2021-05-17T08:45:03-05:00 2020-06-30 271728945 PKF O'CONNOR DAVIES LLP 500 MAMARONECK AVENUE HARRISON NY 105281633 990 2019-07-01 112278998 QUEENS MUSEUM OF ART QUEE 7185929700 NYC BLDGFLUSHING MEADOWS CORONAPAR QUEENS NY 11368 SALLY TALLANT EXECUTIVE DIRECTOR 7185929700 2021-05-16 1 GARRETT M HIGGINS P00543209 9143818900 2019 2022-09-23 18:48:47Z QUEENS MUSEUM SALLY TALLANT NYC BLDGFLUSHING MEADOWS CORONAPARK QUEENS NY 11368 4336901 0 X WWW.QUEENSMUSEUM.ORG X 1972 NY THE QUEENS MUSEUM FEATURES EXHIBITIONS THAT RANGE FROM HISTORICAL TO CONTEMPORARY, FOCUS ON MATERIAL CULTURE TO SOCIAL JUSTICE, AND INCLUDE SITE-SPECIFIC TEMPORARY COMMISSIONS RELEVANT TO LOCAL AND GLOBAL ISSUES. OUR VISITOR ENGAGEMENT AGENTS SPEAK MULTIPLE LANGUAGES (SPANISH, MANDARIN, BENGALI, HINDI, URDU, FRENCH AND GERMAN) AND ARE ALSO TRAINED TO ENGAGE VISITORS WITH SPECIAL NEEDS. OVER THE LAST YEAR, THE MUSEUM HAS SEEN CONTINUED GROWTH IN OUR EXHIBITIONS, EDUCATION AND PUBLIC PROGRAMS FOR STUDENTS SENIORS, COMMUNITY MEMBERS, AND ARTISTS. THE MUSEUM HOSTS TWO MAJOR EXHIBITION OPENINGS EACH YEAR, ONE IN THE FALL AND ONE IN THE SPRING. 22 22 144 22 0 0 3514925 3763404 263390 236840 17477 8710 59541 -22743 3855333 3986211 15978 9868 0 0 3236357 2907008 0 0 290887 2369568 2241114 5621903 5157990 -1766570 -1171779 38778839 38022976 293162 714462 38485677 37308514 X THE QUEENS MUSEUM IS DEDICATED TO PRESENTING THE HIGHEST QUALITY VISUAL ARTS AND EDUCATIONAL PROGRAMMING FOR PEOPLE IN THE NEW YORK METROPOLITAN AREA, AND PARTICULARLY FOR THE RESIDENTS OF QUEENS, A UNIQUELY DIVERSE ETHNIC, CULTURAL AND INTERNATIONAL COMMUNITY.THE MUSEUM FULFILLS ITS MISSION BY DESIGNING AND PROVIDING ART EXHIBITIONS AND EDUCATIONAL EXPERIENCES THAT PROMOTE THE APPRECIATION AND ENJOYMENT OF ART, SUPPORT THE CREATIVE EFFORTS OF ARTISTS, AND ENHANCE THE QUALITY OF LIFE THROUGH INTERPRETING, COLLECTING, AND EXHIBITING ART, ARCHITECTURE, AND DESIGN.THE QUEENS MUSEUM PRESENTS ARTISTIC AND EDUCATIONAL PROGRAMS AND EXHIBITIONS THAT DIRECTLY RELATE TO THE CONTEMPORARY URBAN LIFE OF ITS CONSTITUENTS WHILE MAINTAINING THE HIGHEST STANDARDS OF PROFESSIONAL, INTELLECTUAL, AND ETHICAL RESPONSIBILITY. 0 0 2177561 116590 EXHIBITIONS:QUEENS MUSEUM PRESENTED A NUMBER OF SUCCESSFUL EXHIBITIONS AND ACCOMPANYING PUBLIC PROGRAMS THAT ENGAGED DIVERSE AUDIENCES BOTH ON-SITE AT THE MUSEUM AND THROUGHOUT NEW YORK CITY THROUGH SATELLITE EXHIBITIONS AND PROGRAMS.MUNDOS ALTERNOS: ART AND SCIENCE FICTION IN LATIN AMERICA: MUNDOS ALTERNOS OFFERED A GROUNDBREAKING ACCOUNT OF THE INTERSECTIONS AMONG SCIENCE FICTION, TECHNO-CULTURE, AND THE VISUAL ARTS AND BROUGHT TOGETHER CONTEMPORARY ARTISTS FROM ACROSS THE AMERICAS WHO HAVE TAPPED INTO SCIENCE FICTION'S CAPACITY TO IMAGINE NEW REALITIES.MUNDOS ALTERNOS WAS THE FIRST CONTEMPORARY ART EXHIBITION TO FEATURE WORKS BY ARTISTS OF SPANISH-SPEAKING CULTURES EXPLORING SCIENCE-FICTION AS AN EFFECTIVE AND MEANINGFUL VEHICLE TO ENVISION ALTERNATIVE POSSIBILITIES OF THE WORLD. ORIGINALLY PRESENTED AS PART OF PACIFIC STANDARD TIME: LA/LA IN RIVERSIDE, CALIFORNIA, MUNDOS ALTERNOS WAS ADAPTED FOR QM WHERE IT WAS RESITUATED AND RECONTEXTUALIZED, PROVIDING ANOTHER LENS TO EXAMINE CONTENT THAT REIMAGINES OUR SOCIETY'S PAST, PRESENT, AND FUTURE. THIS EXPANSIVE SHOW DISPLAYED WORKS BY ABOUT 30 IMMIGRANT AND NATIVE CHICANO/A, LATINO/A, AND LATIN AMERICAN ARTISTS AND COLLECTIVES HAILING FROM ARGENTINA, BRAZIL, CHILE, CUBA, EL SALVADOR, MEXICO, CALIFORNIA, FLORIDA, NEW MEXICO, NEW YORK, TEXAS, AND PUERTO RICO.ALEXANDRIA SMITH: MONUMENTS TO AN EFFIGY: ALEXANDRIA SMITH'S MONUMENTS TO AN EFFIGY TAKES THE HISTORIES OF THE OLDE TOWNE OF FLUSHING BURIAL GROUND AND THE MACEDONIA A.M.E. CHURCH IN FLUSHING, QUEENS AS POINTS OF