2018-05-15T09:14:08-05:00 2017-06-30 271728945 PKF O'Connor Davies LLP 665 Fifth Avenue New York NY 10022 990 2016-07-01 112278998 QUEENS MUSEUM OF ART QUEE 7185929700 NYC BLDGFLUSHING MEADOWS CORONAPARK QUEENS NY 11368 DEBRA WIMPFHEIMER executive director 7185929700 2018-05-15 1 Garrett M Higgins P00543209 2122862600 2018-05-15 2016 2022-09-23 18:48:47Z Queens Museum DEBRA WIMPFHEIMER NYC BLDGFLUSHING MEADOWS CORONAPARK QUEENS NY 11368 5770048 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. 24 24 146 27 0 0 4127814 4261503 424741 368479 36879 22218 236131 339267 4825565 4991467 17258 13746 0 0 3483765 3579718 13000 15000 292608 2956888 2463796 6470911 6072260 -1645346 -1080793 42696668 41534246 588404 472317 42108264 41061929 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 2471625 235667 Exhibitions The following exhibitions attracted more visitors than ever before in the Museum's history:Mierle Laderman Ukeles: Maintenance ArtSince the late 1960s, Mierle Laderman Ukeles' performances, sculptural installations, and writing have explored issues profoundly important to society today: the role of women in society, cultures of work and labor, and urban and community resilience. Her MANIFESTO FOR MAINTENANCE ART 1969! laid out the hidden, yet essential role of maintenance in Western societyand the radical implications of actively valuing rather than dismissing or hiding it.This first survey of Ukeles' work is organized by the Queens Museum's Larissa Harris and guest co-curator Patricia C. Phillips, who initiated the project in 2012. The show spans five decades, from her work as a pioneer of feminist performance to a practitioner of public art, in which Ukeles invites us to reconsider indispensable urban systems and the workers who maintain them. Ukeles is undoubtedly best-known for her 36+ year role as the official, unsalaried Artist-in-Residence at New York's Department of Sanitation. Unprecedented when it began in 1978, this residency has now become a model for municipalities engaging with artists as creative agents.Commonwealth: Water for AllIn New York City, it's easy to take water for granted. Water makes up more than 60% of our bodies, and while it is essential to life, increasingly we've come to think of it as a commodity to be bought and sold thoughtlessly. Meanwhile, there is unequal access to clean water in many regions across the country and throughout the world, where scarcity renders visible the substance's basic vitality to all living things. From wars over water that have taken place throughout Latin America for the past two decades, to the recent privatization of public water in American cities like Flint and Detroit, the effects of fragmented and shortsighted perspectives on water management are stark.Highlighting the urgency of this issue, two recently acquired portfolios of prints developed by the Justseeds Artists' Cooperative, We Are the Storm (2015) and Wellspring (2016), are presented with a selection of materials developed for the movement against the Dakota Access Pipeline at the Standing Rock Reservation in North Dakota. Additionally, a poster production project will run concurrently with the exhibition, with designs addressing related issues printed in editions of 500 on the Museum's Risograph machine, and available for free to visitors, with a new poster unveiled every two weeks. Social movements have a history of using and altering developing technology to rejuvenate traditional methods of cultural production and communication tools and artists in solidarity with Standing Rock are using traditional printmaking techniques to create iconic imagery which the movement picked up, distributed through social media, and re-deployed not only as online icons and avatars, but also as posters, banners, and t-shirts. By abandoning the concept of an original work," the art has become part of multiple, alternative value systems.Commonwealth: Water For All is the third in a series of exhibitions that features contemporary expressions about water, its utility, and its preservation and consumption in dialogue with the Museum's long-term display of the Relief Map of New York City's Water System, a sprawling WPA project commissioned for the 1939-40 World's Fair. The model traces the system of aqueducts and tunnels that support the flow of water from the mountains of upstate New York to New York City.Marinella Senatore: Piazza Universale / Social Stages (Apr 9 2017- Jul 30 2017)The Queens Museum is proud to host the first show initiated by an American museum by Italian artist Marinella Senatore. Piazza Universale / Social Stages, curated by Matteo Lucchetti, introduced the multifaceted practice of Senatore by looking at a range of important recent projects created in Spain, France, Italy and the US between 2009 and today.Piazza universale "the universal square" refers to the exquisitely Italian concept of the piazza, a public space par excellence where different communities meet, and as an embodiment of an ideal, universal space where future communities can be envisioned collaboratively. The title Piazza Universale/Social Stages presents one Italian and one English phrase as if the second were a translation of the former. But the second is not a translation of the first. This gap is where the exhibition unfolds, in its attempt to translate or transform the artist's live, participatory and community-engaged projects which unfolded in Europe and elsewhere into a new and unique experience within the Queens Museum galleries. In doing so, the galleries themselves turn into theatre, cinema, or television production sets, or a setting for poetry or dance class, offering the works of Senatore as "stages for and "stages of" a collective social becoming tools for individual growth and collective empowerment.Senatore's art is