2018-05-15T16:32:24-05:00 2017-06-30 410746749 CLIFTONLARSONALLEN LLP 20 E THOMAS RD STE 2300 PHOENIX AZ 85012 990 2016-07-01 860072608 PHOENIX ART MUSEUM PHOE 6022571880 1625 N CENTRAL AVENUE PHOENIX AZ 850041685 DAWN OLSEN DEPUTY DIR OF FINANCE & OPERATIONS 6022571880 2018-05-15 1 STEPHEN E LIVINGSTON CPA P00317845 6022662248 2016 2022-09-23 18:48:47Z DAWN OLSEN 1625 N CENTRAL AVENUE PHOENIX AZ 850041685 12681417 0 X WWW.PHXART.ORG X 1949 AZ WORLD CLASS MUSEUM, SEE SCHEDULE O, PART III EXPLANATIONS. 47 47 252 1560 26073 -13577 8555060 8569427 2616012 2757707 6593 4388 216546 526564 11394211 11858086 0 0 0 0 5488776 5626066 4810 0 1688386 5414631 5483535 10908217 11109601 485994 748485 10958470 8628498 5724651 2681039 5233819 5947459 X SEE SCHEDULE O FOR THE MISSION STATEMENT 0 0 328564 235077 SEE SCHEDULE O FOR DESCRIPTION OF "A NEW REPUBLIC" BY KEHINDE WILEY. 317643 435358 SEE SCHEDULE O FOR DESCRIPTION OF "SAMURAI: ARMOR" FROM THE ANN AND GABRIEL BARBIER-MUELLER COLLECTION. 173990 119716 SEE SCHEDULE O FOR DESCRIPTION OF "EMPHATICS: AVANT-GARDE FASHION, 1963-2013". 73787 109003 SELECTIONS FROM THE SCHORR COLLECTION: LILA AND JOEL HARNETT GALLERY AND ULLMAN CENTER FOR THE ART OF PHILIP C. CURTIS DAVID AND HANNAH LEWIS HAVE SPENT FOUR DECADES CAREFULLY AND PAINSTAKINGLY AMASSING ONE OF THE MOST IMPORTANT COLLECTIONS OF OLD MASTER AND 19TH-CENTURY PAINTINGS IN THE WORLD, AND ONE OF THE LARGEST PRIVATE COLLECTIONS IN THE UNITED KINGDOM. WITH THEIR FIRST PURCHASE IN 1967, THE LEWISES WERE NOT ART EXPERTS, FIRST BEGINNING THEIR COLLECTION FOR THE SOLE PURPOSE OF FINDING ART TO HANG ON THE WALLS OF THEIR NEW HOME IN NORTH LONDON. WHAT WOULD TRANSPIRE WOULD BECOME A PASSION THAT WOULD CONSUME THEIR LIVES FOR DECADES TO COME, AND FOREVER TRANSFORM THE GALLERIES OF MUSEUMS ALL OVER THE WORLD. TODAY, THE SCHORR COLLECTION, NAMED FOR THE FAMILY OF HANNAH LEWIS, NUMBERS MORE THAN 500 WORKS, RANGING FROM TENDER 15TH-CENTURY DEVOTIONAL IMAGES THROUGH TO 19TH-CENTURY FRENCH IMPRESSIONIST LANDSCAPES AND 20TH-CENTURY MODERN MASTERS. RATHER THAN SEQUESTER THE TREASURES OF THEIR COLLECTION AWAY IN PRIVATE GALLERIES, THE LEWIS FAMILY SHARES WORKS FROM THE SCHORR COLLECTION, ONE OF THE LARGEST PRIVATE COLLECTIONS IN THE UNITED KINGDOM, WITH PUBLIC MUSEUMS ON A LONG-TERM BASIS.A RECIPIENT OF LONG-TERM LOANS FROM THE SCHORR COLLECTION IN 2013, PHOENIX ART MUSEUM WILL NOW WELCOME AN ADDITIONAL 30 PAINTINGS. THIS SIGNIFICANT GROUP WILL INCLUDE A FULL-LENGTH 17-CENTURY PORTRAIT BY ANTONY VAN DYCK FROM HIS GENOA PERIOD AND THE GREAT DEATH OF SENECA (C. 1625), BY GERARD VAN HONTHORST. THE NEW WORKS WILL ALSO INCLUDE THREE SERIES BY FRANCISCO GOYA: LOS CAPRICHOS, DISASTERS OF WAR, AND LOS PROVERBIOS (19TH CENTURY). 