2025-11-04T20:59:18+00:00 2024-12-31 440160260 Forvis Mazars LLP 1401 50th Street Suite 350 West Des Moines IA 502665935 990 2024-01-01 420680419 Edmundson Art Foundation Inc EDMU 5152774405 4700 Grand Avenue Des Moines IA 50312 Bonnie Valverde SENIOR DIR OF FINANCE & OPERATIONS 5152774405 2025-11-05 true Kristin Tynon P01063388 5152230159 2025-08-29 2024 2025-03-06 01:10:19Z Des Moines Art Center Bonnie Valverde 4700 Grand Avenue Des Moines IA 50312 14583333 false X WWW.DESMOINESARTCENTER.ORG X 1946 IA THROUGH ITS COLLECTIONS, EXHIBITIONS, AND EDUCATIONAL PROGRAMMING, THE DES MOINES ART CENTER PROVIDES OPPORTUNITIES FOR TRANSFORMATIONAL ART EXPERIENCES (CONTINUED ON SCHEDULE O) 26 26 138 392 -64132 3669065 4536649 428074 474933 4423462 1866156 2251167 2504073 10771768 9381811 0 0 0 4693188 5562629 0 0 699975 5422079 6797920 10115267 12360549 656501 -2978738 159753152 175729839 1683812 3277884 158069340 172451955 THE DES MOINES ART CENTER ENGAGES DIVERSE LOCAL, NATIONAL, AND INTERNATIONAL AUDIENCES WITH THE ART OF TODAY THROUGH ITS MUSEUM AND SCHOOL, ADDING TO THE CULTURAL RECORD THROUGH COLLECTIONS AND PROGRAMS. THE DES MOINES ART CENTER BELIEVES IN THE POWER OF ART TO INSPIRE PERSONAL TRANSFORMATION. WE COMMIT TO EXHIBIT AND EXPLORE THOUGHT PROVOKING MODERN AND CONTEMPORARY ART. WE CONNECT PEOPLE AND ART BY OFFERING OPPORTUNITIES FOR FEELING, IMAGINING, DREAMING AND CREATING. WE PROMOTE CURIOSITY AND EMBRACE CRITICAL AND EMPATHETIC THINKING WITH A SPIRIT OF OPENNESS. WE STRIVE TO BE A WELCOMING AND EQUITABLE CULTURAL RESOURCE. THIS EFFORT TO ENSURE ACCESS TO ART FOR EVERYONE HAS BEEN A CORE TENET OF THE MUSEUM SINCE ITS FOUNDING. ADMISSION IS ALWAYS FREE FOR ALL. false false 7235817 0 22711 2024 CONTAINED A ROSTER OF EXHIBITIONS HIGHLIGHTING ARTISTS FROM AROUND THE GLOBE AND ACROSS TIME, REVEALING HOW INTERCONNECTED WE ARE THROUGH FAMILY TIES, SHARED SPACES, AND ENVIRONMENTAL CHANGES THAT IMPACT THE ENTIRE WORLD. ALONGSIDE OUR STAFF CURATORS, WE WELCOMED EXHIBITIONS ORGANIZED BY FITSUM SHEBESHE FOR INDEPENDENT CURATORS INTERNATIONAL (STATES OF BECOMING), FEATURED A PRINT GALLERY EXHIBITION (COEXIST) ORGANIZED BY CURATORIAL INTERN NAJLA EVANS, AND IOWA ARTISTS 2025 AND MINOR KEY WERE CO-CURATED BY ARTISTS B. ROBERT MOORE AND SAMANTHA BOX RESPECTIVELY. KICKING OFF 2024, STATES OF BECOMING EXAMINED THE DYNAMIC FORCES THAT SHAPE ARTISTIC PRACTICES FOR A GROUP OF AFRICAN ARTISTS WORKING IN THE U.S. CURATED BY FITSUM SHEBESHE, THE EXHIBITION CONNECTS CONDITIONS OF RELOCATION, RESETTLING, AND ASSIMILATION WHICH INFORM DISCUSSIONS AROUND IDENTITY CONSTRUCTION IN THE CONTEMPORARY AFRICAN DIASPORA. FOR SHEBESHE, THE EXHIBITION GREW OUT OF LIVED EXPERIENCE AND FIRSTHAND KNOWLEDGE OF THE WEIGHT OF CULTURAL ASSIMILATION, SINCE HE MOVED FROM ADDIS ABABA, ETHIOPIA TO BALTIMORE IN 2016. CONFRONTED WITH A DIFFERENT SOCIETY, THE CURATOR DEVELOPED A WIDE RANGE OF EXISTENTIAL QUESTIONS THAT SHAPED HIS RELATIONSHIP TO INSTITUTION AND CULTURE, FROM THE REALIZATION THAT FOR THE FIRST TIME HE WAS VIEWED AS BELONGING TO A MINORITY BECAUSE OF THE COLOR OF HIS SKIN, TO A NEWLY GAINED AWARENESS OF THE PROFOUND IMPACT OF HIS TRADITIONAL AND CONSERVATIVE NATIVE CULTURE ON HIS SENSE OF INDIVIDUALITY. HAVING FOUND KINSHIP AMONG CULTURAL PRACTITIONERS FROM THE DIASPORA WHO SHARED HIS EXPERIENCE, SHEBESHE HAS UNITED 17 ARTISTS FOR STATES OF BECOMING, WHO LIVE AND WORK IN CITIES ACROSS THE U.S. IN NEW YORK, WASHINGTON, D.C., NEW