DEPARTURE FOR AN EXHIBITION THAT EVOKES AN ALTAR OR COMMEMORATIVE SPACE. IN HER WORK, SMITH EXPLORES NARRATIVE, MEMORY, AND MYTH THROUGH THE LENS OF THE BLACK FEMALE FORM AND PSYCHE. FOR THIS EXHIBITION, THE ARTIST RESPONDS TO THE LIVES OF THOSE WHO WERE BURIED AT THE SITE. OF THE FOUR MARKED GRAVESTONES DISCOVERED FROM THE BURIAL GROUND, ONLY MALE MEMBERS OF THE BUNN AND CURRY FAMILIES ARE LISTED. SMITH'S WORK HONORS THE UNNAMED WOMEN LAID TO REST AT THE OLDE TOWNE OF FLUSHING BURIAL GROUND AND THOSE WHO PARTICIPATED IN THE UNDERGROUND RAILROAD NETWORK IN FLUSHING, WHICH INCLUDED THE MACEDONIA A.M.E. CHURCH.PIA CAMIL: FADE INTO BLACK: SIT, CHILL, LOOK, TAKE, ROLL, PLAY, LISTEN, GIVE, TAKE, DANCE, SHARE : PIA CAMIL'S FADE INTO BLACK: SIT, CHILL, LOOK, TAKE, ROLL, PLAY, LISTEN, GIVE, TAKE, DANCE, SHARE. CAMIL'S (B. 1980, MEXICO CITY) WORK USES TEXTILE, SCULPTURE, AND PERFORMANCE TO CREATE ENVIRONMENTS WHICH CONFRONT THE POLITICS OF GLOBAL CONSUMERISM THROUGH THE LANGUAGE OF THEATER AND RETAIL. INSPIRED BY THE OPEN-AIR MARKETS OF LATIN AMERICA, PARTICULARLY IZTAPALAPA IN MEXICO CITY, THE ARTIST COMMENTS ON A CYCLE IN WHICH SHIRTS DESIGNED IN THE U.S. ARE MANUFACTURED IN LATIN AMERICA OR SOUTHEAST ASIA, WORN AND DISCARDED IN THE UNITED STATES, AND THEN SENT BACK TO LATIN AMERICA TO BE SOLD AGAIN IN SECOND-HAND MARKETS, WHERE THEIR LOGOS ADVOCATE FOR CAUSES FAR REMOVED FROM LOCAL CULTURE. CAMIL ENGAGES THE RELATIONSHIP BETWEEN THE GLOBAL NORTH AND SOUTH BY RE-IMPORTING THESE T-SHIRTS ONCE AGAIN INTO THE UNITED STATES AS ART SO THAT THEY MAY, AS THE ARTIST SAYS, "HAUNT" THEIR PLACES OF ORIGIN.THE QM PROJECT INCLUDED FADE INTO BLACK (2018), A 341-FOOT-LONG CURTAIN OF FOUND T-SHIRTS FIRST COMMISSIONED BY SCAD MUSEUM OF ART IN SAVANNAH, GEORGIA. AT QM, THE PIECE WRAPPED AROUND THE MUSEUM'S CENTRAL ATRIUM IN A NEARLY 360 DEGREE VIEWING EXPERIENCE THAT TRANSFORMED THE SPACE INTO A PLACE OF REPOSE FOR MUSEUM VISITORS. THEATRIUM FLOOR WAS COVERED WITH A PINK CARPET, AND IN A CLASSIC PAIRING, THE JEANS OF BLUEJEANEANDO (2019) JOINED THE T-SHIRTS UNDER THE MUSEUM'S SKYLIGHT FOR VISITORS TO MANIPULATE, MOVE, AND REST ON. THESE TEXTILE SCULPTURES, MADE FROM RECYCLED JEANS ALSO SOURCED FROM OPEN-AIR MARKETS IN MEXICO CITY, INVITED VISITORS TO LOUNGE COMFORTABLY INTHE MUSEUM, AND TO ENGAGE DIRECTLY WITH THE WORK AND EACH OTHER.NICOLAS MOUFARREGE: RECOGNIZE MY SIGN: NICOLAS MOUFARREGE (1947-1985) WAS AN ARTIST AND WRITER BORN TO LEBANESE PARENTS IN ALEXANDRIA, EGYPT AND RAISED IN BEIRUT. DURING A CAREER THAT LASTED JUST OVER A DECADE, HE CREATED AN ORIGINAL AND IDIOSYNCRATIC BODY OF EMBROIDERED PAINTINGS MADE IN BEIRUT; PARIS, FRANCE; AND NEW YORK CITY.RECOGNIZE MY SIGNTHE ARTIST'S FIRST SOLO MUSEUM EXHIBITIONTRACED THE DEVELOPMENT OF HIS WORK FROM THE LAP-SCALED PORTRAIT-TAPESTRIES HE BEGAN MAKING IN THE EARLY 1970S TO THE FINAL WORKS HE CREATED WHILE LIVING IN NEW YORK BETWEEN 1980 AND 1985. THIS EXHIBITION OFFERED AN OPPORTUNITY TO REDISCOVER THE MATERIALLY AND CONCEPTUALLYCOMPELLING WORK OF A SINGULAR CREATIVE FORCE WHOSE OUTPUT IS REMARKABLY RELEVANT AND RESONANT TODAY. NICOLAS MOUFARREGE: RECOGNIZE MY SIGN WAS ORGANIZED BY CONTEMPORARY ART MUSEUM HOUSTON CURATOR DEAN DADERKO AND COORDINATED AT THE QUEENS MUSEUM BY CURATOR LARISSA HARRIS. DURING THE EXHIBITION'S RUN FROM OCTOBER 6, 2019 TO FEBRUARY 16, 2020, IT WAS VISITED BY OVER 21,000 PEOPLE, INCLUDING 5,000 LOCAL K-12 STUDENTS.THE EXPANDED QM PRESENTATION OF RECOGNIZE MY SIGN INCLUDED ADDITIONAL MATERIALS THAT FOCUSED ON MOUFARREGE'S YEARS IN NEW YORK CITY, WHERE MANY OF HIS EXQUISITE EMBROIDERED PAINTINGS WERE CREATED. TWO PAINTINGS FROM RENOWNED NEW YORK COLLECTIONS WERE ADDED, AS WELL AS A SELECTION OF EPHEMERA FROM