101282 183000 #10703 DISCOUNT TIRE FAMILY WEEKENDS: JOIN US ON THE SECOND WEEKEND OF EACH MONTH FOR A WHIRLWIND OF GREAT ART AND HANDS-ON ACTIVITIES. THROUGH THE GENEROSITY OF DISCOUNT TIRE COMPANY, THE MUSEUM OFFERS FREE GENERAL ADMISSION ON THE SECOND WEEKEND OF EACH MONTH, WITH EXCITING ACTIVITIES, SCAVENGER HUNTS, LIVE PERFORMANCES, STORY TIME, FREE TOURS, AND MORE. EACH DISCOUNT TIRE FREE FAMILY WEEKEND FEATURES AN OPPORTUNITY TO LEARN ABOUT AND MAKE ART WITH A FEATURED LOCAL VALLEY ARTIST, FROM MURALISTS TO DANCERS AND MORE. OPEN TO THE PUBLIC ON SATURDAY FROM 10 A.M. - 5 P.M. AND SUNDAY FROM NOON - 5 P.M. 70505 6345 EDWARD BURTYNSKY: WATER: WATER FEATURES CANADIAN ARTIST EDWARD BURTYNSKY'S EXPLORATION OF HUMANITY'S INCREASINGLY STRESSED RELATIONSHIP WITH THE WORLD'S MOST VITAL NATURAL RESOURCE. BETWEEN 2007 AND 2012, BURTYNSKY TRAVELLED THE GLOBE, FROM THE GULF OF MEXICO TO THE SHORES OF THE GANGES, CRAFTING AN AMBITIOUS REPRESENTATION OF WATER'S INCREASINGLY FRAGMENTED LIFECYCLE. IN ENORMOUS, COLOR PRINTS BURTYNSKY'S AERIAL IMAGES TRACE THE VARIOUS ROLES THAT WATER PLAYS IN MODERN LIFE-AS A SOURCE OF HEALTHY ECOSYSTEMS AND ENERGY, AS A KEY ELEMENT IN CULTURAL AND RELIGIOUS RITUALS, AND AS A RAPIDLY DEPLETING RESOURCE. SOMETIMES ELEGANT, SOMETIMES HAUNTING, THE ABSTRACT PICTURES HOVER BETWEEN THE WORLDS OF PAINTING AND PHOTOGRAPHY, FORMING A COMPELLING GLOBAL PORTRAIT OF WATER THAT FUNCTIONS AS AN OPEN-ENDED QUESTION ABOUT HUMANITY'S PAST, PRESENT, AND FUTURE RELATIONSHIP WITH THE NATURAL WORLD. 69053 20719 THE PROPELLER GROUP: AN ARTIST TEAM BASED IN HO CHI MINH CITY, VIETNAM-BLURS THE BOUNDARIES BETWEEN FINE ART AND MEDIA PRODUCTION. TWO OF THE GROUP'S MEMBERS, MATT LUCERO, AND TUAN ANDREW NGUYEN, STUDIED AT CALIFORNIA INSTITUTE OF THE ARTS IN VALENCIA, CALIFORNIA WITH DANIEL JOSEPH MARTINEZ. ALONG WITH PHUNAM, THE THIRD MEMBER, THEY SHARE AN INTEREST IN GLOBALIZED STREET CULTURE AND A BACKGROUND IN FILMMAKING. WITH THIS TRAINING, THEY OPERATE AS BOTH AN ARTIST COLLECTIVE AND A PRODUCTION COMPANY NAMED TPG. THEIR AMBITIOUS PROJECTS ARE FREQUENTLY ANCHORED IN VIETNAM'S HISTORY OR ITS CURRENT DYNAMICS AS A GROWING CAPITALIST MARKET, AND YET THEY EXTEND TO ADDRESS GLOBAL PHENOMENA, WHETHER INTERNATIONAL COMMERCE, THE TOOLS OF WAR, OR SHARED TRADITIONS ACROSS CULTURES. WORKING IN INNOVATIVE WAYS, THE PROPELLER GROUP HAS DEVELOPED A MODEL THAT MERGES COLLABORATIVE, CONCEPTUAL ART PRACTICES-PARTIALLY STEEPED IN THE POLITICALLY INFLECTED ARTWORK OF THE 1990S-WITH THE FORMS AND METHODS OF POPULAR MEDIA TODAY.THE PROPELLER GROUP'S EXHIBITION AT PHOENIX ART MUSEUM PRESENTS A NUMBER OF MULTI-PART PROJECTS FROM THE PAST FIVE YEARS, COMPRISED OF VIDEOS AND RELATED OBJECTS. FADE IN TRACKS THE FAKE ANTIQUES TRADE IN