HAVEN, DETROIT, AND LOS ANGELES AMONG OTHERS. FROM 12 COUNTRIES IN AFRICA AND ONE IN THE CARIBBEAN-ETHIOPIA, GHANA, IVORY COAST, KENYA, LIBERIA, MAURITANIA, NIGERIA, SENEGAL, SIERRA LEONE, SUDAN, TRINIDAD AND TOBAGO, TUNISIA, AND ZIMBABWE-THEY EITHER RELOCATED TO THE U.S. OR ARE FIRST GENERATION BORN OVER THE LAST 30 YEARS. LIKE SHEBESHE, EACH ARTIST IN THE EXHIBITION HAS HAD A UNIQUE RELATIONSHIP TO THE U.S. CONTEXT, WHICH IS REFLECTED IN EACH OF THEIR WORK WHETHER IT EXPLORES THEIR PERSONAL EXPERIENCE OR EXPRESSES A TRANSFORMATION IN THEIR ARTISTIC PRACTICE BECAUSE OF RELOCATION. SEVERAL ARTISTS AND THE CURATOR TRAVELED TO DES MOINES FOR PROGRAMMING. HURRICANE SEASON, THE YEAR'S SECOND EXHIBITION IN THE MEREDITH GALLERY, WAS ORGANIZED BY FORMER ASSOCIATE CURATOR MIA LAUFER. IT IS AN EXHIBITION ABOUT A HOME UNDER THREAT, CYCLES OF ENVIRONMENTAL VIOLENCE, REPAIR EVEN WHEN YOU KNOW MORE IS COMING AND INEVITABLE. IT IS ABOUT A HOME WORTH REBUILDING, EVEN UNDER THESE CONDITIONS. THE EXHIBITION FEATURED CONTEMPORARY ART IN A RANGE OF MEDIA BY ARTISTS FROM ACROSS THE CARIBBEAN ARCHIPELAGO AND THE DIASPORA. EVERY YEAR FROM JUNE 1 THROUGH NOVEMBER 30, PEOPLE ACROSS THE CARIBBEAN HOLD THEIR BREATH THROUGH HURRICANE SEASON. HURRICANES AND THE DEVASTATION THEY BRING HAVE LONG BEEN A PART OF LIFE IN THE CARIBBEAN, BUT WITH CLIMATE CHANGE THESE STORMS ARE GETTING MORE FREQUENT AND MORE VIOLENT. THEY PICK UP STEAM FASTER THAN EVER BEFORE, LEAVING LITTLE TIME TO PREPARE. RISING SEA LEVELS ARE EATING AWAY AT SHORELINES. THE AFTERMATHS OF STORMS ARE UNBEARABLE AND SHED LIGHT ON THE LIVING LEGACY OF COLONIALISM AND ONGOING CORRUPTION. YET EVEN AS THE EFFECTS OF CLIMATE CHANGE WREAK HAVOC ON THE REGION, LIFE ACROSS THE ARCHIPELAGO CONTINUES; PEOPLE ADAPT TO AN IMPOSSIBLE NEW NORMAL. IN THE FACE OF A THREAT AT A SCALE THAT IS DIFFICULT TO FULLY COMPREHEND, ARTISTS CAN SHOW US HOW THESE CLIMATE CHANGES RELATE TO A LIVED, EVERYDAY REALITY, HOW THEY INTERSECT WITH OUR EXPERIENCE OF FAMILY, COMMUNITY, AND HOME. THEY TRANSLATE A GLOBAL CRISIS TO A HUMAN SCALE. THE FINAL MAJOR EXHIBITION OF 2024 WAS SAMANTHA BOX: CARIBBEAN DREAMS. BOX IS A JAMAICAN-BORN, NEW YORK-BASED PHOTOGRAPHER. OF BLACK JAMAICAN AND SOUTH ASIAN TRINIDADIAN HERITAGE, SHE CREATES COMPLEX IMAGES THAT EXPLORE QUESTIONS AROUND DIASPORIC IDENTITY - HOW ARE CULTURES, KNOWLEDGE AND IDENTITIES TRANSFORMED ACROSS BORDERS? HOW CAN ONE DEFINE SPACE-FOR-SELF WITHIN MULTIPLE DIASPORAS? RANGING ACROSS GENRES OF SELF-PORTRAITURE, LANDSCAPE, AND STILL-LIFE, HER LAYERED AND EXPERIMENTAL WORK IS AT ONCE ALLURING AND CHALLENGING; IN RECENT YEARS, BOX HAS EXPANDED HER PHOTOGRAPHIC PRACTICE INTO MULTI-MEDIA SCULPTURES, CULMINATING IN HER SERIES, PORTABLE HOMELANDS. FEATURING RECENT AND NEW WORK, SAMANTHA BOX: CARIBBEAN DREAMS WAS THE ARTIST'S FIRST MUSEUM SOLO-SHOW, INCLUDING APPROXIMATELY 40 PHOTOGRAPHS AND 5 SCULPTURES. IN MULTIPLE GALLERIES OF THE ART CENTER'S RICHARD MEIER BUILDING, THE MUSEUM LAUNCHED THE MOST AMBITIOUS VERSION TO DATE OF ITS LONG-RUNNING IOWA ARTISTS SERIES WITH IOWA ARTISTS 2024: B. ROBERT MOORE. DES MOINES - BASED ARTIST B. ROBERT MOORE CREATES DIRECT, STRIKING WORKS OF ART THAT CONFRONT ISSUES OF SOCIAL JUSTICE AND BLACK IDENTITY. VISUALLY AND EMOTIONALLY POWERFUL, MOORE LOOKS TO AUTOBIOGRAPHY FOR INSPIRATION, PULLING IMAGERY FROM FAMILY PHOTOS AND DRAWING ON MEMORIES AND PERSONAL STORIES OF HIS OWN AND THOSE CLOSEST TO HIM. REFERENCES TO