THE ARTIST'S ARCHIVE DOCUMENTING HIS ROLE AS A CRITIC AND CURATOR CENTRAL TO THE FOUNDATION OF THE EAST VILLAGE ART SCENE. THIS SECTION INCLUDED OPENING INVITATIONS TO TWO GROUP EXHIBITIONS - INTOXICATION (1983) AND ECSTASY (1984) - THAT MOUFARREGE ORGANIZED FOR MONIQUE KNOWLTON GALLERY, A GUEST BOOK FROM MOUFARREGE'S EXHIBITION AT FUN GALLERY WITH WELLWISHES FROM CARLO MCCORMICK AND A TOUCHING DRAWING BY MARTIN WONG, AND A CATALOGUE FROM MOUFARREGE'S POSTHUMOUS MEMORIAL EXHIBITION AT P.S.1'S CLOCKTOWER GALLERY IN 1987. AS PART OF THE EXHIBITION AND AVAILABLE DIGITALLY, QM PRODUCED RECOGNIZING THE PRESENT: A DOULA'S GUIDE TO HIV IN THE 21ST CENTURY, A ZINE CREATED IN PARTNERSHIP WITH THE DOULA COLLECTIVE WHAT WOULD AN HIV DOULA DO? THE GUIDE PROVIDED EDUCATIONALMATERIAL AND THOUGHT-PROVOKING, UP-TO-DATE QUEENS-BASED INFORMATION TO HELP PEOPLE RECOGNIZE AND NAVIGATE HIV IN THE PRESENT.QM ALSO ORGANIZED A SERIES OF PUBLIC AND EDUCATIONAL PROGRAMS TO ACCOMPANY THE EXHIBITION. IN PARTNERSHIP VISUAL AIDS, AN ORGANIZATION THAT WORKS TO SUPPORT HIV+ ARTISTS AND PRESERVES THE LEGACY OF THOSE LOST TO THE AIDS EPIDEMIC, QM ORGANIZED A SERIES OF GALLERY TALKS WITH CURATORS, SCHOLARS, AND FRIENDS OF THE ARTIST. THE FIRST TALK WAS HELD ON OCTOBER 27, 2019, AND FEATURED CURATOR YASMIN RAMIREZ AND ARTISTS ELAINE REICHEK AND JAMES ROMBERGER IN CONVERSATION. THE IN-GALLERY TALK OFFERED AN INTIMATE LOOK INTO MOUFARREGE'S WORK AND LIFE. SPEAKERS REFLECTED ON THEIR FRIENDSHIP WITH MOUFARREGE, THE IMPACT OF THE AIDS EPIDEMIC ON HIS ART AND OTHERS', AND THE RESONANCE OF HIS WORK TODAY.CLOSING OUT THE EXHIBITION, BIDOUN, A NONPROFIT DEVOTED TO THE ARTS AND CULTURE OF THE MIDDLE EAST AND ITS DIASPORAS, PARTNERED WITH QM TO PRESENT A DAY OF TALKS AND SCREENINGS. CONTRIBUTORS SPOKE ABOUT THE DISTINCT COSMOPOLITAN ENCLAVES IN WHICH MOUFARREGE LIVED, INCLUDING ALEXANDRIA, EGYPT IN THE 1950S, AND THOSE WHERE HE WORKED: PARIS AND BEIRUT IN THE 1960S AND 1970S, AND NEW YORK IN THE EARLY 1980S. THESE PRESENTATIONS OFFERED A LENS THROUGH WHICH TO VIEW MOUFARREGE'S EMBLEMATIC ENGAGEMENTS WITH PAINTING AND EMBROIDERY, GRAFFITI AND COLLAGE, POP ART, AND THEESOTERIC. THE AFTERNOON BEGAN WITH A TALK BY ARTIST NICK MAUSS AND INCLUDED CONVERSATIONS BETWEEN NEGAR AZIMI, ROBYN CRESWELL, KAELEN WILSON-GOLDIE, AND HALA HALIM ON MOUFARREGE'S TIME IN ALEXANDRIA AND BEIRUT. THE AFTERNOON CONCLUDED WITH CONVERSATIONS BETWEEN MOUFARREGE'S GOOD FRIENDS BELLA MEYER AND MICHAEL VAZQUEZABOUT HIS LIFE IN PARIS AND ALANNA HEISS, CARLO MCCORMICK, AND SUR RODNEY IN CONVERSATION WITH CURATOR DEAN DADERKO ABOUT HIS FINAL YEARS IN NEW YORK CITY.AMERICAN ARTIST: MY BLUE WINDOW: AMERICAN ARTIST'S PRACTICE MAKES USE OF VIDEO, INSTALLATION, NEW MEDIA, AND WRITING TO REVEAL HISTORICAL DYNAMICS EMBEDDED WITHIN CONTEMPORARY CULTURE AND TECHNOLOGY. THEIR LEGAL NAME CHANGE SERVES AS THE BASIS OF AN AMBIVALENT PRACTICEONE OF DECLARATION: BY INSISTING ON THE VISIBILITY OF BLACKNESS ASDESCRIPTIVE OF AN AMERICAN ARTIST, AND ERASURE: ANONYMITY IN VIRTUAL SPACES WHERE "AMERICAN ARTIST" IS AN ANONYMOUS NAME, UNABLE TO BE GOOGLED OR VALIDATED BY A COMPUTER AS A PERSON'S NAME. 788445 9868 63122 EDUCATION - QM OFFERED A ROBUST RANGE OF EDUCATION PROGRAMS FOR INDIVIDUALS, INCLUDING K-12 SCHOOL STUDENTS, FAMILIES, RECENT ADULT IMMIGRANTS AND OLDER ADULTS WITH MEMORY LOSS OR AFFECTED BY ALZHEIMER'S, SUMMER CAMP FOR MIDDLE SCHOOL YOUTH AND TEEN PROGRAMS FOR HIGH SCHOOL STUDENTS IN OUR BOROUGH. THROUGH THESE ON- AND OFF-SITE OFFERINGS AND OUR NUMEROUS PARTNERSHIPS, WE PROVIDE ACCESSIBLE PROGRAMS THAT ENSURE ALL THOSE INTERESTED CAN ENGAGE WITH QM AND OUR RESOURCES. FOR EACH OF THESE PROGRAMS, QM INCORPORATED OUR PERMANENT EXHIBITIONS AS WELL