VIETNAM. THE LIVING NEED LIGHT, THE DEAD NEED MUSIC IS A FILM THAT WEAVES TOGETHER FUNERARY TRADITIONS FROM HO CHI MINH CITY AND NEW ORLEANS. OTHER RECENT WORKS SCRUTINIZE THE HISTORIES OF SPECIFIC WEAPONS: NAMELY THE AK-47 AND M16, TWO RIFLES THAT IN MAINSTREAM MOVIES ARE OFTEN ASSOCIATED WITH VIETNAM AND COUNTRIES IN THE WEST, RESPECTIVELY. THIS IS THE FIRST TIME THAT THESE PROJECTS HAVE BEEN SHOWN TOGETHER SINCE THE GROUP WAS FORMED IN 2006. 55262 75000 HORACIO ZABALA: HORACIO ZABALA (ARGENTINA, B.1943) IS RECOGNIZED AS ONE OF THE MOST IMPORTANT CONCEPTUAL ARTISTS TO EMERGE IN ARGENTINA DURING THE LATTER PART OF THE 20TH CENTURY. EDUCATED AS AN ARCHITECT BUT ACTIVE AS AN ARTIST SINCE THE LATE 1960S, HE HAS LONG BEEN FASCINATED BY THE MEANS BY WHICH SPACE IS DEFINED, BE IT ARCHITECTURAL, CARTOGRAPHIC, OR NARRATIVE.IN THE EARLY 1970S, ZABALA PRODUCED A SERIES OF MAPS OF LATIN AMERICA THAT HE GRAPHICALLY MODIFIED TO REFLECT ARGENTINA'S SOCIO-POLITICAL TURMOIL UNDER REPRESSIVE MILITARY DICTATORSHIPS. HE BEGAN THIS EXPERIMENTATION BY OBSCURING MAPS OF THE REGION WITH MONOCHROMATIC RECTANGLES OF BLACK, BLUE, OR RED PAINT. HE ALSO MADE MAPS INVISIBLE BY THE PROLIFERATION OF THE WORD "CENSORED" RUBBER-STAMPED ACROSS THEIR SURFACES; MAPS WITH ABSENCES CREATED BY BURNING GAPING HOLES THROUGH THE PAPER; AND HAND-DRAWN MAPS OF LATIN AMERICAN LAND MASSES CRUMBLING INTO THE SEA FROM INSIDE OUT.TO ESCAPE PERSECUTION, ZABALA MOVED HIS FAMILY TO EUROPE IN 1976. HE RETURNED TO ARGENTINA IN 1998 AND TOOK UP WHERE HE LEFT OFF, WITH THE IDEA OF MAPPING SPACE, BUT NOW THROUGH A DIFFERENT IDIOM: MONOCHROMATIC PAINTINGS ARRANGED IN SEQUENCES ACCOMPANIED BY MATHEMATICAL SIGNS OR PUNCTUATION MARKS. THE MONOCHROME SEEN IN HIS EARLY MAPS HAS NOW BECOME UNTETHERED FROM GEOGRAPHY. ZABALA TITLES THESE PUNCTUATED MONOCHROMES HYPOTHESES, SUGGESTING THAT THEY CONSTITUTE ONLY ONE POSSIBLE SOLUTION AMONG MANY OTHERS: THESE WORKS PRESENT VIEWERS WITH AN INVITATION TO VISUALIZE PAINTING AS INEXTRICABLY LINKED TO OTHER SYSTEMS OF LOGIC AND REASON, EVEN BEYOND MATH AND LANGUAGE.FEATURING MAPS, MONOCHROMES, AND SCULPTURES, THE EXHIBITION HORACIO ZABALA: MAPPING THE MONOCHROME PRESENTS A CROSS-SECTION OF ZABALA'S WORK, BOTH HISTORICAL AND CONTEMPORARY. IT ILLUSTRATES HIS CONTINUOUS EXPLORATION OF INNOVATIVE WAYS TO ENGAGE VIEWERS WITH ART OBJECTS THAT ARE IMMEDIATELY ACCESSIBLE BECAUSE THEY ARE FAMILIAR TO US, BUT ALTERED TO REFLECT DEEPER SOCIO-POLITICAL UNDERCURRENTS OR REFERENCES TO ART HISTORICAL TRADITIONS ON AN INTERNATIONAL SCALE. 5636514 1183452 REMAINING MEMBERSHIP AND OTHER PROGRAM REVENUES AND EXPENSES OF THE MUSEUM THAT HAVE NOT BEEN ALLOCATED TO A SPECIFIC EXHIBIT. 