ART HISTORY AND MATERIAL CULTURE ALSO ABOUND IN HIS WORK, WHICH INCLUDES GRAVESTONES, FLAGS, NEON, COFFEE, AND HOUSEHOLD OBJECTS - THINGS THAT, LIKE PHOTOS, CARRY MEMORY AND HISTORY. THE ART HERE IS PERSONAL, ILLUSTRATING HOW THOSE CONCEPTS ARE INTIMATELY INTWINED. THE FACES OF ELDERS AND THE LIVES THEY LIVED ARE REVEALED WITH CONTEMPORARY ART. THIS WAS B. ROBERT MOORE'S FIRST SOLO MUSEUM EXHIBITION, CONTAINING PAINTINGS, TWO LARGE-SCALE INSTALLATIONS, AND A VIDEO. KIN TO WAR, A PAINTING BY MOORE RECENTLY PURCHASED BY THE ART CENTER, WAS ALSO SHOWN FOR THE FIRST TIME. THE EXHIBITION WAS CO-CURATED BY SENIOR CURATOR LAURA BURKHALTER AND ARTIST B. ROBERT MOORE. THE JOHN BRADY PRINT GALLERY, THE CURATORIAL TEAM CHOSE TO HIGHLIGHT NEW PERSPECTIVES AND IDEAS ABOUT THE WORKS ON PAPER AND PHOTOGRAPHY COLLECTION. THE FIRST EXHIBITION BEFORE MODERN ART, CURATED BY FORMER ASSOCIATE CURATOR MIA LAUFER, FOCUSED ON SOME OF THE OLDEST WORKS IN THE MUSEUM'S HOLDINGS, MANY OF WHICH HAVE BEEN RARELY SEEN AND MAY BE A SURPRISE TO VISITORS OF OUR CONTEMPORARY FOCUSED MUSEUM. THE SUMMER EXHIBITION, COEXIST, WAS ORGANIZED BY FORMER CURATORIAL ASSISTANT NAJLA EVANS AS A COMPANION SHOW TO HURRICANE SEASON. EVANS CHOSE WORKS THAT ILLUSTRATE THE VARIOUS WAYS HUMANS CONNECT TO AND IMPACT THE NATURAL WORLD. 1125269 0 0 WITH A FOCUS ON BELONGING, THE DES MOINES ART CENTER ENGAGED IN A VARIETY OF DYNAMIC AND MEANINGFUL EVENTS, PROGRAMS, AND OPPORTUNITIES THROUGHOUT 2024. OUR EFFORTS CENTERED ON BEING A VIBRANT SPACE FOR OUR COMMUNITY TO GATHER, SHARING OUR UNIQUE CREATIVE SELVES, AND COLLECTIVELY CREATING WORK THAT RESONATES BEYOND OUR WALLS AND INTO THE FUTURE. THE MUSEUM AND PAPPAJOHN SCULPTURE PARK WELCOMED 346,568 VISITORS THROUGHOUT 2024. OUR KEYSTONE FAMILY EVENTS, DAY OF THE DEAD (IN ITS 24TH YEAR) AND OUR BIANNUAL ENTIRELY KIDS DAYS, EXPLORED THE THEMES OF "AFRICA "STORIES TOLD." THESE EVENTS COLLECTIVELY BROUGHT IN OVER 3,800 VISITORS WHO EXPERIENCED OUR CAMPUS THROUGH HANDS-ON, ARTIST-FACILITATED, FAMILY-FRIENDLY PROGRAMMING. THIS CONTRIBUTED TO A COMMUNITY-CREATED SENSE OF WELCOME AND CREATIVE PARTICIPATION FOR ALL AGES. A FEW OF THE FLAGSHIP MUSEUM LEARNING AND ENGAGEMENT PROGRAMS ARE THE MY VOICE PROGRAM, HIGH SCHOOL DAYS, AND CREATIVITY DAYS. MY VOICE SERVED 12 STUDENTS AND IS AN ART CENTER MENTOR-BASED PROGRAM IN PARTNERSHIP WITH THE BY DEGREES FOUNDATION THAT EMPOWERS YOUNG ARTISTS TO EXPLORE THEIR CREATIVE POTENTIAL AND FIND THEIR UNIQUE ARTISTIC VOICE. THE PROGRAM, SUPPORTED BY THE PRINCIPAL FOUNDATION, PROVIDES STUDENTS WITH OPPORTUNITIES TO ENGAGE WITH THE ART CENTER'S COLLECTION, LEARN ABOUT ART, AND CREATE THEIR OWN ORIGINAL ARTWORK INSPIRED BY THEIR DISCOVERIES, CULMINATING IN AN EXHIBITION AND CELEBRATORY RECEPTION OF THEIR WORK IN THE LOBBY OF THE MUSEUM ATTENDED BY FAMILY AND COMMUNITY SUPPORTERS. HIGH SCHOOL DAYS SERVED 81 DES MOINES PUBLIC SCHOOL TEENAGERS WITH CURRICULUM INSPIRED BY THE "STATES OF BECOMING" EXHIBITION, IDENTITY-EXPLORING GALLERY CONVERSATIONS REFLECTING ON PAST, PRESENT AND FUTURE, AND ZINE ART MAKING IN THE STUDIO. CREATIVITY DAYS DREW 343 ELEMENTARY STUDENTS FROM RURAL SCHOOL DISTRICTS INCLUDING BAXTER, ADEL DESOTO MINBURN, COLFAX-MINGO, COLO-NESCO, AND NEWTON. EACH YEAR THE WORKSHOP INVOLVES A MULTI-MODAL APPROACH INVOLVING AN INTERACTIVE MUSEUM VISIT, ART MAKING, AND CREATIVE MOVEMENT. THE 2024 ITERATION WAS GUIDED BY THE THEME OF "LOOKING FOR LAYERS" IN RELATION TO SAMANTHA