AS THE CURRENT CONTEMPORARY ART EXHIBITIONS ON VIEW.INTERPRETATION AT QM -WHILE TAKING INTO ACCOUNT OUR UNIQUELY DIVERSE AND MULTICULTURAL CONSTITUENTS, WE HAVE FOUND IT INCREASINGLY IMPORTANT TO FOCUS ON COMPREHENSIVE INTERPRETATION OF MUSEUM RESOURCES RATHER THAN SIMPLY TRANSLATION. THIS INTERPRETATION INITIATIVE INFORMED THE CREATION OF INTERPRETATION SCHEMES FOR THE PANORAMA, THE NEUSTADT COLLECTION OF TIFFANY GLASS, AND QI 2018. PANORAMA KIDS GUIDES WERE TRANSLATED INTO SPANISH AND MANDARIN, AS THESE ARE THE LANGUAGES MOST SPOKEN BY OUR VISITORS. ADDITIONALLY, AS A PART OF OUR ARTACCESS INITIATIVE, QM HAS ROBUST PROGRAMS THAT PROVIDE ART MAKING ACTIVITIES FOR FAMILIES WITH CHILDREN OF DIVERSE ABILITIES, WHICH EXTENDS INTO OUR GALLERY SPACES. TO PROMOTE ACCESSIBILITY, WALL TEXT WAS MADE DARKER AND FONT SIZES INCREASED TO MEET SMITHSONIAN STANDARDS AND GUIDELINES ON ACCESSIBILITY REQUIREMENTS. EXHIBITION KITS WERE CREATED THAT FEATURE TEXTS IN BRAILLE AND LARGE PRINT AND FEATURE REPLICAS OF SELECT OBJECTS IN THE EXHIBITION TO SERVE VISITORS WHO ARE BLIND OR HAVE LOW VISION. 326939 57319 PUBLIC PROGRAMS AND COMMUNITY ENGAGEMENTFAMILY PROGRAMSQM PLACES VALUE ON PROGRAMS THAT ENCOURAGE FAMILIES TO ENGAGE IN SHARED LEARNING EXPERIENCES THROUGH ART-MAKING AND ART-LOOKING ACTIVITIES. AN AVERAGE OF 30 FAMILIES PARTICIPATE IN THESE PROGRAMS OFFERED EACH SUNDAY, IN BOTH ENGLISH AND SPANISH. THIS PAST YEAR, WORKSHOPS INCORPORATED A VARIETY OF ART-MAKING TECHNIQUES, AS WELL AS OTHER OUTLETS FOR CREATIVE EXPRESSION, SUCH AS DANCE. ADDITIONALLY, ARTACCESS FAMILY WORKSHOPS ARE HELD ON THE THIRD SUNDAY OF EACH MONTH, AND ARE GEARED TOWARDS ENGAGING FAMILIES WITH CHILDREN OF ALL ABILITIES.QUEENS TEENSQUEENS TEENS PROVIDE YOUTH WHO ATTEND HIGH SCHOOL IN QUEENS WITH OPPORTUNITIES TO LEARN ABOUT CONTEMPORARY ART AND GAIN A DEEP UNDERSTANDING OF THE INNER WORKINGS OF A CULTURAL INSTITUTION. IN 2012, ABOUT 30 STUDENTS HAILING FROM HIGH SCHOOLS ACROSS THE BOROUGH PARTICIPATED IN QUEENS TEENS. THE GOAL OF THE PROGRAM IS TO ENSURE TEENS HAVE THE OPPORTUNITY, KNOWLEDGE, AND ROBUST SOCIAL NETWORKS TO ACHIEVE SUCCESS IN HIGH SCHOOL, COLLEGE, AND AS THEY CONTINUE ON TO SEEK FULFILLING CAREERS. THE PROGRAM ALIGNS WITH THE ACADEMIC CALENDAR YEAR AND RUNS ON SATURDAYS FROM FALL TO EARLY SUMMER. EACH WEEK, TEENS MET IN THE AFTERNOON TO EXPLORE SOCIAL JUSTICE ISSUES THROUGH ART MAKING, RECEIVE COLLEGE READINESS SUPPORT, PARTICIPATE IN FIELD TRIPS, ATTEND VARIOUS QM EVENTS, AND SUPPORT MUSEUM PROGRAMS AS PAID APPRENTICES.NEW NEW YORKERSFOR THE PAST 10 YEARS, NEW NEW YORKERS HAS PROVIDED RECENT ADULT IMMIGRANTS WITH PATHWAYS TO CIVIC PARTICIPATION THROUGH THE ACQUISITION OF IMPORTANT SKILLS, AS WELL AS OPPORTUNITIES TO EXPRESS THEMSELVES AND THEIR CULTURAL TRADITIONS IN A SAFE, NON-JUDGMENTAL SETTING. THIS YEAR, QM OFFERED 21 UNIQUE COURSES, INCLUDING BOTH ONE-TIME AND FOUR TO EIGHT WEEK MULTI-WORKSHOP COURSES. FIELD TRIPS, SUCH AS A VISIT TO THE MUSEUM OF THE MOVING IMAGE, AND A NUMBER OF PUBLIC EVENTS WERE ALSO ORGANIZED, WHICH ALLOWED PARTICIPANTS TO INTERACT WITH ART AND OTHER CULTURAL INSTITUTIONS, SUPPLEMENTING THE ARTS LITERACY AND ENGAGEMENT OPPORTUNITIES OFFERED WITHIN COURSES.SOME ENGAGING COURSES OFFERED DURING THE LAST YEAR INCLUDE: MINI PAINTING I AND II OFFERED IN MANDARIN, PAINTING PORTRAITS USING WATERCOLOR TECHNIQUES OFFERED IN SPANISH, WORLD CINEMA & CULTURE OFFERED IN MANDARIN, AND ESOL & POETRY. PROVIDING BOTH ONE-DAY AND LONGER-FORM COURSES AGAIN HELPED TO ENGAGE BOTH NEW AND RETURNINGPARTICIPANTS AND ACCOMMODATE VARIOUS SCHEDULES. 