characterized by public participation. Everyone can take part in the artist's works, which simultaneously question her role as an author and that of the public as the receiver. Starting with the dialogue between individual stories, collective cultures and social structures, Senatore uses a broad spectrum of media: video, drawing, performance, installation, photography, sound, painting and sculpture, in order to let her projects speak to multiple publics and contexts.Ronny Quevedo: no hay medio tiempo / there is no halftime (Apr 9 2017-Aug 13 2017)no hay medio tiempo / there is no halftime features site-specific and cross-disciplinary works that incorporate wide-ranging references from sports field diagrams to Andean heraldic codes. The exhibition's centerpiece, no hay medio tiempo / there is no halftime (after Glissant and Quevedo), 2017, is a polychromatic line drawing executed directly on the 2,700 square foot expanse of the Museum's atrium. The work's dynamic composition echoes the Museum's immediate environment of Flushing Meadows Corona Park, where various ball games are played daily by local immigrant communities, the work is composed of fragmented diagrams of basketball, soccer, volleyball, and handball courts. Having moved from Ecuador to New York City in the '80s, Quevedo's work interlaces autobiographical and sociological insights in a reflection on his bicultural upbringing and his father's soccer career as player and referee in both places. Taken together, the installation renders the disquiet, yet poetic and exuberant state of peoples and cultures in global flux through a materially syncretized and conceptually complex body of work. 1134843 13746 101654 Education The Queens Museum's education department serves a wide range of participants ranging from 28,000 public school students to thousands of seniors, recent adult immigrants, and people with special needs. New New Yorkers, our groundbreaking education program for recent adult immigrants offered in partnership with the Queens Library offers a range of workshop series taught in nine languages; Queens Teens, our award-winning after school program offers paid year-long apprenticeships for students who live in or attend high school in Queens; ArtAccess, an array of art education programming for children and adults with special needs serves more than 5,000 people every year with varying physical, emotional and cognitive abilities as well as children and families on the autism spectrum; Family Programs, free, weekly drop-in art workshops; Senior Programs, providing many of the borough's senior citizens who are unable to travel long distances with a range of art-making activities both on site and remotely; School Programs, a roster of activities for school students in all five boroughs, including school tours, in-school residencies with teaching artists and after-school programs; and finally, The Big Summer Art Thing for Kids, a series of two-week long affordable, arts education camp sessions for children ages 7-12.Much of our development work in the Education department is focused on our move toward the opening of the Queens Library @ Queens Museum branch library. We are ever expanding and deepening our collaboration with the Library in order to lay the groundwork that will be crucial to creating a fully integrated museum and library service model for our local community. 678700 53040 Public Programs and Community EngagementIntegral to our efforts to establish deep and lasting relationships with our local community, the Public Programs and Community Engagement department is staffed by community organizers and cultural producers who run a series of on and off-site programs with more than 70 community based partners. These include, Immigrant Movement International, Corona, Tania Bruguera's social art project that has taken the form of a community center, immigration think-tank, and living performance; Corona Plaza, a partnership between the Queens Museum, local elected officials, businesses and community based organizations to provide seasonal activities and events that benefit the local community and to transform Corona Plaza into a viable public space now in the midst of redesign by the Department of Transportation, and Studio in the Park, a residency program developed by Queens Museum and ArtBuilt which provides an artist or artist collective use of a 150 square foot mobile studio space situated within a public park in NYC to carry out a public art project over the course of 4-6 weeks.Public Programs department also offers a full slate of public activities and programs that supplement our upcoming exhibitions. These programs, which include our summer music, dance and film series, Passport Thursdays, as well as lectures, symposiums, and celebrations, that enhance each of our exhibitions and help ensure more of a connection between our local community and the Museum. 4285168 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 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 154 0 146 1 0 0 0 0 0 1 1 0 0 0 0 X 24 24 1 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 Mark Coleman Chair 2.00 X X 0 0 0 Paula Kirby vice chair 1.00 X X 0 0 0 peter warwick treasurer 2.00 X X 0 0 0 Amy D'Amato secretary 1.00 X X 0 0 0 sigmund R balka trustee 1.00 X 0 0 0 Susan L Browning trustee 1.00 X 0 0 0 Thomas Chen trustee 1.00 X 0 0 0 susan choo trustee 1.00 X 0 0 0 christine ciampa 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 MARGARETTE LEE trustee 1.00 X 0 0 0 kelly maude leung trustee 1.00 X 0 0 0 daniel lowy Trustee 1.00 X 0 0 0 peter meyer 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 harvey ross Trustee 1.00 X 0 0 0 Victoria Schneps-Yunis trustee 1.00 X 0 0 0 alan suna Trustee 1.00 X 0 0 0 gretchen werwaiss trustee 1.00 X 0 0 0 david strauss Deputy Director 40.00 