719609 GIFT SHOP AND MUSEUM STORE - DESIGNED TO GIVE VISITORS A MORE IN DEPTH KNOWLEDGE OF THE VISUAL ARTS AND OF THE SUBJECTS DISCUSSED IN THE MUSEUM'S COLLECTIONS AND EXHIBITIONS. THE EDUCUATIONAL MERCHANDISE, UNIQUE MEMORABILIA AND EXHIBITION SPECIFIC ITEMS ALLOW FOR THE CONTINUATION OF THE MUSEUM EXPERIENCE AT HOME. 6006403 2297128 6826600 1 1 0 0 0 0 0 1 0 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 0 1 1 0 0 0 1 1 1 0 0 1 81 0 1 252 1 1 1 0 0 0 0 1 1 0 0 0 0 X 47 47 0 0 0 0 1 1 0 1 1 0 0 1 1 1 1 1 1 1 1 0 AZ X DAWN OLSEN 6022572111 1625 N CENTRAL AVENUE PHOENIX AZ 850041685 MIKE COHN CHAIRMAN 1.00 1.00 X X 0 0 0 JON HULBURD VICE CHAIRMAN 1.00 X X 0 0 0 ROSELLEN PAPP VICE CHAIRMAN 1.00 1.00 X X 0 0 0 MARK FELDMAN TREASURER 1.00 1.00 X X 0 0 0 ALICE BAZLEN SECRETARY 1.00 X X 0 0 0 TONY ASTORGA TRUSTEE 1.00 X 0 0 0 RYAN BACKLUND TRUSTEE 1.00 1.00 X 0 0 0 PETER BANKO TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 DEBBIE BERGE TRUSTEE (LEFT 8/2016) 1.00 X 0 0 0 MICHAEL BILL TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 MATTHEW BOLAND TRUSTEE 1.00 X 0 0 0 JOHN BOUMA TRUSTEE 1.00 X 0 0 0 DONALD BRANDT TRUSTEE 1.00 X 0 0 0 JO BRANDT TRUSTEE 1.00 X 0 0 0 LARRY CLEMMENSEN TRUSTEE 1.00 X 0 0 0 AMY COHN TRUSTEE 1.00 X 0 0 0 JOAN CREMIN TRUSTEE 1.00 X 0 0 0 DENISE DELGADO TRUSTEE 1.00 X 0 0 0 EILEEN ELLIOTT TRUSTEE 1.00 X 0 0 0 CARTER EMERSON TRUSTEE 1.00 X 0 0 0 ERIN GOGOLAK TRUSTEE 1.00 X 0 0 0 RICHARD GOLDSMITH TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 PAUL GROVES TRUSTEE 1.00 X 0 0 0 DR MERYL HABER TRUSTEE 1.00 X 0 0 0 DIANE HALLE TRUSTEE 1.00 X 0 0 0 NANCY HANLEY TRUSTEE 1.00 X 0 0 0 TIM JONES TRUSTEE 1.00 X 0 0 0 JANE JOZOFF TRUSTEE 1.00 X 0 0 0 ELLEN KATZ TRUSTEE 1.00 X 0 0 0 KEN KENDRICK TRUSTEE 1.00 X 0 0 0 MARGOT KNIGHT TRUSTEE 1.00 X 0 0 0 ALAN W KOSLOFF TRUSTEE 1.00 X 0 0 0 JOE LAMPE TRUSTEE 1.00 X 0 0 0 SALLY LEHMANN TRUSTEE 1.00 X 0 0 0 DAVID LENHARDT TRUSTEE 1.00 X 0 0 0 SHARRON LEWIS TRUSTEE 1.00 X 0 0 0 K DAVID LINDER TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 JUDY LINHART TRUSTEE 1.00 X 0 0 0 LORI MASSEY TRUSTEE 1.00 X 0 0 0 GARRETT MCKNIGHT TRUSTEE 1.00 X 0 0 0 FRANCIS NAJAFI TRUSTEE 1.00 X 0 0 0 PATRICIA NOLAN TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 DORIS ONG TRUSTEE 1.00 X 0 0 0 JIM PATTERSON TRUSTEE 1.00 X 0 0 0 STEVE RINEBERG TRUSTEE (LEFT 1/2017) 1.00 X 0 0 0 DAVID ROUSSEAU TRUSTEE 1.00 X 0 0 0 DEANNA SALAZAR TRUSTEE 1.00 X 0 0 0 JAY SCHLOTT TRUSTEE 1.00 X 0 0 0 SUE SELIG TRUSTEE 1.00 X 0 0 0 ANN SINER TRUSTEE 1.00 X 0 0 0 ADAM SINGER TRUSTEE 1.00 X 0 0 0 ANGELA C SINGER TRUSTEE 1.00 X 0 0 0 RAYMOND SLOMSKI TRUSTEE 1.00 X 0 0 0 MARK TARBELL TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 GARY TOOKER TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 MEREDITH VON