3292945 1 1 0 1 0 0 0 1 0 1 1 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 1 126 0 144 1 0 0 0 0 0 0 0 0 0 0 0 0 X 22 22 0 0 0 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 1 0 NY X X JULIE LOU DIRECTOR OF FINANCE 7185929700 FLUSHING MEADOWS CORONA PARK QUEENS NY 113683398 SALLY TALLANT EXECUTIVE DIRECTOR 40.00 X 187085 0 34082 DEBRA WIMPFHEIMER CHIEF OPERATING OFFICER 40.00 X 145553 0 28693 JULIE LOU DIRECTOR OF FINANCE 40.00 X 95046 0 34096 HEIDI HOLDER DIRECTOR OF EDUCATION 40.00 X 85670 0 24030 MARK COLEMAN CHAIR 3.00 X X 0 0 0 PAULA KIRBY VICE CHAIR 2.00 X X 0 0 0 PETER WARWICK TREASURER 2.00 X X 0 0 0 AMY D'AMATO SECRETARY 2.00 X X 0 0 0 SUSAN L BROWNING TRUSTEE 1.00 X 0 0 0 THOMAS CHEN TRUSTEE 1.00 X 0 0 0 CHRISTINE CIAMPA TRUSTEE 1.00 X 0 0 0 SALVATORE DIMARTINO TRUSTEE 1.00 X 0 0 0 JACQUIE HEMMERDINGER TRUSTEE 1.00 X 0 0 0 ANNALIESE KAMBOUR TRUSTEE 1.00 X 0 0 0 SHAILJA KOUFAKIS TRUSTEE 1.00 X 0 0 0 MARC KRAMER TRUSTEE 1.00 X 0 0 0 SETH KUPFERBERG TRUSTEE 1.00 X 0 0 0 DANIEL LOWY TRUSTEE 1.00 X 0 0 0 PATRICIA MODENA TRUSTEE 1.00 X 0 0 0 ELLIOT PARK TRUSTEE 1.00 X 0 0 0 YVONNE RILEY-TEPIE TRUSTEE 1.00 X 0 0 0 HARVEY ROSS TRUSTEE 1.00 X 0 0 0 THOMAS RUDZEWICK TRUSTEE 1.00 X 0 0 0 ALAN SUNA TRUSTEE 1.00 X 0 0 0 ALEXA VAN DE WALLE TRUSTEE 1.00 X 0 0 0 GRETCHEN WERWAISS TRUSTEE 1.00 X 0 0 0 513354 0 120901 2 0 1 0 0 1257 474 1807997 1953676 50500 3763404 ADMISSIONS & WORKSHOPS 713990 227840 227840 TRAVELING EXHIBITION 713990 9000 9000 236840 7230 7230 644 644 288887 307260 -18373 -18373 -18373 32724 31244 1480 1480 1480 5500 474 12186 -6686 -6686 OTHER INCOME 900099 1481 1481 GIFT SHOP COMMISSIONS 900099 191 191 1672 3986211 237031 0 -14224 X 9868 9868 693882 436926 204807 52149 1528892 1083081 316541 129270 207878 127767 64861 15250 264627 162646 82568 19413 211729 130134 66063 15532 19000 7707 11117 176 2030 2030 564058 40834 502758 20466 5575 667 4908 110424 85154 20601 4669 4959 3363 1497 99 43149 7847 35286 16 13932 1164 12745 23 11567 6029 5513 25 1240 1240 1082432 969151 86340 26941 12033 2032 10001 EXHIBITION FEES 135580 91929 40931 2720 HONORARIA 132214 53628 77361 1225 EQUIPMENT MAINTENANCE 69699 47259 21042 1398 DUES AND SUBSCRIPTIONS 23614 16090 6036 1488 9608 6399 3182 27 5157990 3292945 1574158 290887 533828 891122 983 2023 730192 692212 24672 38115 52450210 16392130 37145631 36058080 343533 341424 38778839 38022976 230545 198380 62617 22363 0 493719 293162 714462 X 37063666 35852262 1422011 1456252 38485677 37308514 38778839 38022976 -1171779 -5384 0 X X 0 1 X 1 0 X 4103050 4261503 5283976 3514925 3763404 20926858 949995 373444 362399 289845 1975683 5053045 4261503 5657420 3877324 4053249 22902541 278324 22624217 317451 263894 284015 346000 296761 1508121 47835 222479 270314 61 7927 1464 1481 10933 24691909 1647441 0.91630 0.92460 X SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: CAFE SALES - OTHER INCOME - 2015 AMOUNT: $ 61. 2016 AMOUNT: $ 7,927. 2018 AMOUNT: $ 1,464. 2019 AMOUNT: $ 1,481. RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 0 0 0 0 1 300 0 0 1 1730 2030 0 PART II-B, LINE 1: THE QUEENS MUSEUM 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. THE ORGANIZATION ALSO PAID DUES TO THE WILDLIFE CONSERVATION SOCIETY, A PORTION OF WHICH WAS FOR LOBBYING ACTIVITIES. X X X X X PROVIDE ONGOING EDUCATION 0 339891 2348 342239 631772 -1266 290615 339891 592866 38906 631772 542275 50591 592866 545601 -3326 542275 0.85620 0.14380 0 0 52117776 16078476 36039300 269520 260249 9271 62914 53405 9509 36058080 PAYCHECK PROTECTION PROGRAM LOAN PAYABLE 493719 493719 X 4892030 -5384 603851 307352 905819 3986211 0 3986211 6069193 603851 307352 911203 5157990 0 5157990 PART III, LINE 1A: IN CONFORMITY WITH PRACTICES FOLLOWED BY MANY MUSEUMS, ART OBJECTS PURCHASED OR DONATED ARE NOT CAPITALIZED. THE MUSEUM'S ART COLLECTION CONSISTS PRIMARILY OF AMERICAN