR 35.00 X 121126 0 31046 ANNE DAYTON DIRECTOR OF DEVELOPMENT - FORMER 35.00 X 168904 0 42631 884022 0 118574 5 1 1 0 HELENA VIDAL 5 ROCK HILL ROAD ARMONK NY 10504 EDUCATION CONSULTANT 175375 OXFORD NETWORK SOLUTIONS INC 10307 WEST BROAD STREET SUITE 171 GLENN ALLEN VA 23060 IT SUPPORT 129500 MANA CONTEMPORARY 6 SENATE PLACE JERSEY CITY NJ 07306 ART STORAGE 118546 US ART CO INC 78 PACELLA PARK DRIVE RANDOLPH MA 02368 EXHIBITION PACKING AND CRATING 101381 4 94559 319923 1929561 3032601 5376644 FACILITIES AND OTHER R 532000 154885 154885 ADMISSIONS AND WORKSHO 711130 46539 46539 OTHER PROGRAM FEES 900099 2647 2647 204071 9736 9736 40267 62401 -22134 -22134 -22134 234565 319923 234565 0 82531 23838 58693 58693 EVENT TICKET SALES 900099 72789 72789 TRAVELLING EXHIBITION 900099 62000 62000 MISCELLANEOUS INCOME 900099 2268 2268 1500 1500 138557 5765567 262764 0 126159 X 428041 358568 46331 23142 1992595 1236386 592247 163962 167737 110522 44250 12965 513042 338044 135343 39655 6710 4421 1770 519 25816 600 25216 40000 40000 887955 473592 191158 223205 62736 62736 149286 78634 67597 3055 132954 104129 28825 231124 174080 51521 5523 36454 11362 8095 16997 59703 21082 32219 6402 315666 207992 83275 24399 46753 10673 36080 EXHIBITION COSTS 620041 405021 4089 210931 COLLECTIONS 413460 413460 REPAIRS AND MAINTENANCE 79310 79310 EQUIPMENT AND RENTALS 47698 32445 15253 50295 35185 4657 10453 6307376 4158242 1407926 741208 9225052 9110377 117218 66041 3174443 2041361 352228 607369 21721 29817 145142 150720 7780487 3138463 4877760 4642024 875898 864601 18789462 17512310 747156 924384 575 52806 667428 685545 873795 0 2288954 1662735 X 11710164 11541545 4790344 4308030 16500508 15849575 18789462 17512310 X -541809 -109124 X X 0 1 X 1 0 X 4214705 6738575 4511832 15093782 5376644 35935538 1438936 1269180 1469012 1194070 1316891 6688089 5653641 8007755 5980844 16287852 6693535 42623627 5105112 37518515 54064 45693 104073 44178 9736 257744 36615 36615 5142 8574 9151 4956 27823 42945809 1723098 0.87360 0.86380 X RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 0 0 0 0 1 0 0 0 0 0 PART II-B, LINE 1, LOBBYING ACTIVITIES: EL MUSEO IS PART OF THE NYC CULTURAL INSTITUTIONS GROUP (CIG), A CONSORTIUM OF 34 CULTURAL INSTITUTIONS ON CITY-OWNED PROPERTY. AS A GROUP, THE CIG EMPLOYS A LOBBYIST WHO DOES ADVOCACY WORK AROUND ISSUES PERTAINING TO OUR INSTITUTIONS AND CONSTITUENCIES. X X X 1 100000 -1434 98566 98815 2575 1390 100000 100000 -1185 98815 99384 6764 6148 100000 100000 -616 99384 0.00000 1.00000 0.00000 0 0 6786273 2204822 4581451 788423 728196 60227 205791 205445 346 4642024 X 7106296 1316891 23838 1340729 5765567 0 5765567 7757229 1316891 132962 1449853 6307376 0 6307376 PART III, LINE 4: EL MUSEO'S PERMANENT COLLECTION OFFERS AN IN-DEPTH PERSPECTIVE ON LATINO ART AND VISUAL CULTURE IN THE U.S., LATIN AMERICA, AND THE CARIBBEAN. RANGING FROM PRE-COLUMBIAN TO MODERN AND