ARENTSCHILDT TRUSTEE 1.00 X 0 0 0 WILLIAM G WAY TRUSTEE (LEFT 9/2016) 1.00 X 0 0 0 AMANDA CRUZ SYBIL HARRINGTON DIRECTOR, CEO 37.50 X 293610 0 23425 KIRSTEN PETERSON JOHANSEN DEPUTY DIRECTOR, ADVANCEMENT 37.50 X 236970 0 5729 DAWN OLSEN DEPUTY DIR, FINANCE AND OPERATIONS 37.50 X 200000 0 0 GILBERT VICARIO THE SELIG FAMILY CHIEF CURATOR 37.50 X 124306 0 6691 JAMES BALLINGER DIRECTOR EMERITUS 37.50 X 200000 0 0 1054886 0 35845 5 0 1 0 STABAARTE 494 BROADWAY NEWPORT RI 20840 STORAGE SOLUTIONS 322306 MERCHANTS BUILDING MAINTENANCE LLC 1190 MONTEREY PASS ROAD MONTEREY PARK CA 91754 MERCHANTS BUILDING MAINTENANCE 207506 MASTERPIECE INTERNATIONAL LTD 39 BROADWAY 14TH FLOOR NEW YORK NY 10006 SHIPPING 178645 BENTZWHALEY FLESSNER AND ASSOCIATES IN 7251 OHMS LAND MINNEAPOLIS MN 55439 CONSULTANT 146008 DESIGN DRYWALL WEST INC 405 SOUTH CLARK DRIVE TEMPE AZ 85281 CONSTRUCTION 118066 15 832459 1341458 987248 112291 5295971 802277 8569427 ADMISSIONS 900099 1188450 1188450 MEMBERSHIP DUES 900099 1104708 1104708 PROGRAM SERVICE REVENUE 900099 464549 464549 2757707 4388 4388 290371 1341458 433294 -142923 -142923 719609 390037 329572 329572 REIMBURSEMENTS 900099 313842 313842 CATERING 722320 26073 26073 339915 11858086 3087279 26073 175307 1099441 398307 396280 304854 3976931 2614889 872620 489422 -445337 -261668 -183106 -563 607492 405226 135475 66791 387539 237526 100777 49236 91143 72797 18346 29200 29200 735121 342222 139883 253016 299209 283191 9959 6059 851768 548916 196059 106793 83112 29584 53528 853329 181121 594701 77507 197503 143263 9786 44454 9719 5630 999 3090 16954 16954 540752 502900 16222 21630 122154 93182 28487 485 EXHIBITION FEES 530546 522780 7766 PRODUCTION AND EXHIBITI 359485 353713 2754 3018 CATERING AND HOSPITALIT 173639 57875 3342 112422 DUES AND SUBSCRIPTIONS 133351 76961 21934 34456 456550 290982 75964 89604 11109601 6826600 2594615 1688386 757027 587487 2250132 916272 2202755 1846315 260626 150074 364009 353298 166064 151367 15481461 11300609 4524839 4180852 433018 442833 10958470 8628498 1139238 948384 524414 382842 2114230 663872 1946769 685941 5724651 2681039 X 397009 1128312 4836810 4819147 5233819 5947459 10958470 8628498 X 748485 -34845 X X 0 1 X 1 0 X 5491850 6348004 10735711 8555060 8569427 39700052 4693127 4892897 4712695 4636914 5132833 24068466 10184977 11240901 15448406 13191974 13702260 63768518 631788 63136730 7982 4777 3665 6543 4388 27355 28053 5749 438 34240 143872 161260 139746 146194 313842 904914 64735027 21033001 0.97530 0.98660 X SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: REIMBURSEMENTS RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X 1 24918790 1278867 2287324 1171983 27312998 25022737 1592609 -511232 1124472 60852 24918790 25422566 5259560 31541 1268464 