2021-08-16T11:32:41-05:00 2020-09-30 383186775 JANSEN VALK THOMPSON & REAHM PC 7171 STADIUM DR KALAMAZOO MI 490094943 990 2019-10-01 381387136 GRAND RAPIDS ART MUSEUM GRAN 6168312904 101 MONROE CENTER GRAND RAPIDS MI 49503 DANA FRIIS-HANSEN DIRECTOR AND CEO 6168312904 2021-08-13 true JENNIFER B WOOLF P00289894 2693817600 2021-08-13 2019 2022-09-23 18:48:47Z DANA FRIIS-HANSEN 3241498 false X WWW.ARTMUSEUMGR.ORG X 1910 MI CONNECTING PEOPLE THROUGH ART, CREATIVITY, AND DESIGN. 20 20 104 117 2768 3466684 2619795 341981 246063 60198 22380 361120 78199 4229983 2966437 0 0 2296690 1896295 0 536514 5350544 4681085 7647234 6577380 -3417251 -3610943 70908082 67664552 10063820 10429202 60844262 57235350 X CONNECTING PEOPLE THROUGH ART, CREATIVITY, AND DESIGN. false false 4794 BILLY MAYER: THE SHAPE OF THINGS ONE OF MICHIGANS MOST DISTINCTIVE AND UNIQUE SCULPTORS, THE LATE BILLY MAYER (1953 2017) CREATED WORK IN NUMEROUS MEDIA AND MATERIALS THAT ADDRESSED THE MUNDANE ELEMENTS OF DAILY LIFE AS WELL AS BIGGER, BROADER IDEAS ABOUT HUMAN EXISTENCE. BILLY MAYER: THE SHAPE OF THINGS BRINGS TOGETHER BOTH LARGE AND SMALL-SCALE SCULPTURE THAT DEMONSTRATE MAYERS CREATIVE IMAGINATION AND HIS IMPRESSIVE RANGE OF INTERESTS AND SOURCES, FROM SURREALISM AND POP ART TO SOUVENIR KITSCH. MAYERS METICULOUSLY CRAFTED SCULPTURES JUXTAPOSE FAMILIAR ELEMENTS IN UNEXPECTED ARRANGEMENTS THAT SEEM CONJURED FROM A PARALLEL REALITY OR DREAM STATE. ANCHORING THE EXHIBITION IS MAYER'S TOUR-DE-FORCE INSTALLATION OF OVER FOUR HUNDRED SMALL SKULLS, EACH TOPPED WITH A DIFFERENT EVERYDAY IMAGE OR OBJECT - ALL HANDCRAFTED IN CLAY. IN ITS TOTALITY, IMBUES ITS RANGE OF BANAL OBJECTS AND IMAGES WITH PERSONAL MEANING, CREATING A SELF- PORTRAIT, IN A SENSE, OF THE ARTIST'S THOUGHTS AND MEMORIES. 93196 62500 DAVID WIESNER & THE ART OF WORDLESS STORYTELLING DAVID WIESNER (B. 1956) IS A MASTER OF STORYTELLING THROUGH PICTURES AND THREE-TIME WINNER OF THE CALDECOTT MEDAL. WIESNER'S BODY OF WORK EXPLORES THE COMPLEXITY OF HUMAN IMAGINATION THROUGH RICHLY LAYERED IMAGERY, CLEVER COMPOSITION, AND HUMOR. HIS MANY BOOKS HAVE DELIGHTED READERS OF ALL AGES FOR THREE DECADES WITH WILDLY IMAGINATIVE TALES THAT CAPTURE THE JOY OF PICTURES AND STORIES. THE EXHIBITION FEATURES 70 ORIGINAL WATERCOLORS FROM SOME OF WIESNER'S MOST BELOVED BOOKS, INCLUDING THE CALDECOTT MEDAL WINNERS TUESDAY (1991), THE THREE PIGS (2001), AND FLOTSAM (2006). EXAMPLES OF WIESNER'S EARLIEST ARTISTIC SUCCESSES ARE ON VIEW, TOO, AS WELL AS SKETCHES AND NOTEBOOKS REVEALING HIS