CONTEMPORARY ART, THE COLLECTION, TOTALING MORE THAN 8,500 OBJECTS, IS A UNIQUE CULTURAL RESOURCE THAT REFLECTS THE INSTITUTION'S DECOLONIZED AND DIASPORIC HISTORY AND ETHOS, WHICH SINCE ITS FOUNDING IN 1969, HAS ENVISIONED THREE MAIN CULTURES: AMERINDIAN, AFRICAN, AND EUROPEANAS THE BASIS OF VISUAL CULTURES IN THE AMERICAS. IN AN EFFORT TO CREATE DIALOGUES ACROSS HISTORIES, MEDIA, TRADITIONS, AND OTHER CATEGORIZATIONS, THE PERMANENT COLLECTION HAS BEEN RE-ENVISIONED INTO SIX EVOLVING THEMATIC SECTIONS, WHICH INCLUDE: URBAN EXPERIENCES, EXPANDED GRAPHICS, AFRICAN AND INDIGENOUS HERITAGES, CRAFT INTERSECTION, WOMEN ARTISTS, AND REPRESENTING LATINX. WITH MANY OF THE ARTWORKS ECHOING ACROSS SECTIONS, SUCH GROUPINGS REPRESENT A NEW APPROACH TO THE RANGE OF TYPOLOGIES THAT CONSTITUTE EL MUSEO'S COLLECTION, WHICH REFLECTS THE FULL DIVERSITY OF LATINO ART. PART X, LINE 2: THE ORGANIZATION IS A NOT-FOR-PROFIT ORGANIZATION AND IS EXEMPT FROM FEDERAL INCOME TAXES UNDER SECTION 501(C)(3) OF THE INTERNAL REVENUE CODE, AND FROM STATE INCOME TAXES. THE ORGANIZATION RECOGNIZES AND MEASURES ITS UNRECOGNIZED TAX BENEFITS IN ACCORDANCE WITH FASB ASC 740, INCOME TAXES. UNDER THIS GUIDANCE, THE ORGANIZATION ASSESSES THE LIKELIHOOD, BASED ON THEIR TECHNICAL MERIT, THAT TAX POSITIONS WILL BE SUSTAINED UPON EXAMINATION BASED ON THE FACTS, CIRCUMSTANCES, AND INFORMATION AVAILABLE AT THE END OF EACH PERIOD. THE MEASUREMENT OF UNRECOGNIZED TAX BENEFITS IS ADJUSTED WHEN NEW INFORMATION IS AVAILABLE OR WHEN AN EVENT OCCURS THAT REQUIRES A CHANGE. MANAGEMENT HAS EVALUATED THE ORGANIZATION'S TAX POSITIONS AND HAS CONCLUDED THAT THE ORGANIZATION HAS TAKEN NO UNCERTAIN TAX POSITIONS THAT REQUIRE ADJUSTMENT TO THE FINANCIAL STATEMENTS.EXEMPT FROM INCOME TAXES UNDER SECTION 501(C)(3) OF THE INTERNAL REVENUE CODE AND IS CLASSIFIED AS A PUBLIC CHARITY. AS A RESULT, THE ORGANIZATION HAS MADE NO PROVISION FOR FEDERAL INCOME TAXES IN THE ACCOMPANYING FINANCIAL STATEMENTS. PART XI, LINE 2D - OTHER ADJUSTMENTS: RE-CLASS OF COST OF GOODS SOLD TO FORM 990, PART VIII PART XII, LINE 2D - OTHER ADJUSTMENTS: LOSS ON UNCOLLECTIBLE PLEDGES RE-CLASS OF COST OF GOODS SOLD TO FORM 990, PART VIII PART III, LINE 1A: THE COLLECTION, WHICH INCLUDES PAINTINGS, SCULPTURE AND OTHER WORKS OF ART, WAS ACQUIRED THROUGH PURCHASES AND CONTRIBUTIONS SINCE THE ORGANIZATION'S INCEPTION, AND IS NOT RECOGNIZED AS AN ASSET ON THE STATEMENT OF FINANCIAL POSITION. THE COLLECTION IS HELD FOR PUBLIC EDUCATION OR RESEARCH IN FURTHERANCE OF PUBLIC SERVICE RATHER THAN FINANCIAL GAIN. COLLECTION ITEMS ARE EXPENSED WHEN PURCHASED. CONTRIBUTED COLLECTION ITEMS ARE NOT REFLECTED ON THE FINANCIAL STATEMENTS. PROCEEDS FROM DEACCESSIONS OR INSURANCE RECOVERIES ARE CLASSIFIED IN THE APPROPRIATE NET ASSET CLASS. THE COLLECTION IS SUBJECT TO A POLICY THAT REQUIRES PROCEEDS FROM DE-ACCESSIONING TO BE USED TO ACQUIRE OTHER ITEMS FOR THE COLLECTION. PART