BOX'S PHOTOGRAPHY EXHIBITION "CARIBBEAN DREAMS.". THE DES MOINES ART CENTER KNOWS THAT AN ARTS EXPERIENCE IS MADE IMMENSELY MORE IMPACTFUL WHEN FACILITATED BY A WELL-TRAINED GUIDE. IN 2024, OUR TEAM OF 56 VOLUNTEER DOCENTS LED 12,245 INDIVIDUALS THROUGH PARTICIPATORY TOURS OF THE MUSEUM AND PAPPAJOHN SCULPTURE PARK, MANY OF WHOM WERE AREA FOURTH-GRADE STUDENTS ON THEIR VERY FIRST VISIT TO AN ART MUSEUM. ADDITIONALLY, OUR DOCENTS BROUGHT ART OUT OF THE GALLERIES AND DIRECTLY TO 223 COMMUNITY MEMBERS LIVING IN SENIOR LIVING CENTERS THROUGH OUR ART CALLS PROGRAM, WHICH IS ALMOST ENTIRELY MANAGED AND SUPPORTED BY THIS DEDICATED TEAM OF VOLUNTEER EDUCATORS. IN 2024, THE DES MOINES ART CENTER'S COMMUNITY ACCESS PROGRAM (CAP) OFFERED 514 FREE ART-MAKING SESSIONS THROUGH FOUR PROGRAMS: EDUCATIONAL ENRICHMENT, COMMUNITY RESILIENCY, AND ADAPTIVE ARTS. OUR OBJECTIVE IS TO DISCOVER CREATIVE WAYS OF MAKING ARTWORKS AND ART MAKING ACCESSIBLE TO THOSE IN OUR COMMUNITY THAT OTHERWISE LACK THIS ACCESS DUE TO CULTURAL, ECONOMIC, ENVIRONMENTAL, AND SOCIAL BARRIERS. OUR COHORT OF TEACHING ARTISTS USE A STUDENT-CENTERED METHOD, CREATING A SAFE, RESPECTFUL ENVIRONMENT WHERE EVERYONE'S ART IS VALUED AS AN OUTLET FOR SELF-EXPRESSION. IN THE COMMUNITY RESILIENCY AREA, A KEY PARTNER WAS THE VETERAN'S AFFAIRS OFFICE. THE ART CENTER OFFERED YEAR-ROUND SESSIONS BOTH IN THE MUSEUM'S STUDIOS IN THE FORM OF DROP-IN "ART CLUBS" AS WELL AS OFFSITE LOCATIONS. A PARTICULARLY IMPACTFUL EVENT IN THE IDENTITY AFFIRMING AREA OF PROGRAMMING WAS THE THIRD ANNUAL FINE ARTS DAY WITH ALL OF THE DES MOINES PUBLIC SCHOOLS' CHAPTERS OF THE CLUBS BROTHER 2 BROTHER AND SISTERS 4 SUCCESS. THE KEYNOTE SPEAKER WAS THE 2024 IOWA ARTIST B. ROBERT MOORE. IN ADDITION TO MOORE'S ROUSING SPEECH ABOUT HIS PATH TO BECOMING A SUCCESSFUL ARTIST, THE STUDENTS PARTICIPATED IN A GROUP POETRY WRITING EXERCISE IN THE MUSEUM INSPIRED BY A WORK ON VIEW. ART SPECTRUMS, A MONTHLY MUSEUM AND ART MAKING WORKSHOP FOR NEURODIVERGENT YOUTH AND THEIR CAREGIVERS, CONTINUED WITH GREAT SUCCESS IN 2024, ADDING AN ARTIST WITH AUTISM AS A CLASS TEACHER. "CREATING WITH CLAY LEGO BRICK PRINTING ON CANVAS TOTE BAGS WERE BIG HITS AMONG THE STUDENTS. ALONG WITH WEEKLY PROGRAMMING, CAP HOSTED THREE VISITING ARTIST WORKSHOPS: ELSHAFIE DAFALLA (STATES OF BECOMING) CROSSED LANGUAGE BARRIERS WITH ELDER REFUGEES WITH LUTHERAN SERVICES AS HE GUIDED PARTICIPANTS TO MAKE CREATIVE AND GESTURAL DRAWINGS RESPONDING TO THE RHYTHMS OF MUSIC AND COLLECTIVE MOVEMENT AROUND A LARGE CANVAS; TAMIKA GALANIS (HURRICANE SEASON) LED MULTIGENERATIONAL COMMUNITY MEMBERS IN A FIVE-DAY FILMMAKING SEMINAR; SAMANTHA BOX (CARIBBEAN DREAMS) INTRODUCED STILL LIFE PHOTOGRAPHY TO YOUTH PARTICIPANTS INVOLVED WITH OAKRIDGE NEIGHBORHOOD SERVICES. 1050854 0 452222 OUR EFFORTS INCLUDE PROVIDING ART-MAKING EDUCATION AND CLASSES THROUGH OUR STUDIO ARTS SCHOOL. IN 2024, THE STUDIO DEPARTMENT PROVIDED 162 (31% INCREASE FROM 2023) ADULT CLASSES (18+), 159 (57% INCREASE FROM 2023) YOUTH CLASSES (AGES 3-18), AND 8 WEEKS OF 2-A-DAY CAMPS THAT SERVED 904 (6% INCREASE FROM 2023) UNIQUE STUDENTS IN OUR AREA FROM AGES 5 - 16. THROUGH OUR SCHOOL AND VAST NETWORK OF 46 TEACHING ARTISTS, WE CAN ENGAGE WITH NUMEROUS SOCIAL AND HUMAN SERVICES WITHIN THE SURROUNDING COMMUNITY. WE OFFER ON AND OFF-SITE SCHOOL ENRICHMENT PROGRAMMING THAT AIMS TO CREATE OPPORTUNITIES FOR CHILD-CENTERED LEARNING AND FAMILY ENGAGEMENT. THE ART CENTER'S STUDIO PROGRAM PROVIDES MULTIPLE ART-MAKING MEDIUMS FROM PAINTING AND DRAWING TO METALS AND CERAMICS THROUGH BOTH TUITION-BASED ART CLASSES AND FREE ART PROGRAMMING THANKS TO OUR SCHOLARSHIP PROGRAM, COLLABORATING ORGANIZATIONS, AND DONATION NETWORK. IN 2024, WE PROVIDED 193 (33% INCREASE FROM 2023) SCHOLARSHIPS TO YOUTH AND ADULTS IN OUR SURROUNDING COMMUNITY. 