TIME-CONSUMING CREATIVE PROCESS, WHICH CULMINATES IN THE ENCHANTING WATERCOLOR PAINTINGS THAT ANCHOR THE EXHIBITION. BECAUSE THESE ORIGINAL WORKS ARE RARELY SEEN, THE METICULOUS PROCESSES THROUGH WHICH WIESNER ACHIEVES HIS SEEMINGLY EFFORTLESS EFFECTS ARE RARELY APPREHENDED. VIEWING THESE WORKS IN PERSON, AS OPPOSED TO THEIR REPRODUCTIONS IN BOOKS, REVEALS THE MULTIPLE LAYERS OF WATERCOLOR THAT WIESNER USES TO CREATE THE EXQUISITELY NUANCED HUES THAT BRING EACH PIECE TO LIFE. WIESNER BEGAN HIS CAREER PROVIDING ILLUSTRATIONS FOR THE CHILDREN'S LITERARY MAGAZINE CRICKET IN 1979 AND THEN UNDERTOOK A SERIES OF COLLABORATIONS WITH CHILDREN'S BOOK AUTHORS THROUGHOUT THE 1980S. FREE FALL (1988), WIESNER'S FIRST SOLO WORK AND HIS FIRST PUBLISHED WORDLESS BOOK, TOOK HIM THREE YEARS TO COMPLETE. IT'S STORY, WHICH IMAGINES A BOY'S SLEEPING DREAMSCAPES, IS CONTAINED WITHIN ONE LONG, CONTINUOUS COMPOSITION THAT MORPHS FROM ONE SCENE TO THE NEXT. AFTER IT WAS CHOSEN AS A CALDECOTT HONOR BOOK IN 1988, WIESNER DETERMINED FROM THEN ON TO FOCUS EXCLUSIVELY ON HIS OWN VISUAL STORYTELLING. IN THE WORKS THAT CAME AFTER, INCLUDING JUNE 29, 1999 (1992) AND SECTOR 7 (1999), HE CONTINUED TO EXPLORE VISUAL STORYTELLING, OFTEN REMOVING TEXT AND THUS REMOVING THE AUTHOR'S VOICE. WIESNER SAYS, "THIS LETS EACH READER TELL THE STORY IN THEIR OWN VOICE. IT PUTS READERS IN THE POSITION OF COLLABORATING IN THE STORYTELLING PROCESS, ASKING THEM TO USE THEIR IMAGINATION ALONG WITH MINE." HE HOPES VIEWERS WILL ACTIVELY ENGAGE WITH HIS WORK, MAKING CONNECTIONS AND CREATING THEIR OWN MEANING, AN ENGAGEMENT THAT IS PARTICULARLY IMPORTANT FOR YOUNG CHILDREN, WHO DEVELOP VISUAL LITERACY WELL BEFORE THEY ARE ABLE TO READ. WIESNER'S WORDLESS NARRATIVES DEMAND ATTENTION AND DEDUCTION FROM THEIR READERS AND ENCOURAGE EXPRESSIVE LANGUAGE AND PREDICTIVE REASONING SKILLS. ACTIVITIES WITHIN THE EXHIBITION FOR CHILDREN, FAMILIES, AND ADULTS HAVE BEEN CREATED TO FURTHER INSPIRE THESE SKILLS AND CREATE FUN EXPERIENCES FOR VISITORS OF ALL AGES. 56908 11000 A NEW STATE OF MATTER: CONTEMPORARY GLASS GLASS HAS BEEN CALLED A NEW STATE OF MATTER BECAUSE IT IS NOT PURELY A LIQUID, SOLID, OR GAS. GLASS CAN TRANSITION FROM A LIQUID TO A SOLID OVER A WIDE TEMPERATURE RANGE, CAUSING IT TO BE NICKNAMED "CHAMELEON MATTER". THIS QUALITY MAKES IT AN IDEAL MEDIUM FOR A WIDE ARRAY OF PROCESSES INCLUDING BLOWING, KILN-FORMING, CASTING, AND FLAME-WORKING. GLASS CAN BE TRANSLUCENT, TRANSPARENT, OR OPAQUE; IT CAN REFRACT IMAGES OR REFLECT THEM BACK TO THE VIEWER; IT