4400308 22158 25022737 23739569 295894 2777782 1324623 66056 25422566 22949075 193587 2028519 1350242 81370 23739569 1.00000 0 1 1 699253 699253 10790751 7911547 2879204 3991457 3389062 602395 4180852 CHARITABLE GIFT ANNUITIES 409339 DUE FROM RELATED PARTIES 33494 442833 CHARITABLE GIFT ANNUITIES 335314 ACCRUED PENSION 111044 SUPPLEMENTAL RETIREMENT ACCOUNT 239583 685941 PART III, LINE 1A: FINE ARTS COLLECTION CONSISTS OF PURCHASED AND DONATED WORKS OF ART. THE COLLECTION IS ON DISPLAY TO THE GENERAL PUBLIC. THE MUSEUM EMPLOYS PROFESSIONAL STAFF TO ENSURE THAT THE COLLECTION ITEMS ARE PRESERVED AND PROTECTED. THE COLLECTION ITEMS ARE NOT CAPITALIZED BY THE MUSEUM. COSTS OF PURCHASING COLLECTION ITEMS, DEACCESSIONS OF COLLECTION ITEMS, AND PROCEEDS FROM INSURANCE RECOVERIES ARE INCLUDED AS A CHANGE IN THE APPROPRIATE CATEGORY OF NET ASSETS. PROCEEDS FROM THE DEACCESSION OF COLLECTION ITEMS ARE RESTRICTED FOR PURCHASES OF ADDITIONAL COLLECTION ITEMS. ACQUISITIONS OF FINE ART, INCLUDED AS A DECREASE IN UNRESTRICTED NET ASSETS, TOTALED $34,845 AND $251,244 OR THE YEARS ENDED JUNE 30, 2017 AND 2016, RESPECTIVELY. THE AMERICAN ALLIANCE OF MUSEUMS (AAM) WHICH IS THE NATIONAL ACCREDITATION ORGANIZATION FOR MUSEUMS HAS A POLICY RELATED TO MUSEUM COLLECTIONS. THEIR POLICY IS THAT MUSEUMS DO NOT HAVE TO LIST THEIR COLLECTION AS AN ASSET ON THEIR FINANCIAL STATEMENTS. IF A MUSEUM DOES ELECT TO LIST ITS COLLECTION ON ITS FINANCIAL STATEMENTS, IT MUST BE BASED ON A RECENT APPRAISAL OF THE COLLECTION. THE MUSEUM HAS ELECTED TO EXPENSE CONTRIBUTIONS WHEN OBTAINED, AND HAS NOT CAPITALIZED THE COLLECTION. PART V, LINE 4: THE MUSEUM HAS VARIOUS FUNDS THAT ARE DESIGNATED FOR RESTRICTED PURPOSES SUCH AS EXHIBITION COSTS, EDUCATION PROGRAMS, ART CONSERVATION, AND EDUCATOR AND CURATOR SALARIES AND BENEFITS. OTHER FUNDS ARE USED EACH YEAR AS PER THE WISHES OF THE MUSEUM DIRECTOR. WE ALSO HAVE FUNDS THAT ARE CONTROLLED BY OUR SUPPORT ORGANIZATIONS, USUALLY FOR THE ACQUISITION OF NEW ART FOR THE MUSEUM. THE PARTY 626077 560327 65750 58000 57965 26100 9069 INDEPENDENT WOMENS LUNCHEON 536069 413563 122506 89956 38575 3643 4848 5 469683 367568 102115 53000 81087 2386 8665 1631829 1341458 290371 200956 177627 32129 22582 433294 -142923 X X X 1 1 0 0 0 0 0 0 0 AMANDA CRUZ SYBIL HARRINGTON DIRECTOR, CEO 293610 0 0 0 0 0 11077 0 12348 0 317035 0 0 0 KIRSTEN PETERSON JOHANSEN DEPUTY DIRECTOR, ADVANCEMENT 236970 0 0 0 0 0 0 0 5729 0 242699 0 0 0 DAWN OLSEN DEPUTY DIR, FINANCE AND OPERATIONS 200000 0 0 0 0 0 0 0 0 0 200000 0 0 0 JAMES BALLINGER DIRECTOR EMERITUS 75000 0 0 0 125000 0 0 0 0 0 200000 0 0 0 PART I, LINES 4A-B JAMES BALLINGER RECEIVED A SEVERANCE AMOUNT OF $125,000 DURING THE YEAR. HE ALSO, PURSUANT TO AN EMPLOYMENT