X 107324 0 36136 debra wimpfheimer Deputy Director 40.00 X 109187 0 23458 Julie Lou Director of finance 40.00 X 81880 0 33241 Laura Raicovich Executive Director 40.00 X 184691 0 21018 483082 0 113853 3 0 1 0 0 2755 167706 2151858 1939184 2586 4261503 ADMISSIONS & Workshops 713990 368479 368479 368479 29486 29486 639 639 233769 147429 86340 86340 86340 504019 511287 -7268 -7268 -7268 342344 167706 119865 222479 222479 21882 0 21882 21882 Other income 900099 7927 7927 7927 4991467 390361 0 339603 13746 13746 606568 394573 174619 37376 2205941 1434968 635047 135926 198001 128800 57001 12200 304243 197910 87586 18747 264965 172360 76278 16327 15001 11383 3481 137 2096 2096 15000 15000 288453 167812 114887 5754 2335 1235 700 400 249870 202725 38256 8889 10286 9191 932 163 66565 31087 35478 66768 50196 16222 350 48938 43705 3664 1569 4876 4876 1120072 934063 158471 27538 11322 1730 9592 Exhibition fees & expen 215754 192543 19763 3448 Equipment maintenance 170580 150500 17097 2983 Honoraria 136748 103770 31730 1248 books & Publications 22972 22972 31160 17803 8804 4553 6072260 4285168 1494484 292608 464293 603852 256559 37932 1506997 1594435 29301 34586 51327862 12964102 39296778 38363760 1142740 899681 42696668 41534246 535363 422890 53041 49427 588404 472317 X 721614 693733 40843611 39825157 543039 543039 42108264 41061929 42696668 41534246 -1080793 34458 0 X X 0 1 X 1 0 X 14407937 16682096 6141168 4127814 4261503 45620518 264164 949995 1214159 14407937 16682096 6405332 5077809 4261503 46834677 46834677 11754 66020 119692 317451 263894 778811 47835 222479 270314 13272 6126 1960 61 7927 29346 47913148 1999542 0.97750 0.98840 X Schedule A, Part II, Line 10, Explanation of Other Income: Cafe Sales - 2012 Amount: $ 12,988. 2014 Amount: $ 98. Other income - 2012 Amount: $ 284. 2014 Amount: $ 1,362. 2015 Amount: $ 61. 2016 Amount: $ 7,927. Tax refund - 2013 Amount: $ 6,126. Energy rebate - 2014 Amount: $ 500. RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 0 0 0 0 0 0 0 1 2096 2096 0 Part II-B, Line 1: The Queens Museum is part of the NYC Cultural Institutions Group (CIG), a consortium of 33 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 X X provide ongoing education 0 542275 50591 592866 545601 -3326 542275 544820 781 545601 544759 61 544820 544742 17 544759 1.00000 0 0 51030779 12712322 38318457 246264 200961 45303 50819 50819 0 38363760 X 5279919 34458 106565 147429 288452 4991467 0 4991467 6326254 106565 147429 253994 6072260 0 6072260 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 2014. Part XI, Line 2d - Other Adjustments: rental expenses reported on Part VIII, Line 6B: 147,429. Part XII, Line 2d - Other Adjustments: rental expenses reported on Part VIII, Line 6B: 147,429. QMA Annual Gala 493744 167706 326038 4650 18269 51365 500 38145 SPOOKTACULAR EVENT 16306 16306 4250 2686 510050 167706 342344 4650 18269 51365 4750 40831 119865 222479 1 Stipends for teen docent program 26 13451 Staff Stipend 1 295 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 earn 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 Laura Raicovich Executive Director 184610 0 0 0 81 0 20501 0 517 0 205709 0 0 0 Form 990, Part VI, Section A, line 2 Andrew and Paula kirby have a family relationship. Form 990, Part VI, Section B, line 11b The Finance Committee of the Board of Trustees shall receive a paper copy of the Form 990 to review and approve. The Form 990, as approved by the Finance Committee, will be forwarded electronically to the full Board of Trustees for review and comment before it is filed. Form 990, Part VI, Section B, line 12c Trustees must disclose the transaction which likely amounts to an actual or potential conflict of interest to the Board and Executive Committee, and abstain from any discussion about the potential transaction. A trustee with a conflict must recuse themselves from any voting related to the transaction. The Executive Committee will determine whether the Queens Museum can obtain a transaction that is equally or more advantageous to the Museum from a person or entity without a conflict of interest. If the Queens Museum cannot reasonably do so (obtain an equally or more advantageous transaction from a noninterested party), the Board may approve the transaction by a majority vote of the disinterested trustees and the Executive Director. A quorum must be present, meaning a majority of all trustees. The interested trustee may be counted in determining the presence of a quorum but not in determining a majority vote to authorize the transaction. The Queens Museum must disclose the transaction and the voting details in its minutes. This includes the names of the persons present for discussion and voting, the content of the discussion, including any alternatives to the discussion, and a record of any votes taken. The Museum documents the process it undertook to verify that the transaction is fair. Trustees are required to disclose this interest in writing on the Annual Acknowledgement of Code of Ethics and Conflicts of Interest Questionnaire. Form 990, Part VI, Section B, line 15 Compensation is part of the annual budget process which is vetted through 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. Other sources of compensation data used for setting executive compensation included salary surveys of local museum directors, compensation studies prepared by hired consultant, 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 March 2016 for the 7/1/16 - 6/30/17 fiscal year operating budget. 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, Forms 990 and 1023 as well as the financial statements, conflicts of interest policy, articles of incorporation and by-laws are available upon written request 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 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.