IS STRONG, YET DELICATE. THESE QUALITIES MAKE GLASS PERFECTLY SUITED FOR ARTISTS TO EXPLORE FRAGILITY, RESILIENCY, TRANSPARENCY, AND TRANSFORMATION. THIS EXHIBITION FEATURES WORK BY CONTEMPORARY ARTISTS WHO ARE USING GLASS IN INNOVATIVE WAYS, WHILE PRESENTING ITS METAPHORICAL POSSIBILITIES. THEIR ARTWORKS ALSO CONNECT TO BROADER CULTURAL, ENVIRONMENTAL, POLITICAL, AND SPIRITUAL THEMES. EACH OF THE NINETEEN ARTISTS INCLUDED IN THE EXHIBITION EXAMINES THE MATERIAL AND SYMBOLIC POTENTIAL OF GLASS IN UNIQUE AND REVEALING WAYS. FOR EXAMPLE, ARTISTS CHARLOTTE POTTER AND APRIL SURGENT USE THE ANCIENT PROCESS OF CAMEO GLASS ENGRAVING TO EXPLORE RELATIONSHIPS IN THE AGE OF SOCIAL MEDIA AND CLIMATE CHANGE, RESPECTIVELY. JEFFREY STENBOM UTILIZES CAST GLASS TO UNVEIL THE STRUGGLES FACING THE NATION'S VETERANS. DAVID CHATT, IN A REPETITIVE, LABOR-INTENSIVE PROCESS, COVERS FOUND OBJECTS WITH THOUSANDS OF MINISCULE GLASS BEADS TO DISCUSS FAMILY AND NOSTALGIA. AMBER COWAN REPURPOSES AMERICAN PRESSED GLASS TO CREATE HER INTRICATE INSTALLATIONS THAT RECALL A BY-GONE ERA. THE EXHIBITION ALSO INCLUDES WORK BY GRAND RAPIDS ARTIST NORWOOD VIVIANO. VIVIANO FUSES FINE ARTS PRACTICE WITH DATA AND RESEARCH FINDINGS IN GEOGRAPHY, ECONOMICS, AND THE SOCIAL SCIENCES TO CREATE ENVIRONMENTS IN WHICH SENSUOUS BEAUTY AND TOPICAL. 3311640 172563 OTHER EXPENSES RELATED TO THE CARE AND CONSERVATION OF THE PERMANENT COLLECTION AND THE EXHIBITIONS SHOWN DURING THIS YEAR AND EXPENSES RELATED TO PREPARATION OF EXHIBITIONS SCHEDULED FOR THE FISCAL YEAR. THIS INCLUDES CURATORIAL, CATALOGING AND RESEARCH, AS WELL AS THE PURCHASE OF ART FOR THE PERMANENT COLLECTION. 3311640 172563 3466538 true true false false false false false true false true true false false false true false false true false false false false false false true false false false false true true false true true false false false false true true true true true false false false true false false false true 11 0 true 104 true true true false false false false true true false false false false false false X 20 20 false false false false true true false true true false false true true true true true true true true false MI X X BROOKE KRUPICZEWICZ 6168312904 101 MONROE CENTER GRAND RAPIDS MI 49503 DANA FRIIS-HANSEN DIRECTOR AND 40.00 X 214334 0 30433 LUIS AVILA TRUSTEE 1.00 X 0 0 0 STACIE BEHLER TRUSTEE 1.00 X 0 0 0 MARILYN CRAWFORD TRUSTEE 1.00 X 0 0 0 SAM CUMMINGS TRUSTEE 1.00 X 0 0 0 JIM ENGELKING TRUSTEE 1.00 X 0 0 0 MEG GOEBEL TRUSTEE 1.00 X 0 0 0 ERIN GRAVELYN