III, LINE 4: IN KEEPING WITH ITS MISSION TO PRESERVE, INTERPRET AND PROMOTE THE ARTISTIC HERITAGE OF PUERTO RICANS AND ALL LATIN AMERICANS, COLLECTING HAS BEEN A PRIORITY DEPENDENT ON THE GENEROSITY OF ARTISTS AND DONORS. THE COLLECTION HAS BEEN CONSISTENTLY AT THE HEART OF OUR EDUCATIONAL MISSION; THE OBJECTS HAVE BEEN UNDERSTOOD AS CONTAINERS OF MEANING THAT RESULTED FROM THE MAKERS PERSONAL, CULTURAL, HISTORICAL AND GEOGRAPHICAL CONDITION SERVING AS BOTH CHRONICLERS AND SIGNIFIERS OF COMPLEX MOMENTS, PLACES AND TIMES. THE WORKS COLLECTED BY EL MUSEO ARE AT THE HEART OF OUR MISSION AS A MUSEUM AND CULTURAL CENTER. NOW 6,500 OBJECTS STRONG, THE COLLECTION IS ROOTED IN WORK BY THE PUERTO RICAN ARTISTS OF OUR FOUNDING COMMUNITY, AND HAS GROWN TO INCLUDE ART FROM DIVERSE CARIBBEAN, LATINO, AND LATIN AMERICAN CULTURES. OVERVIEW EL MUSEO DEL BARRIO IS THE PREEMINENT FORUM AND RESOURCE IN THE U.S. DEDICATED TO CARIBBEAN, LATINO, AND LATIN AMERICAN ART. THE MUSEUM CARES FOR A DIVERSE, 6,500 OBJECT PERMANENT COLLECTION OF CARIBBEAN, LATINO AND LATIN AMERICAN ART, UNIQUE IN THE UNITED STATES. THE HOLDINGS DIVIDE INTO FOUR MAIN AREAS: I. MODERN AND CONTEMPORARY ART, PARTICULARLY STRONG IN POST WAR (1950 -THE PRESENT) WORKS, INCLUDING PAINTINGS (OVER 400), PHOTOGRAPHY (OVER 700), AND OTHER CONTEMPORARY, MIXED-MEDIA AND THREE-DIMENSIONAL AND TIME-BASED FORMS, SUCH AS VIDEO, PRIMARILY CREATED BY NEW YORK-BASED LATINO ARTISTS (IN TOTAL, OVER 1,500 WORKS). II. GRAPHICS, INCLUDING AN EXCELLENT REPRESENTATION OF PUERTO RICAN,NUYORICAN, MEXICAN, AND CHICANO FINE PRINTS THROUGH THE 20TH AND 21ST CENTURIES (OVER 4,000 WORKS); III. TAINO NO PRE-COLUMBIAN, PAN-CARIBBEAN ARCHEOLOGICAL OBJECTS, PRIMARILY FROM PUERTO RICO AND THE DOMINICAN REPUBLIC, AS WELL AS FINE PHOTOGRAPHS, GRAPHICS AND CONTEMPORARY WORKS THAT HAVE BEEN INFLUENCED BY THE TAINO LEGACY (OVER 460 WORKS); AND IV. POPULAR TRADITIONS, INCLUDING SANTOS DE PALO (OVER 300, PRIMARILY FROM PUERTO RICO) AND OTHER DEVOTIONAL ARTS FROM THE SANTERIA, CANDOMBLE AND ORISHA-WORSHIP TRADITIONS, MASKS (OVER 80, PRIMARILY FROM MEXICO AND GUATEMALA) AND OBJECTS RELATED TO THE CELEBRATION OF DIA DE LOS MUERTOS (OVER 500 OBJECTS IN TOTAL). V. EL MUSEO'S COLLECTIONS FURTHER THE ORGANIZATION'S EXEMPT PURPOSE IN THE FOLLOWING WAYS: 1) THEY ALLOW US TO PRESERVE ART FROM VARIOUS IMPORTANT CATEGORIES FOR FUTURE GENERATIONS; 2) THE ALLOW US TO ORGANIZE EDUCATIONAL PROGRAMS AND CLASSES BASED AROUND THE PERMANENT COLLECTION OBJECTS; 3) THEY MAKE UP A UNIQUE SET OF HOLDINGS IN ARTISTIC PRODUCTION NOT SEEN AT OTHER INSTITUTIONS. PART V, LINE 4: THE MUSEUM MAINTAINS DONOR-RESTRICTED FUNDS WHOSE PURPOSE IS TO PROVIDE LONG TERM SUPPORT FOR ITS SPECIAL EXHIBITIONS. IN CLASSIFYING SUCH FUNDS FOR FINANCIAL STATEMENT PURPOSES AS PERMANENTLY RESTRICTED, TEMPORARILY RESTRICTED OR UNRESTRICTED NET ASSETS THE BOARD OF TRUSTEES LOOKS TO EXPLICIT