AGREEMENT, PARTICIPATES IN A SUPPLEMENTAL RETIREMENT PLAN. THE AMOUNT ACCRUED BY THE MUSEUM UNDER THIS EMPLOYMENT AGREEMENT WAS $239,583 AS OF 6/30/2017. X 421 N/A X 13 601321 FMV X FR AUCTION ITEMS 105 200956 FMV 3 0 1 0 PART I, COLUMN (B): THE NUMBER OF CONTRIBUTIONS ARE LISTED IN COLUMN B. PART I, LINE 33: THE MUSEUM HAS A LARGE COLLECTION OF FINE ART BUT DOES NOT CAPITALIZE OR VALUE ITS COLLECTION, SO GIFTS OF ART ARE NOT INCLUDED IN REVENUE. FORM 990, PART III, LINE 1 PHOENIX ART MUSEUM IS A VIBRANT DESTINATION CONNECTING PEOPLE TO GREAT ART FROM AROUND THE WORLD TO ENRICH THEIR LIVES AND COMMUNITIES. THIS VISION IS SUPPORTED BY FOUR STRATEGIC PILLARS WHICH ARE: 1. EXCEPTIONAL ART - TO CELEBRATE THE HIGHEST QUALITY VISUAL ART THROUGH OUTSTANDING EXHIBITIONS, ACQUISITIONS AND COLLECTION STEWARDSHIP. 2. ENRICHMENT AND LEARNING - TO CREATE A NATIONALLY RECOGNIZED MODEL FOR ENHANCING EXPERIENCE OF THE VISUAL ARTS THROUGH INTERPRETATION, ENGAGED LEARNING, AND ENRICHMENT. 3. BROAD AUDIENCE - TO ATTRACT THE BROADEST POSSIBLE AUDIENCE TO THE MUSEUM AS CONSISTENT AND ENTHUSIASTIC PARTICIPANTS. 4. FISCAL STABILITY AND ORGANIZATIONAL EXCELLENCE - TO ACHIEVE AND MAINTAIN A STRONG FINANCIAL FOUNDATION. FORM 990, PART III, LINE 4A KEHINDE WILEY: A NEW REPUBLIC: KEHINDE WILEY IS ONE OF THE LEADING AMERICAN ARTISTS TO EMERGE IN THE LAST DECADE AND HE HAS BEEN INGENIOUSLY REWORKING THE GRAND PORTRAITURE TRADITIONS. SINCE ANCIENT TIMES THE PORTRAIT HAS BEEN TIED TO THE REPRESENTATION OF POWER, AND IN EUROPEAN COURTS AND CHURCHES, ARTISTS AND THEIR PATRONS DEVELOPED A COMPLEX REPOSITORY OF POSTURES AND POSES AND REFINED A SYMBOLIC LANGUAGE. THIS LANGUAGE, WOVEN INTO ALL ASPECTS OF A PORTRAIT, DESCRIBED THE SITTER'S INFLUENCE AND POWER, VIRTUE AND CHARACTER, OR PROFESSION. IN HIS CONSIDERATION OF PORTRAIT TRADITIONS, WILEY HAS BEEN ESPECIALLY DRAWN TO THE GRAND ARISTOCRATIC PORTRAITS OF THE 18TH CENTURY. THE ARTIST BEGAN HIS FIRST SERIES OF PORTRAITS IN THE EARLY 2000S DURING A RESIDENCY AT THE STUDIO MUSEUM IN HARLEM. HE SET OUT TO PHOTOGRAPH AND RECAST ASSERTIVE AND SELF-EMPOWERED YOUNG MEN FROM THE NEIGHBORHOOD IN THE STYLE AND MANNER OF TRADITIONAL HISTORY PAINTING. SINCE THEN HE HAS ALSO PAINTED RAP AND SPORTS STARS BUT FOR THE MOST PART HIS ATTENTION HAS FOCUSED ON ORDINARY MEN OF COLOR IN THEIR EVERYDAY CLOTHES. TRAINED AT YALE IN THE 1990S, WILEY WAS STEEPED IN THE DISCUSSIONS CONCERNING IDENTITY POLITICS DURING THIS DECADE AND HE BRINGS HIS PERSONAL INSIGHTS AND THEORETICAL STUDIES TO HIS PRACTICE. WILEY'S PORTRAITS ARE HIGHLY STYLIZED AND STAGED, AND DRAW ATTENTION TO THE DIALECTIC BETWEEN A HISTORY OF ARISTOCRATIC REPRESENTATION AND THE PORTRAIT AS A STATEMENT OF POWER AND THE INDIVIDUAL'S SENSE OF EMPOWERMENT. THE