VICE PRESIDE 3.00 X X 0 0 0 KURT HASSBERGER PRESIDENT 4.00 X X 0 0 0 CHRISTOPHER HUFNAGEL TRUSTEE 1.00 X 0 0 0 RISHI MAKKAR TRUSTEE 1.00 X 0 0 0 INDIA MANNS TRUSTEE 1.00 X 0 0 0 JANE BOYLES MEILNER TRUSTEE 1.00 X 0 0 0 LIZBETH O'SHAUGHNESSY SECRETARY/TR 3.00 X X 0 0 0 JIM OVERBECK TRUSTEE 1.00 X 0 0 0 KATHLEEN STEWART PONITZ TRUSTEE 1.00 X 0 0 0 CHRISTOPHER ROSMARIN TRUSTEE 1.00 X 0 0 0 CAROL SAROSIK TRUSTEE 1.00 X 0 0 0 EDDIE TADLOCK TRUSTEE 1.00 X 0 0 0 MITCHELL WATT TRUSTEE 1.00 X 0 0 0 MEG MILLER WILLIT TRUSTEE 1.00 X 0 0 0 214334 30433 1 false true false 141431 179240 2299124 123445 2619795 EXHIBITION TOURING 110000 110000 ADMISSIONS 79798 79798 FEES 56265 56265 246063 22380 22380 65970 163809 -97839 -97839 -97839 6750 179240 36180 -29430 -29430 239593 75072 164521 161753 2768 OTHER REVENUE 900099 40947 40947 40947 2966437 407816 2768 -63942 X 1612769 662971 627893 321905 171179 90667 47723 32789 112347 48008 41216 23123 922799 198524 715879 8396 59370 2206 57164 432818 243116 106524 83178 655877 465766 182277 7834 19078 8903 9003 1172 7126 2119 4721 286 82000 82000 2013494 1437208 552571 23715 102747 72977 28132 1638 EXHIBITION COSTS 220585 194525 13722 12338 MISCELLANEOUS 42458 3864 30893 7701 PARKING 33441 3573 29768 100 ART ACQUISITIONS 24000 24000 65292 8111 44842 12339 6577380 3466538 2574328 536514 4355499 2858862 7321136 5145396 94591 205143 110119 123541 358226 294720 85677072 26773663 58537061 58903409 89006 91037 42444 42444 70908082 67664552 476063 495697 9420000 9420000 167757 513505 10063820 10429202 X 48935146 46454709 11909116 10780641 60844262 57235350 70908082 67664552 X -3610943 2031 X false true X true false X 4500055 10580448 8424952 3466684 2619795 29591934 4500055 10580448 8424952 3466684 2619795 29591934 15582960 14008974 234352 166658 217435 252981 88350 959776 1176 6219 7395 100074 98867 643862 81552 47697 972052 31531157 480502 0.44430 0.43270 X PART II, LINE 10 924,355 RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X false 20483596 3025 985078 26226 21445473 19938525 11980 563174 30083 20483596 19306876 159119 1202064 635412 94122 19938525 17634772 98760 2288367 627559 87464 19306876 16985226 800 1349120 609219 91155 17634772 0.06560 0.93440 true true true 7575615 7575615 75391284 24379474 51011810 3800 3800 2669454 2353470 315984 36919 36919 58903409 PPP LOAN 457300 ADVANCED DEPOSITS 56205 513505 3306678 2031 63149 65180 3241498 -275061 -275061 2966437 6915590 63149 275061 338210 6577380 6577380 SCHEDULE D, PAGE 1, PART III, LINE 1A PER SFAS 