9411940 true true false false false false false true false true true false false true true false true false false false false false false false true false false false false true false false false false false false false false false false false false false false false false false false false false true 146 0 true 138 true true true false false false false true true false false false false false false X 26 26 false false false false false false false true true false false false true true true true true true true true false false IA X X Bonnie Valverde 5152710305 4700 Grand Avenue Des Moines IA 50312 AMY ANDERSON VICE PRESIDENT 1.0 0.0 X X 0 0 0 ANDREA ABEL TREASURER 1.0 0.0 X X 0 0 0 DARREN JIRSA CHAIRPERSON AND EX-OFFICIO 1.0 0.0 X X 0 0 0 JASON GROSS PRESIDENT 1.0 0.0 X X 0 0 0 RENEE MONTZ SECRETARY 1.0 0.0 X X 0 0 0 CRAIG SHADUR TRUSTEE 1.0 0.0 X 0 0 0 DAN KEOUGH TRUSTEE 1.0 0.0 X 0 0 0 DAWN MARTINEZ OROPEZA TRUSTEE 1.0 0.0 X 0 0 0 ELLEN HUBBELL TRUSTEE 1.0 0.0 X 0 0 0 ELLEN YEE TRUSTEE 1.0 0.0 X 0 0 0 EVA ANDERSON TRUSTEE 1.0 0.0 X 0 0 0 JEFF CHUNGATH TRUSTEE 1.0 0.0 X 0 0 0 JOHN KRANTZ TRUSTEE 1.0 0.0 X 0 0 0 KATE HIGHTSHOE-LAMBERT TRUSTEE 1.0 0.0 X 0 0 0 KYLE KRAUSE TRUSTEE 1.0 0.0 X 0 0 0 LAURA CREIGHTON TRUSTEE 1.0 0.0 X 0 0 0 LIZ ADELMAN TRUSTEE 1.0 0.0 X 0 0 0 MARY CHAPMAN TRUSTEE 1.0 0.0 X 0 0 0 MIKE SIMONSON TRUSTEE 1.0 0.0 X 0 0 0 PAMELA BASS-BOOKEY TRUSTEE 1.0 0.0 X 0 0 0 PATRICIA MCFARLAND TRUSTEE 1.0 0.0 X 0 0 0 RICHARD DEMING TRUSTEE 1.0 0.0 X 0 0 0 RICK BALLINGER TRUSTEE 1.0 0.0 X 0 0 0 TIM HICKMAN TRUSTEE 1.0 0.0 X 0 0 0 TOM KOEHN TRUSTEE 1.0 0.0 X 0 0 0 VIRGINA LAURIDSEN TRUSTEE 1.0 0.0 X 0 0 0 BONNIE VALVERDE SENIOR DIR OF FINANCE & OPS 40.0 0.0 X 167501 0 31567 KELLY BAUM EXECUTIVE DIRECTOR 40.0 0.0 X 343164 0 40371 CALEB HEGNA SENIOR DIR OF DEVELOPMENT 40.0 0.0 X 139223 0 13053 JILL FEATHERSTONE SENIOR DIR OF MUSEUM LEARNING, EDUCATION, AND COMMUNITY ACCESS 40.0 0.0 X 108080 0 5910 757968 0 90901 4 true true false BELIN MCCORMICK PC 666 WALNUT STREET STE 2000 DES MOINES IA 50309 LEGAL FEES AND COUNCIL 240593 THE INSTITUTE OF CONTEMPORARY ART 25 HARBOR SHORE DR BOSTON MA 02210 EXHIBITION AND TOUR FEES/EXPENSE 146181 US ART COMPANY INC 78 PACELLA PARK DR RANDOLPH MA 02368 TRANSPORTATION, SHIPPING AND CRATING COSTS 141839 AEA CONSULTING LLC 380 MAIN STREET STE 300 BEACON NY 12508 CONSULTING - STRATEGIC PLANNING 107837 4 345416 237095 96275 3857863 4536649 STUDIO PROGRAMS 611610 452222 452222 SALES OF COMMISSIONED PRINTS 712110 1200 1200 REPRODUCTION & LOAN FEES 712110 1658 1658 SALES OF EXHIBITION CATALOGS 712110 19853 19853 0 0 0 0 474933 1852058 1852058 58762 153916 -95154 0 -95154 -33588 -61566 4767695 7500 4761097 0 6598 7500 14098 14098 59350 237095 118162 -58812 -58812 321804 168347 153457 -30544 184001 INCOME FROM FUNDS HELD IN TRUST 900099 2195322 2195322 ALL OTHER REVENUE 900099 309260 309260 0 0 0 0 2504582 9381811 474933 -64132 4434361 582603 399329 58260 125014 4143470 2840314 1058725 244431 125240 80427 34444 10369 410798 262151 127465 21182 300518 215387 59062 26069 275642 275642 42184 42184 392090 134644 375538 -118092 315380 273478 4971 36931 187313 111666 41943 33704 232470 217497 12252 2721 904073 882791 5947 15335 347152 116443 43462 187247 456360 443768 9292 3300 239526 170994 68031 501 PURCHASED WORKS OF ART 1623159 1623159 SETTLEMENT EXPENSE 900000 900000 PACKING & SHIPPING 137160 137160 PROGRAM SUPPLIES 117887 117887 627524 484845 31416 111263 12360549 9411940 2248634 699975 5342973 5402519 0 728072 1450781 1708393 255052 37386 0 0 0 0 119517 147216 379998 464306 22953676 18404172 3828046 4549504 69676331 75091854 0 0 78700454 87600589 159753152 175729839 945218 2783466 496678 300885 0 0 241916 193533 1683812 3277884 X 34083297 36040491 123986043 136411464 158069340 172451955 159753152 175729839 -2978738 17361353 0 X false true true false X 1711964 9259689 5879593 3669065 4536649 25056960 0 0 1711964 9259689 5879593 3669065 4536649 25056960 3014342 22042618 1612459 1167112 836959 1552460 1852058 7021048 0 0 226 3124 0 3350 1908758 1270736 1662754 2224221 2504582 9571051 41652409 3592823 0.52920 0.54167 X Schedule A, Part II, Line 10 Other Income DESCRIPTION - INCOME FROM FUNDS HELD IN TRUST, COLUMN A - 1821953.0, COLUMN B - 1255588.0, COLUMN C - 1639081.0, COLUMN D - 2003440.0, COLUMN E - 2195322.0, COLUMN F - 8915384.0; DESCRIPTION - ALL OTHER REVENUE, COLUMN A - 86805.0, COLUMN B - 15148.0, COLUMN C - 23673.0, COLUMN D - 220781.0, COLUMN E - 309260.0, COLUMN F - 655667.0; RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X X false 65078171 9994432 2954427 72118176 56838012 291133 10745028 2796002 65078171 70180586 81064 -10945117 2478521 56838012 62607883 256064 9719426 2402787 70180586 58495244 115000 6277904 2280265 62607883 0.38 0.32 0.3 true false 21086882 17080064 4006818 1690106 1324108 365998 176688 0 176688 4549504 BENEFICIAL INTEREST IN TRUSTS 87522652 OTHER ASSET 77937 87600589 Federal Income Taxes DEFERRED COMPENSATION 193533 193533 27183611 17361353 440447 17801800 9381811 0 0 9381811 12800996 440447 440447 12360549 0 0 12360549 Schedule D, Part III, Line 1a Collections of art - financial statement footnote Collections of works of art, historical treasures and similar assets, which were acquired through purchases and contributions since the Foundation's inception, are not capitalized in as much as the items are preserved and cared for continuously. Purchases of collection items are reported in the year of acquisition as decreases in net assets without donor restrictions or in net assets with donor restrictions if the assets used to purchase the items were restricted to that use by donor stipulation. Contributions of collection items are not reported in the financial statements. Proceeds from disposal of and insurance recoveries related to collection items are reported as increases in the appropriate net asset classes. The Foundation's collections consist of works of art and historical treasures. No collection items were sold or removed in 2024 or 2023. Schedule D, Part III, Line 4 Collections of art - description of collections THE MISSION OF THE FOUNDATION IS TO COLLECT, PRESERVE, AND STUDY THE BEST EXAMPLES OF MODERN AND CONTEMPORARY ART FROM AROUND THE WORLD AND TO ENGAGE LOCAL, REGIONAL, AND NATIONAL AUDIENCES. THE FOUNDATION'S COLLECTION, WHICH GROWS INCREMENTALLY EVERY YEAR, INCLUDES OVER 6,300 WORKS OF ART IN ALL MEDIA. ALTHOUGH IT ACQUIRES AND DISPLAYS MOSTLY ART FROM THE 20TH AND 21ST CENTURIES, THE FOUNDATION ALSO OWNS AROUND 3,500 WORKS ON PAPER THAT SPAN SEVEN