CONTEMPORARY PAINTINGS, WORKS ON PAPER, PHOTOGRAPHS AND WORLD'S FAIR ARTIFACTS. THE MUSEUM CARRIED INSURANCE COVERAGE IN AMOUNTS EQUAL TO THE ESTIMATED VALUE OF THE COLLECTION AS WELL AS SUFFICIENT COVERAGE FOR COLLECTIONS ON LOAN. IT IS THE POLICY OF THE MUSEUM TO HOLD ITS COLLECTIONS FOR PUBLIC EXHIBITION, EDUCATION, OR RESEARCH IN FURTHERANCE OF PUBLIC SERVICE, RATHER THAN FINANCIAL GAIN. ANY PROCEEDS FROM THE SALE OF COLLECTION ITEMS ARE USED TO ACQUIRE OTHER ITEMS FOR COLLECTIONS. PART III, LINE 4: THE QMA COLLECTION CONSISTS OF THREE PARTS: 1. THE 1939-40 AND 1964-65 NEW YORK WORLD'S FAIR ARCHIVES. NOTABLY, THIS INCLUDES THE PANORAMA OF THE CITY OF NEW YORK, A 9,335 SQUARE FOOT ARCHITECTURAL MODEL THAT REPRESENTS EVERY BUILDING IN NEW YORK CONSTRUCTED BEFORE 1992 AT A SCALE OF 1:1200 (ONE INCH = 100 FEET). BUILT BY ROBERT MOSES FOR THE 1964 WORLD'S FAIR, IN PART AS A CELEBRATION OF THE CITY'S MUNICIPAL INFRASTRUCTURE IN ALL FIVE BOROUGHS, IT INCLUDES A TOTAL OF 895,000 INDIVIDUAL STRUCTURES. 2. THE NEUSTADT COLLECTION OF TIFFANY GLASS (ON LONG-TERM LOAN. INCLUDES LAMPS AND WINDOWS AS WELL AS UNUSED GLASS FROM THE WORKSHOP, FORMERLY LOCATED IN CORONA, QUEENS.) INSTALLED IN APRIL 2016, THE EXHIBITION, A PASSION FOR TIFFANY LAMPS, HIGHLIGHTS THE EXTRAORDINARY SCOPE OF THE NEUSTADTS' COLLECTION. EXAMPLES OF TIFFANY'S MOST ICONIC LAMPS - THE WISTERIA AND DRAGONFLY - ARE ON VIEW, ALONG WITH UNUSUAL LAMPS PRODUCED IN LIMITED NUMBER, SUCH AS THE POND LILY GLOBE AND PEACOCK HANGING SHADE. 3. WORKS OF ART AS FOLLOWS: A. COLLECTIONS OF ART RELATED TO THE WORLD'S FAIRS, SUCH AS AN IN-DEPTH COLLECTION RELATING TO SALVADOR DALI'S DREAM OF VENUS (AMUSEMENT ZONE, 1939-40) AND PHOTOGRAPHS BY WELL-KNOWN PHOTOGRAPHERS SELECTED FOR THE FAIR BY MUSEUM DIRECTORS ACROSS THE U.S., GATHERED UNDER THE NAME PHOTOGRAPHY AS FINE ART (KODAK PAVILION, 1964-65). B. A COLLECTION OF OVER 2,000 PHOTOGRAPHS DONATED OVER 30 YEARS BY COLLECTOR AND PHOTOGRAPHER CHARLES SCHWARTZ, INCLUDING EXTRAORDINARY EXAMPLES OF DOCUMENTARY, PHOTOJOURNALISTIC, AND ART PHOTOGRAPHY CREATED BETWEEN 1860S - 1960S BY PHOTOGRAPHERS SUCH AS ABBOTT, SMITH, STIEGLITZ, LANGE, HALSMAN, ATGET AND OTHERS. C. 300+ ORIGINAL DRAWINGS, ETCHINGS AND LITHOGRAPHS BY EMIGRE ILLUSTRATOR, SOCIAL SATIRIST AND LONG-TERM QUEENS RESIDENT WILLIAM SHARP (1900-1961) WHOSE REALIST DEPICTIONS OF CURRENT EVENTS AND DAILY LIFE ENTERTAINED AND INFORMED A GENERATIONS OF READERS OF ESQUIRE, LIFE, NEW YORK DAILY NEWS, PM, COLLIER'S, THE NEW YORK POST AND THE NEW YORK TIMES. D. CUBAN PAINTER EMILIO SANCHEZ (1921- 1999), WHO SPENT STUDENT DAYS & MATURE CAREER IN NYC, IS REPRESENTED BY 25 WORKS VIVIDLY DEPICTING HIS NATIVE CUBA AS WELL AS THE URBAN CONSTRUCTIVIST ENVIRONMENT. E. APPROXIMATELY 200 WORKS OF CONTEMPORARY CONCEPTUALLY-BASED ART IN ALL MEDIA, OFTEN SPECIALLY COMMISSIONED FOR EXHIBITIONS AT THE MUSEUM. HIGHLIGHTS INCLUDE LOUISE LAWLER'S PHOTOGRAPHS OF THE MUSEUM'S FORMER COLLECTION OF CLASSICAL PLASTER CASTS (THREE, OBJECTS AND STORAGE, 1984); THE RESULTS OF AN ARCHAEOLOGICAL DIG BY MARK DION (THE GREAT ASH DUMP DIG, FLUSHING MEADOWS PARK, 2001), NILS NORMAN'S LIBRARY-ON-A-BICYCLE (THE GERARD WINSTANLEY RADICAL GARDENING SPACE MOBILE FIELD CENTER AND WEATHER STATION, 1999); DULCE PINZON'S PHOTOGRAPHS (WONDER WOMAN, 2006) ANDREW MOORE'S PHOTOGRAPHIC SERIES ON CITY POOLS BUILT BY ROBERT MOSES (20 INKJET PRINTS, 2005); SEHER SHAH'S ARCHITECTURALLY-INFLUENCED ABSTRACTIONS (BLACK CUBE STUDY #14 AND #15, 2007); 16 OF SHAUN EL C. LEONARDO'S PERFORMANCE PHOTOGRAPHS (EL CONQUISTADOR VS. THE INVISIBLE MAN, 2004-2006), ANTHONY AUERBACH'S TRANSPARENCIES AND DIGITAL PRINT (EMPEROR PANORAMA AND THE STATE OF NEW YORK, 2007 AND 2006), PEDRO MEYER'S