116, COLLECTION ITEMS ACQUIRED EITHER THROUGH PURCHASE OR DONATION ARE NOT CAPITALIZED AND SO ARE NOT INCLUDED IN THE STATEMENT OF FINANCIAL POSITION. PURCHASES OF COLLECTION ITEMS ARE RECORDED AS DECREASES IN NET ASSETS WITHOUT DONOR RESTRICTIONS IF PURCHASED WITH ASSETS WITH NO DONOR RESTRICTIONS AND AS DECREASES IN NET ASSETS WITH DONOR RESTRICTIONS IF PURCHASED WITH DONOR RESTRICTED ASSETS. CONTRIBUTIONS OF COLLECTION ITEMS ARE NOT RECOGNIZED IN THE STATEMENT OF ACTIVITIES. SCHEDULE D, PAGE 2, PART III, LINE 4 THE MUSEUM'S ART COLLECTIONS CONSIST OF DONATED AND PURCHASED ART OBJECTS, PRINCIPALLY DRAWINGS, PRINTS, STUDY ITEMS AND A REFERENCE LIBRARY. THROUGH INTERACTION WITH THE MUSEUM'S ART COLLECTION, INDIVIDUALS OF ALL AGES ENRICH THEIR LIVES. SCHEDULE D, PAGE 2, PART V, LINE 4 THE GRAND RAPIDS ART MUSEUM FOUNDATION, A RELATED ORGANIZATION, AND AN UNRELATED FINANCIAL INSTITUTION HOLD THESE ENDOWMENT FUNDS THAT ARE INTENDED TO BE USED TO PROVIDE FINANCIAL SUPPORT TO THE GRAND RAPIDS ART MUSEUM. SCHEDULE D, PAGE 4, PART XI, LINE 4B RENTAL EXPENSES -163,809 COST OF GOODS SOLD -75,072 SPECIAL EVENTS EXPENSE -36,180 SCHEDULE D, PAGE 4, PART XII, LINE 2D RENTAL EXPENSES 163,809 COST OF GOODS SOLD 75,072 SPECIAL EVENTS EXPENSE 36,180 LIVE ARTFULLY 134990 128240 6750 6977 26080 GALA 51000 51000 206 2917 185990 179240 6750 7183 28997 36180 -29430 X X X X false false false false false false false false false DANA FRIIS-HANSEN DIRECTOR AND CEO 214334 30433 244767 A MICHIGAN STRATEGIC FUND 521417332 2006-12-07 10000000 BLDG CONSTRUCTION false false false A 10000000 91250 9908750 2007 false false true true A false false false false false false false A false false true false true false false false true A false PURPOSE OF ISSUE DESCRIPTION MICHIGAN STRATEGIC FUND BLDG CONSTRUCTION SEE PART V false SCHEDULE L, PART V THE MUSEUM DID NOT HAVE ANY BUSINESS TRANSACTIONS WITH AN INTERESTED PERSON THAT MET THE REPORTING THRESHOLDS AND BUSINESS TRANSACTIONS WERE NOT IN SIGNIFICANT AMOUNTS. X 10 X SUPPLIES 1 123445 false true false SCHEDULE M, PAGE 2, PART II THE MUSEUM REPORTED A ZERO AMOUNT ON FORM 990, PART VIII, STATEMENT OF REVENUES, LINE 1G, BECAUSE THE MUSEUM DID NOT CAPITALIZE ITS COLLECTIONS AS ALLOWED UNDER SFAS 116. FORM 990, PAGE 2, PART III, LINE 4A BILLY MAYER: THE SHAPE OF THINGS ONE OF MICHIGANS MOST DISTINCTIVE AND UNIQUE SCULPTORS, THE LATE BILLY MAYER (1953 2017) CREATED WORK IN NUMEROUS MEDIA AND MATERIALS THAT ADDRESSED THE MUNDANE ELEMENTS OF DAILY LIFE AS WELL AS BIGGER, BROADER IDEAS