DIRECTION OF THE DONOR AND PROVISIONS OF THE NEW YORK PRUDENT MANAGEMENT OF INSTITUTIONAL FUNDS ACT ("NYPMIFA"). DINNER 174782 60374 114408 44021 8000 62387 COCKTAIL PARTY 379706 259549 120157 44225 5000 70932 554488 319923 234565 88246 13000 133319 234565 0 X X X X 0 0 0 1 0 0 0 0 0 PATRICK CHARPENEL EXECUTIVE DIRECTOR 238278 0 0 0 0 0 14159 0 8219 0 260656 0 0 0 CARLOS GALVEZ DEPUTY EXECUTIVE DIRECTOR 207288 0 0 0 0 0 5116 0 385 0 212789 0 0 0 ANNE DAYTON DIRECTOR OF DEVELOPMENT - FORMER 168904 0 0 0 0 0 36874 0 5757 0 211535 0 0 0 EVELYN RIVERA DIRECTOR OF FINANCE 148426 0 0 0 0 0 16633 0 385 0 165444 0 0 0 RODRIGO TEIXERIA LOPES MOURA CHIEF CURATOR 121126 0 0 0 0 0 27031 0 4015 0 152172 0 0 0 FORM 990, PART VI, SECTION B, LINE 11B THE 990 DRAFT IS REVIEWED BY THE DIRECTOR OF FINANCE, DEPUTY EXECUTIVE DIRECTOR, EMAILED TO BOARD FOR COMMENTARY AND THEN REVIEWED AND SIGNED OFF BY THE EXECUTIVE DIRECTOR. FORM 990, PART VI, SECTION B, LINE 12C EL MUSEO CURRENTLY HAS IN PLACE A CONFLICT OF INTEREST POLICY WHICH IS MONITORED AND ENFORCED ANNUALLY. THE WRITTEN CONFLICT OF INTEREST POLICY APPLIES TO ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES OF EL MUSEO. ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES ARE REQUIRED TO DISCLOSE ANY POSSIBLE POTENTIAL CONFLICT OF INTEREST. ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES ARE ALSO REQUIRED TO ANNUALLY SIGN AND SUBMIT A STATEMENT TO THE SECRETARY OF EL MUSEO TO AFFIRM THAT THEY HAVE RECEIVED A COPY OF THE CONFLICT OF INTEREST POLICY AND HAVE READ AND UNDERSTAND THE POLICY AND HAVE AGREED TO COMPLY WITH THE POLICY. ANY REPORTED CONFLICTS ARE ADDRESSED BY THE DIRECTOR OR HIS /HER DESIGNEE AND FOLLOWED UP AS APPROPRIATE, WITH BOARD'S EXECUTIVE COMMITTEE. IF AN INDIVIDUAL HAS A CONFLICT OF INTEREST, HE/SHE WOULD BE EXCUSED FROM PARTICIPATING IN THE REVIEW/VOTE OF THAT PARTICULAR CONFLICT. THE MINUTES OF THE MEETING OF THE BOARD SHALL REFLECT THAT THE CONFLICT OF INTEREST WAS DISCLOSED AND THAT THE INTERESTED PERSON WAS NOT PRESENT DURING THE FINAL DISCUSSION OR VOTE AND DID NOT VOTE. FORM 990, PART VI, SECTION B, LINE 15A THERE IS NO FORMAL POLICY IN PLACE THE BOARD USUALLY CREATES A COMMITTEE AND WILL APPROVE EMPLOYEE AND RATE OF PAY. FORM 990, PART VI, SECTION C, LINE 19 THE ORGANIZATION MAKES ITS FORM 990 AVAILABLE FOR PUBLIC INSPECTION AS REQUIRED UNDER SECTION 6104 OF THE INTERNAL REVENUE CODE. THE RETURN IS POSTED ON GUIDESTAR.ORG AND OTHER SIMILAR TYPES OF WEBSITES. IN ADDITION, THE FINANCIAL STATEMENTS, CONFLICT OF INTEREST POLICY, FORM 990, FORM 1023, AND BY-LAWS ARE ALSO AVAILABLE UPON WRITTEN REQUEST AT 1230 FIFTH AVENUE, NEW YORK, NY 10029. FORM 990, PART IX, LINE 11G OTHER PROFESSIONAL FEES: PROGRAM SERVICE EXPENSES 473,592. MANAGEMENT AND GENERAL EXPENSES 191,158. FUNDRAISING EXPENSES 223,205. TOTAL EXPENSES 887,955. FORM 990, PART XI, LINE 9: LOSS ON UNCOLLECTIBLE PLEDGES -109,124.