PHOTOGRAPHS (PEDRO MEYER'S HERESIES, 2008), DUKE RILEY'S LASER ENGRAVING AND DRYPOINT PRINT ON HANDMADE PAPER (MORITURI TE SALUTANT, 2009), AMONG MANY OTHERS. IN 2011 -2013, WE RECEIVED 18 FRANK O. LARSON DIGITAL PRINTS FROM ARCHIVAL NEGATIVES OF 1950S NEW YORK CITY STREET PHOTOGRAPHY. THE METROPOLITAN MUSEUM OF ART DONATED MICHELANGELO'S ORIGINAL PLASTER CAST OF THE PIETA TO OUR COLLECTION - ON LONG TERM LOAN TO THE MUSEUM SINCE 1975. A PURCHASE FOR THE COLLECTION INCLUDES COCO FUSCO'S VIDEO, THE COUPLE IN THE CAGE: GUATIANAUI ODYSSEY. A PARTIAL DONATION/PURCHASE WAS MADE FOR ANDREW MOORE'S PHOTOGRAPH, COOPER SCHOOL, DETROIT. PART V, LINE 4: THE MUSEUM HAS ESTABLISHED AN ENDOWMENT FUND WHICH CONSISTS OF DONOR RESTRICTED GIFTS AND CONTRIBUTIONS. THE MUSEUM APPROPRIATES FOR EXPENDITURE OR ACCUMULATION AS IS PRUDENT FOR THE USES, BENEFITS, PURPOSES AND DURATION FOR WHICH THE ENDOWMENT FUND IS ESTABLISHED, SUBJECT TO THE INTENT OF THE DONOR AS EXPRESSED IN THE GIFT INSTRUMENT. CURRENTLY, EXPENDITURES FROM THE ENDOWMENT FUNDS ARE USED TO SUPPORT OPERATIONAL PURPOSES AS NEEDED. PART X, LINE 2: THE MUSEUM RECOGNIZES THE EFFECT OF INCOME TAX POSITIONS ONLY IF THOSE POSITIONS ARE MORE LIKELY THAN NOT TO BE SUSTAINED. MANAGEMENT HAS DETERMINED THAT THE MUSEUM HAD NO UNCERTAIN TAX POSITIONS THAT WOULD REQUIRE FINANCIAL STATEMENT RECOGNITION OR DISCLOSURE. THE MUSEUM IS NO LONGER SUBJECT TO EXAMINATIONS BY THE APPLICABLE TAXING JURISDICTIONS FOR PERIODS PRIOR TO FISCAL 2017. PART XI, LINE 2D - OTHER ADJUSTMENTS: RENTAL EXPENSES REPORTED ON PART VIII, LINE 6B: 307,260. COST OF GOODS SOLD REPORTED ON PART VIII, LINE 10B: 92. PART XII, LINE 2D - OTHER ADJUSTMENTS: RENTAL EXPENSES REPORTED ON PART VIII, LINE 6B: 307,260. COST OF GOODS SOLD REPORTED ON PART VIII, LINE 10B: 92. 1 STIPENDS FOR TEEN DOCENT PROGRAM 10 9868 PART I, LINE 2: TEEN DOCENTS INITIALLY COME TO QMA THROUGH A GENERAL APPLICATION PROCESS WHICH IS THEN FOLLOWED BY A GROUP INTERVIEW WITH THEIR FELLOW PEERS ALREADY IN THE PROGRAM. PARTICIPANTS ARE NOT ELIGIBLE TO EARN A STIPEND UNTIL AFTER THEY HAVE ATTENDED A FULL SEMESTER OF THE AFTER-SCHOOL COMPONENT OF THE PROGRAM, AND THEN THEY MUST ALSO SUCCESSFULLY COMPLETE A FOUR WEEK TRAINING PROGRAM MENTORED BY THEIR ELDER PEERS. ONCE STUDENTS HAVE SHOWN THAT THEY ARE CAPABLE OF REPRESENTING THE MUSEUM AS A TEEN DOCENT THEY ARE FINALLY INVITED TO RECEIVE A STIPEND BY ASSISTING WITH VARIOUS PROGRAMS IN THE MUSEUM SUCH AS THE SUNDAY DROP-IN FAMILY WORKSHOP. OPPORTUNITIES ARE DISTRIBUTED AMONGST STUDENTS IN A BALANCED FASHION, CONSISTENT WITH THE DOCENTS' PERFORMANCE IN THEIR DUTIES. THIS PROCESS AND ASSOCIATED RECORDKEEPING IS OVERSEEN BY THE MANAGER OF FAMILY AND AFTER SCHOOL PROGRAMS IN THE MUSEUM'S EDUCATION DEPARTMENT. THE MUSEUM REGULARLY FURNISHED FINAL NARRATIVE AND EXPENDITURE REPORTS FOR GRANTS AND MAINTAINS ELIGIBILITY AS A 501(C)(3) NON-PROFIT. X X X X 0 0 0 0 0 0 0 0 0 SALLY TALLANT EXECUTIVE DIRECTOR 186855 0 0 0 230 0 20666 0 13416 0 221167 0 0 0 DEBRA WIMPFHEIMER CHIEF OPERATING OFFICER 145373 0 0 0 180 0 14027 0 14666 0 174246 0 0 0 X SUPPLIES 2 50500 COST 0 0 0 0 PART I, COLUMN (B): THE ORGANIZATION IS REPORTING THE NUMBER OF CONTRIBUTORS IN COLUMN (B). FORM 990, PART III, LINE 4A FROM OCTOBER 6, 2019 TO FEBRUARY 23, 2020, QM PRESENTED ARTIST'S MY BLUE WINDOW, AN IMMERSIVE MULTIMEDIA INSTALLATION AND NEW COMMISSION IN WHICH ARTIST FURTHERS AN EXPLORATION OF ANTI-BLACKNESS AS IT OPERATES ALGORITHMICALLY WITHIN SYSTEMS. THE EXHIBITION FOCUSED ON PREDICTIVE POLICING TECHNOLOGIES, ARTIFICIAL INTELLIGENCE TOOLS INTENDED TO HELP DISPATCH OFFICERS TO HIGH RISK CRIME ZONES BEFORE INCIDENTS ARE REPORTED. MY BLUE WINDOW HIGHLIGHTED THE COLLECTIVE BIAS THAT IS ENCODED