ABOUT HUMAN EXISTENCE. BILLY MAYER: THE SHAPE OF THINGS BRINGS TOGETHER BOTH LARGE AND SMALL-SCALE SCULPTURE THAT DEMONSTRATE MAYERS CREATIVE IMAGINATION AND HIS IMPRESSIVE RANGE OF INTERESTS AND SOURCES, FROM SURREALISM AND POP ART TO SOUVENIR KITSCH. MAYERS METICULOUSLY CRAFTED SCULPTURES JUXTAPOSE FAMILIAR ELEMENTS IN UNEXPECTED ARRANGEMENTS THAT SEEM CONJURED FROM A PARALLEL REALITY OR DREAM STATE. ANCHORING THE EXHIBITION IS MAYER'S TOUR-DE-FORCE INSTALLATION OF OVER FOUR HUNDRED SMALL SKULLS, EACH TOPPED WITH A DIFFERENT EVERYDAY IMAGE OR OBJECT - ALL HANDCRAFTED IN CLAY. IN ITS TOTALITY, IMBUES ITS RANGE OF BANAL OBJECTS AND IMAGES WITH PERSONAL MEANING, CREATING A SELF- PORTRAIT, IN A SENSE, OF THE ARTIST'S THOUGHTS AND MEMORIES. FORM 990, PAGE 2, PART III, LINE 4B DAVID WIESNER & THE ART OF WORDLESS STORYTELLING DAVID WIESNER (B. 1956) IS A MASTER OF STORYTELLING THROUGH PICTURES AND THREE-TIME WINNER OF THE CALDECOTT MEDAL. WIESNER'S BODY OF WORK EXPLORES THE COMPLEXITY OF HUMAN IMAGINATION THROUGH RICHLY LAYERED IMAGERY, CLEVER COMPOSITION, AND HUMOR. HIS MANY BOOKS HAVE DELIGHTED READERS OF ALL AGES FOR THREE DECADES WITH WILDLY IMAGINATIVE TALES THAT CAPTURE THE JOY OF PICTURES AND STORIES. THE EXHIBITION FEATURES 70 ORIGINAL WATERCOLORS FROM SOME OF WIESNER'S MOST BELOVED BOOKS, INCLUDING THE CALDECOTT MEDAL WINNERS TUESDAY (1991), THE THREE PIGS (2001), AND FLOTSAM (2006). EXAMPLES OF WIESNER'S EARLIEST ARTISTIC SUCCESSES ARE ON VIEW, TOO, AS WELL AS SKETCHES AND NOTEBOOKS REVEALING HIS TIME-CONSUMING CREATIVE PROCESS, WHICH CULMINATES IN THE ENCHANTING WATERCOLOR PAINTINGS THAT ANCHOR THE EXHIBITION. BECAUSE THESE ORIGINAL WORKS ARE RARELY SEEN, THE METICULOUS PROCESSES THROUGH WHICH WIESNER ACHIEVES HIS SEEMINGLY EFFORTLESS EFFECTS ARE RARELY APPREHENDED. VIEWING THESE WORKS IN PERSON, AS OPPOSED TO THEIR REPRODUCTIONS IN BOOKS, REVEALS THE MULTIPLE LAYERS OF WATERCOLOR THAT WIESNER USES TO CREATE THE EXQUISITELY NUANCED HUES THAT BRING EACH PIECE TO LIFE. WIESNER BEGAN HIS CAREER PROVIDING ILLUSTRATIONS FOR THE CHILDREN'S LITERARY MAGAZINE CRICKET IN 1979 AND THEN UNDERTOOK A SERIES OF COLLABORATIONS WITH CHILDREN'S BOOK AUTHORS THROUGHOUT THE 1980S. FREE FALL (1988), WIESNER'S FIRST SOLO WORK AND HIS FIRST PUBLISHED WORDLESS BOOK, TOOK HIM THREE YEARS TO COMPLETE. IT'S STORY, WHICH IMAGINES A BOY'S SLEEPING DREAMSCAPES, IS CONTAINED WITHIN ONE LONG, CONTINUOUS COMPOSITION THAT MORPHS FROM ONE SCENE TO THE NEXT. AFTER IT WAS CHOSEN AS A CALDECOTT HONOR BOOK IN 1988, WIESNER