CENTURIES. MANY WORLD-RENOWNED ARTISTS ARE REPRESENTED IN THE FOUNDATION'S COLLECTION, INCLUDING HISTORICAL ARTISTS SUCH AS FRANCIS BACON, ALBERTO GIACOMETTI, AND EDWARD HOPPER AS WELL AS LIVING ARTISTS SUCH AS CECILY BROWN, WANGECHI MUTU, AND AI WEIWEI. THE FOUNDATION HOUSES ITS COLLECTION IN SECURE, CLIMATE-CONTROLLED STORAGE AREAS. IT ALSO MAINTAINS A RIGOROUS COLLECTIONS MANAGEMENT POLICY, WHICH GUIDES THE LONG-TERM CARE AND PRESERVATION OF THE OBJECTS IT HOLDS IN TRUST, INCLUDING PROCEDURES FOR LOANS, ACQUISITION, AND DEACCESSIONING. IN ADDITION, THE FOUNDATION ORGANIZES APPROXIMATELY TWELVE EXHIBITIONS EVERY YEAR, SOME FEATURING OBJECTS FROM THE COLLECTION, OTHERS HIGHLIGHTING WORKS OF ART BORROWED FROM INSTITUTIONS AND PRIVATE COLLECTORS. EXHIBITIONS MIGHT FOCUS ON A SINGLE ARTIST, OR THEY MIGHT GROUP WORKS OF ART BY DIFFERENT ARTISTS UNDER A THEMATIC RUBRIC. THESE PROJECTS ARE FREQUENTLY ACCOMPANIED BY SCHOLARLY CATALOGUES THAT PLACE MODERN AND CONTEMPORARY ART IN A HISTORICAL CONTEXT AND ILLUMINATE ITS RELATIONSHIP TO URGENT ISSUES IN THE PRESENT. THE FOUNDATION'S EXHIBITIONS REGULARLY TRAVEL TO OTHER INSTITUTIONS. AT THE SAME TIME, THE FOUNDATION HOSTS ONE OR TWO EXHIBITIONS PRODUCED BY OTHER MUSEUMS ANNUALLY. Schedule D, Part V, Line 4 Intended uses of endowment funds FUNDS FROM THIS ENDOWMENT ARE USED TO SUPPORT THE DES MOINES ART CENTER'S PROGRAMS, LEARNING & EDUCATION, OPERATIONS AND FOR THE PURCHASE OF WORKS OF ART. Schedule D, Part XI, Line 2(d) Other revenues in audited financial statements not in form 990 COST OF GOODS SOLD - 168347 RENTAL EXPENSES - 153938 DIRECT FUNDRAISING EXPENSES - 118162 Schedule D, Part XII, Line 2(d) Other expenses in audited financial statements not in form 990 COST OF GOODS SOLD - 168347 RENTAL EXPENSES - 153938 DIRECT FUNDRAISING EXPENSES - 118162 ANNUAL GALA 296445 237095 59350 32195 48656 13545 23766 0 0 296445 237095 59350 32195 48656 13545 23766 118162 -58812 X X X false true false false false false false false false KELLY BAUM EXECUTIVE DIRECTOR 332164 0 11000 0 0 0 17250 0 23121 0 383535 0 0 0 BONNIE VALVERDE SENIOR DIR OF FINANCE & OPS 166851 0 0 0 650 0 8917 0 22650 0 199068 0 0 0 CALEB HEGNA SENIOR DIR OF DEVELOPMENT 138598 0 0 0 625 0 6635 0 6418 0 152276 0 0 0 Schedule J, Part I, Line 4b Supplemental nonqualified retirement plan THE FOUNDATION ENTERED INTO A 457(B) DEFERRED COMPENSATION PLAN WITH THE FORMER EXECUTIVE DIRECTOR IN 2013 FOR THE PURPOSE OF CREATING A SUPPLEMENTAL RETIREMENT PLAN. EACH PLAN YEAR, THE FOUNDATION MAY DESIGNATE A CONTRIBUTION LIMITED TO THE CAP ON CONTRIBUTIONS UNDER SECTION 457 CATCH-UP LIMITATION. THIS PLAN IS 100% VESTED AND WILL BE PAID OUT OVER 5 YEARS BEGINNING IN 2024. AT DECEMBER 31, 2024 THE FOUNDATION HAS A LIABILITY OF $193,533 IN VESTED BENEFITS INCLUDED IN THE DEFERRED COMPENSATION LIABILITY. Form 990, Part I, Line 1 ORGANIZATION'S MISSION USING ART AS THE CATALYST AND WITH A COMMITMENT TO INCLUSIVITY, THE ART CENTER BUILDS EXPERIENCES, FOSTERS RELATIONSHIPS, AND STIMULATES CREATIVE, CRITICAL, AND EMPATHETIC THINKING. THE MISSION OF THE FOUNDATION IS TO COLLECT, PRESERVE, AND STUDY THE BEST EXAMPLES OF MODERN AND CONTEMPORARY ART FROM AROUND THE WORLD AND TO ENGAGE DIVERSE LOCAL, REGIONAL, AND NATIONAL AUDIENCES. THE FOUNDATION'S COLLECTION, WHICH GROWS INCREMENTALLY EVERY YEAR, INCLUDES OVER 6,600 WORKS OF ART IN ALL MEDIA. ALTHOUGH IT ACQUIRES AND DISPLAYS MOSTLY ART FROM THE 20TH AND 21ST CENTURIES, THE