WITHIN SUCH SEEMINGLY NEUTRAL OR SCIENTIFIC TOOLS. INVOKING THE DIVIDE BETWEEN THE BLUE AND BLACK LIVES MATTER MOVEMENTS, ARTIST CONNECTED THIS PHENOMENON TO THE LEGACY OF SLAVERY AS AN EVER-PRESENT CONDITION OF RACIALIZED SOCIETY IN THE U.S. AS PART OF THE EXHIBITION, QM ORGANIZED A TALK BETWEEN ARTIST, WHOSE EXHIBITION MY BLUE AND RASHIDA RICHARDSON, DIRECTOR OF POLICY RESEARCH AT THE AI NOW INSTITUTE. THE CONVERSATION FOCUSED ON ISSUES OF POLICE SURVEILLANCE AND INCLUDED TIME TO VIEW THE EXHIBITION BEFORE AND AFTER THE TALK. FORM 990, PART VI, SECTION B, LINE 11B THE ORGANIZATION'S FORM 990 IS PREPARED BY AN OUTSIDE ACCOUNTING FIRM, AND THEN REVIEWED BY THE FINANCE COMMITTEE OF THE BOARD OF TRUSTEES. ONCE APPROVED BY THE COMMITTEE, A COMPLETE COPY IS PROVIDED TO ALL MEMBERS OF THE BOARD OF TRUSTEES FOR THEIR REVIEW AND COMMENT PRIOR TO FILING. FORM 990, PART VI, SECTION B, LINE 12C THE ORGANIZATION HAS A CONFLICT OF INTEREST POLICY WHICH COVERS ALL TRUSTEES, THE EXECUTIVE DIRECTOR, AND ALL STAFF MEMBERS. THIS POLICY REQUIRES THESE INTERESTED PERSONS TO COMPLETE A QUESTIONNAIRE TO ANNUALLY DISCLOSE ANY POTENTIAL CONFLICTS OF INTEREST. POTENTIAL CONFLICTS MUST ALSO BE DISCLOSED TO THE BOARD OF TRUSTEES AS THEY ARISE. THE EXECUTIVE COMMITTEE OF THE BOARD OF TRUSTEES DETERMINES IF A CONFLICT EXISTS, AND DETERMINES IF THE MUSEUM CAN OBTAIN WITH REASONABLE EFFORTS AN EQUALLY OR MORE ADVANTAGEOUS TRANSACTION THAT WOULD NOT GIVE RISE TO AN ACTUAL OR APPARENT CONFLICT. THE INTERESTED PERSON DOES NOT PARTICIPATE IN SUCH DECISIONS. FORM 990, PART VI, SECTION B, LINE 15 COMPENSATION IS PART OF THE ANNUAL BUDGET PROCESS WHICH IS DELIBERATED BY THE FINANCE COMMITTEE AND APPROVED BY THE BOARD OF TRUSTEES. AS A PART OF THIS PROCESS, COMPENSATION DECISIONS ARE MADE FOR ALL MUSEUM STAFF, INCLUDING THE EXECUTIVE DIRECTOR AND THE DIRECTOR OF FINANCE. THE COMMITTEE USES COMPARABLE DATA FROM FUNCTIONALLY COMPARABLE POSITIONS AT SIMILAR ORGANIZATIONS TO FRAME COMPENSATION DECISIONS. INCLUDED SOURCES OF COMPENSATION DATA USED FOR SETTING EXECUTIVE COMPENSATION INCLUDED SALARY SURVEYS OF LOCAL MUSEUM DIRECTORS, AND FORMS 990 OF OTHER ORGANIZATIONS. DOCUMENTATION OF DELIBERATIONS AND DECISIONS MADE REGARDING COMPENSATION ARE ENTERED INTO COMMITTEE AND BOARD MINUTES AND KEPT ON FILE BY THE ORGANIZATION. THIS PROCESS MOST RECENTLY OCCURRED IN 2019. FORM 990, PART VI, SECTION C, LINE 19 QUEENS MUSEUM OF ARTS' FORM 990 IS AVAILABLE FOR PUBLIC INSPECTION AS REQUIRED UNDER SECTION 6104 OF THE INTERNAL REVENUE CODE AS IT IS POSTED ON GUIDESTAR.ORG AND OTHER SIMILAR TYPES OF WEBSITES. IN ADDITION, THE ORGANIZATIONS FORMS 990, FORM 1023, FINANCIAL STATEMENTS, CONFLICT OF INTEREST POLICY, AND BYLAWS ARE AVAILABLE UPON WRITTEN REQUEST TO THE ORGANIZATION AT NEW YORK CITY BUILDING, FLUSHING MEADOWS CORONA PARK, QUEENS, NY 11368-3398 OR BY CALLING THE ORGANIZATION DIRECTLY AT (718) 592-9700. FORM 990, PART VI, LINE 1: THE ORGANIZATION HAS AN EXECUTIVE COMMITTEE WITH THE AUTHORITY TO MAKE GOVERNANCE DECISIONS ON BEHALF OF THE FULL BOARD. FORM 990, PART IX, LINE 11G AUDIO/VISUAL/PHOTOGRAPHY: PROGRAM SERVICE EXPENSES 2,312. MANAGEMENT AND GENERAL EXPENSES 2,596. FUNDRAISING EXPENSES 116. TOTAL EXPENSES 5,024. SERVICE CONTRACTS: PROGRAM SERVICE EXPENSES 38,522. MANAGEMENT AND GENERAL EXPENSES 225,859. FUNDRAISING EXPENSES 16,006. TOTAL EXPENSES 280,387. OTHER CONSULTANTS: PROGRAM SERVICE EXPENSES 0. MANAGEMENT AND GENERAL EXPENSES 274,303. FUNDRAISING EXPENSES 4,344. TOTAL EXPENSES 278,647. FORM 990, PART XI, LINE 2C: THE MUSEUM HAS AN AUDIT COMMITTEE THAT IS RESPONSIBLE FOR THE OVERSIGHT OF THE AUDIT AND THE SELECTION OF AN INDEPENDENT ACCOUNTANT. THE PROCESS HAS NOT CHANGED FROM THE PRIOR YEAR.