DETERMINED FROM THEN ON TO FOCUS EXCLUSIVELY ON HIS OWN VISUAL STORYTELLING. IN THE WORKS THAT CAME AFTER, INCLUDING JUNE 29, 1999 (1992) AND SECTOR 7 (1999), HE CONTINUED TO EXPLORE VISUAL STORYTELLING, OFTEN REMOVING TEXT AND THUS REMOVING THE AUTHOR'S VOICE. WIESNER SAYS, "THIS LETS EACH READER TELL THE STORY IN THEIR OWN VOICE. IT PUTS READERS IN THE POSITION OF COLLABORATING IN THE STORYTELLING PROCESS, ASKING THEM TO USE THEIR IMAGINATION ALONG WITH MINE." HE HOPES VIEWERS WILL ACTIVELY ENGAGE WITH HIS WORK, MAKING CONNECTIONS AND CREATING THEIR OWN MEANING, AN ENGAGEMENT THAT IS PARTICULARLY IMPORTANT FOR YOUNG CHILDREN, WHO DEVELOP VISUAL LITERACY WELL BEFORE THEY ARE ABLE TO READ. WIESNER'S WORDLESS NARRATIVES DEMAND ATTENTION AND DEDUCTION FROM THEIR READERS AND ENCOURAGE EXPRESSIVE LANGUAGE AND PREDICTIVE REASONING SKILLS. ACTIVITIES WITHIN THE EXHIBITION FOR CHILDREN, FAMILIES, AND ADULTS HAVE BEEN CREATED TO FURTHER INSPIRE THESE SKILLS AND CREATE FUN EXPERIENCES FOR VISITORS OF ALL AGES. FORM 990, PAGE 2, PART III, LINE 4C A NEW STATE OF MATTER: CONTEMPORARY GLASS GLASS HAS BEEN CALLED A NEW STATE OF MATTER BECAUSE IT IS NOT PURELY A LIQUID, SOLID, OR GAS. GLASS CAN TRANSITION FROM A LIQUID TO A SOLID OVER A WIDE TEMPERATURE RANGE, CAUSING IT TO BE NICKNAMED "CHAMELEON MATTER". THIS QUALITY MAKES IT AN IDEAL MEDIUM FOR A WIDE ARRAY OF PROCESSES INCLUDING BLOWING, KILN-FORMING, CASTING, AND FLAME-WORKING. GLASS CAN BE TRANSLUCENT, TRANSPARENT, OR OPAQUE; IT CAN REFRACT IMAGES OR REFLECT THEM BACK TO THE VIEWER; IT IS STRONG, YET DELICATE. THESE QUALITIES MAKE GLASS PERFECTLY SUITED FOR ARTISTS TO EXPLORE FRAGILITY, RESILIENCY, TRANSPARENCY, AND TRANSFORMATION. THIS EXHIBITION FEATURES WORK BY CONTEMPORARY ARTISTS WHO ARE USING GLASS IN INNOVATIVE WAYS, WHILE PRESENTING ITS METAPHORICAL POSSIBILITIES. THEIR ARTWORKS ALSO CONNECT TO BROADER CULTURAL, ENVIRONMENTAL, POLITICAL, AND SPIRITUAL THEMES. EACH OF THE NINETEEN ARTISTS INCLUDED IN THE EXHIBITION EXAMINES THE MATERIAL AND SYMBOLIC POTENTIAL OF GLASS IN UNIQUE AND REVEALING WAYS. FOR EXAMPLE, ARTISTS CHARLOTTE POTTER AND APRIL SURGENT USE THE ANCIENT PROCESS OF CAMEO GLASS ENGRAVING TO EXPLORE RELATIONSHIPS IN THE AGE OF SOCIAL MEDIA AND CLIMATE CHANGE, RESPECTIVELY. JEFFREY STENBOM UTILIZES CAST GLASS TO UNVEIL THE STRUGGLES FACING THE NATION'S VETERANS. DAVID CHATT, IN A REPETITIVE, LABOR-INTENSIVE PROCESS, COVERS FOUND OBJECTS WITH THOUSANDS OF MINISCULE GLASS BEADS TO DISCUSS FAMILY AND NOSTALGIA. AMBER COWAN