FOUNDATION ALSO OWNS AROUND 3,500 WORKS ON PAPER THAT SPAN SEVEN CENTURIES. MANY WORLD-RENOWNED ARTISTS ARE REPRESENTED IN THE FOUNDATION'S COLLECTION, INCLUDING HISTORICAL ARTISTS SUCH AS FRANCIS BACON, ALBERTO GIACOMETTI, AND EDWARD HOPPER AS WELL AS LIVING ARTISTS SUCH AS CECILY BROWN, WANGECHI MUTU, AND AI WEIWEI. THE FOUNDATION HOUSES ITS COLLECTION IN SECURE, CLIMATE-CONTROLLED STORAGE AREAS. IT ALSO MAINTAINS A RIGOROUS COLLECTIONS MANAGEMENT POLICY, WHICH GUIDES THE LONG-TERM CARE AND PRESERVATION OF THE OBJECTS IT HOLDS IN TRUST, INCLUDING PROCEDURES FOR LOANS, ACQUISITION, AND DEACCESSIONING. IN ADDITION, THE FOUNDATION ORGANIZES APPROXIMATELY TWELVE EXHIBITIONS EVERY YEAR, SOME FEATURING OBJECTS FROM THE COLLECTION, OTHERS HIGHLIGHTING WORKS OF ART BORROWED FROM INSTITUTIONS AND PRIVATE COLLECTORS. EXHIBITIONS MIGHT FOCUS ON A SINGLE ARTIST, OR THEY MIGHT GROUP WORKS OF ART BY DIFFERENT ARTISTS UNDER A THEMATIC RUBRIC. THESE PROJECTS ARE FREQUENTLY ACCOMPANIED BY SCHOLARLY CATALOGUES THAT PLACE MODERN AND CONTEMPORARY ART IN A HISTORICAL CONTEXT AND ILLUMINATE ITS RELATIONSHIP TO URGENT ISSUES IN THE PRESENT. THE FOUNDATION'S EXHIBITIONS REGULARLY TRAVEL TO OTHER INSTITUTIONS. AT THE SAME TIME, THE FOUNDATION HOSTS ONE OR TWO EXHIBITIONS PRODUCED BY OTHER MUSEUMS ANNUALLY. Form 990, Part VI, Line 11b Review of form 990 by governing body AN INDEPENDENT ACCOUNTING FIRM PREPARES AND REVIEWS THE FORM 990 IN DETAIL WITH THE FINANCE COMMITTEE OF THE BOARD. THE FINANCE COMMITTEE, EXECUTIVE DIRECTOR, AND SENIOR DIRECTOR OF FINANCE AND OPERATIONS REVIEW THE FORM 990 WITH THE FULL BOARD. THE SENIOR DIRECTOR OF FINANCE AND OPERATIONS IS AVAILABLE TO ANSWER ANY QUESTIONS OR PROVIDE CLARIFICATION. THE FINAL FORM 990, WITH ALL REQUIRED SCHEDULES, IS PROVIDED TO ALL VOTING MEMBERS OF THE BOARD PRIOR TO FILING THE 990. Form 990, Part VI, Line 12c Conflict of interest policy THE BOARD OF DIRECTORS AND OFFICERS ANNUALLY REVIEW AND SIGN THE ORGANIZATION'S CONFLICT OF INTEREST POLICY. ACTUAL OR POTENTIAL CONFLICTS OF INTEREST MUST BE DISCLOSED TO THE BOARD. IF THERE IS A CONFLICT OF INTEREST THE BOARD MEMBER ABSTAINS FROM VOTING. TOM KOEHN ABSTAINED FROM ALL VOTES RELATED TO THE DECISION TO HIRE THE WALDINGER CORPORATION. THE WALDINGER CORPORATION IS OWNED MORE THAN 35% BY TOM KOEHN, A TRUSTEE OF EDMUNDSON ART FOUNDATION, INC. Form 990, Part VI, Line 15a Process to establish compensation of top management official THE EXECUTIVE COMMITTEE OF THE BOARD OF TRUSTEES REVIEWS AND DETERMINES THE COMPENSATION OF THE EXECUTIVE DIRECTOR, WHICH IS VOTED ON AND APPROVED BY THE FULL BOARD. THEY USE PRIMARILY THE AMERICAN ASSOCIATION OF MUSEUM DIRECTORS' (AAMD) SALARY COMPARISONS AS A GUIDE TO DETERMINE COMPARABLE POSITIONS AT SIMILARLY SITUATED ORGANIZATIONS. THIS REVIEW IS DOCUMENTED WITH WRITTEN NOTES REGARDING THE COMPENSATION AGREEMENT REACHED AFTER DISCUSSION BETWEEN THE EXECUTIVE COMMITTEE (OR ITS REPRESENTATIVE, THE PRESIDENT OF THE BOARD OF TRUSTEES) AND THE EXECTUTIVE DIRECTOR. Form 990, Part VI, Line 15b Process to establish compensation of other employees IN 2024, AN INDEPENDENT ORGANIZATION, THE NEWPORT GROUP, WAS CONTRACTED TO REEVALUTE THE ORGANIZATION'S SALARY WAGE BANDS ESTABLISHED IN 2021. Form 990, Part VI, Line 19 Required documents available to the public THE FOUNDATION'S GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, AND FINANCIAL STATEMENTS ARE AVAILABLE TO THE PUBLIC UPON REQUEST.