REPURPOSES AMERICAN PRESSED GLASS TO CREATE HER INTRICATE INSTALLATIONS THAT RECALL A BY-GONE ERA. THE EXHIBITION ALSO INCLUDES WORK BY GRAND RAPIDS ARTIST NORWOOD VIVIANO. VIVIANO FUSES FINE ARTS PRACTICE WITH DATA AND RESEARCH FINDINGS IN GEOGRAPHY, ECONOMICS, AND THE SOCIAL SCIENCES TO CREATE ENVIRONMENTS IN WHICH SENSUOUS BEAUTY AND TOPICAL. FORM 990, PAGE 2, PART III, LINE 4D OTHER EXPENSES RELATED TO THE CARE AND CONSERVATION OF THE PERMANENT COLLECTION AND THE EXHIBITIONS SHOWN DURING THIS YEAR AND EXPENSES RELATED TO PREPARATION OF EXHIBITIONS SCHEDULED FOR THE FISCAL YEAR. THIS INCLUDES CURATORIAL, CATALOGING AND RESEARCH, AS WELL AS THE PURCHASE OF ART FOR THE PERMANENT COLLECTION. FORM 990, PAGE 6, PART VI, LINE 6 THOSE WHO HAVE PURCHASED A MEMBERSHIP IN THE MUSEUM ARE CONSIDERED MEMBERS OF THE ORGANIZATION. FORM 990, PAGE 6, PART VI, LINE 7A THE MEMBERS OF THE MUSEUM ELECT THE BOARD OF TRUSTEES FROM A BALLOT PREPARED BY THE BOARD OF THE ORGANIZATION. MEMBERS DO NOT EXERCISE ANY OTHER CONTROL OVER THE BOARD. FORM 990, PAGE 6, PART VI, LINE 11B A DIGITAL COPY OF FORM 990 IS PROVIDED TO THE FINANCE COMMITTEE FOR REVIEW AND APPROVAL PRIOR TO FILING. FORM 990, PAGE 6, PART VI, LINE 12C THE POLICY IS DISTRIBUTED TO THE BOARD AS PART OF THEIR TRUSTEE PACKAGES ANNUALLY. FORM 990, PAGE 6, PART VI, LINE 15A THE COMPENSATION PROCESS FOR THE DIRECTOR/CEO IS REVIEWED AND APPROVED BY THE BOARD OF TRUSTEES. THE COMMITTEE UTILIZES INDUSTRY WAGE REPORTS FOR COMPARISON LEVELS AND THE MEETING RESULTS ARE DOCUMENTED. FORM 990, PAGE 6, PART VI, LINE 15B THE MUSEUM HAS A "COMPENSATION AND BENEFITS SUB COMMITTEE OF THE EXECUTIVE FINANCE COMMITTEE" THAT REVIEWS PROPOSED COMPENSATION FOR ALL STAFF. THE COMMITTEE UTILIZES INDUSTRY WAGE REPORTS FOR COMPARISON OF COMPENSATION LEVELS AND THE MEETING RESULTS ARE DOCUMENTED. FORM 990, PAGE 6, PART VI, LINE 19 THE GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, AND FINANCIAL STATEMENTS ARE AVAILABLE IN THE OFFICE OF THE FINANCE DIRECTOR AND CAN BE PROVIDED UPON REQUEST. FORM 990, PART IX, LINE 11G OTHER PROFESSIONAL FEES 198,524 715,879 8,396 FORM 990, PART XI, LINE 9 RENTAL EXPENSES 163,809 COST OF GOODS SOLD 75,072 SPECIAL EVENTS EXPENSE 36,180 RENTAL EXPENSES -163,809 COST OF GOODS SOLD -75,072 SPECIAL EVENTS EXPENSE -36,180 GRAND RAPIDS ART MUSEUM FOUNDATION 101 MONROE CENTER GRAND RAPIDS MI 49503 383027880 SUPPORT MI 501C3 12D NA false false false false false false false false false false false false false false false true false true false false