WORKS PRESENTED IN KEHINDE WILEY: A NEW REPUBLIC RAISE QUESTIONS ABOUT RACE, GENDER, AND THE POLITICS OF REPRESENTATION BY PORTRAYING CONTEMPORARY AFRICAN AMERICAN MEN AND WOMEN USING THE CONVENTIONS OF TRADITIONAL EUROPEAN PORTRAITURE. THE EXHIBITION INCLUDES AN OVERVIEW OF THE ARTIST'S PROLIFIC FOURTEEN-YEAR CAREER AND FEATURES SIXTY PAINTINGS AND SCULPTURES. THROUGH THE PROCESS OF "STREET CASTING," WILEY INVITES INDIVIDUALS, OFTEN STRANGERS HE ENCOUNTERS ON THE STREET, TO SIT FOR PORTRAITS. IN THIS COLLABORATIVE PROCESS, THE MODEL CHOOSES A REPRODUCTION OF A PAINTING FROM A BOOK AND REENACTS THE POSE OF THE PAINTING'S FIGURE. BY INVITING THE SUBJECTS TO SELECT A WORK OF ART, WILEY GIVES THEM A MEASURE OF CONTROL OVER THE WAY THEY'RE PORTRAYED, ALLOWING THEM TO HAVE A VOICE IN THE TELLING OF THEIR INDIVIDUAL, UNIQUE STORY. FORM 990, PART III, LINE 4B SAMURAI: ARMOR FROM THE ANN AND GABRIEL BARBIER-MUELLER COLLECTION: TAKES VISITORS ON A JOURNEY BACK IN TIME TO DISCOVER THE LIFE, CULTURE, AND PAGEANTRY OF THE REVERED AND FEARED JAPANESE SAMURAI WARRIORS THROUGH REMARKABLE OBJECTS FROM ONE OF THE BEST AND LARGEST COLLECTIONS IN THE WORLD. THE EXHIBITION, ORGANIZED BY THE ANN & GABRIEL BARBIER-MUELLER MUSEUM IN DALLAS, TEXAS, FEATURES MORE THAN 140 OBJECTS OF WARRIOR REGALIA, WITH FULL SUITS OF ARMOR, HELMETS AND MASKS, WEAPONS, HORSE TACK, AND OTHER BATTLE GEAR. IT TRACES THE EVOLUTION OF THE DISTINCTIVE APPEARANCE AND EQUIPMENT OF THE SAMURAI THROUGH THE CENTURIES AND EXAMINES THE WARRIORS' HISTORY THROUGH WORKS OF CONSUMMATE CRAFTSMANSHIP AND EXQUISITE DESIGN. DURING THE CENTURIES COVERED BY THE EXHIBITION, WARFARE EVOLVED FROM COMBAT BETWEEN SMALL BANDS OF EQUESTRIAN ARCHERS TO THE CLASH OF VAST ARMIES OF INFANTRY AND CAVALRY EQUIPPED WITH SWORDS, SPEARS, AND EVEN MATCHLOCK GUNS. ARMS AND ARMOR WERE NEEDED IN UNPRECEDENTED QUANTITIES, AND CRAFTSMEN RESPONDED WITH AN ASTONISHINGLY VARIED ARRAY OF ARMOR THAT WAS BOTH FUNCTIONAL AND VISUALLY SPECTACULAR, A CELEBRATION OF THE WARRIOR'S PROWESS. EVEN AFTER 1615, WHEN THE TOKUGAWA MILITARY DICTATORSHIP BROUGHT AN END TO BATTLE, SAMURAI FAMILIES CONTINUED TO COMMISSION SPLENDID ARMS AND ARMOR FOR CEREMONIAL PURPOSES. BECAUSE THE SOCIAL RANK, INCOME, AND PRESTIGE OF A SAMURAI FAMILY WERE STRICTLY DETERMINED BY THE BATTLEFIELD VALOR OF THEIR ANCESTORS, ARMOR BECAME EVEN MORE SUMPTUOUS AS THE EMBODIMENT OF AN ELITE WARRIOR FAMILY'S HERITAGE. THE EXHIBITION IS ACCOMPANIED BY A FULLY-ILLUSTRATED CATALOG, ART OF ARMOR: SAMURAI ARMOR FROM THE ANN AND GABRIEL BARBIER-MUELLER COLLECTION, WITH ESSAYS BY LEADING JAPANESE SAMURAI ARMOR EXPERTS. FORM 990, PART III, LINE 4C EMPHATICS: AVANT-GARDE FASHION, 1963-2013: LAST YEAR, PHOENIX ART MUSEUM ACQUIRED A RARE ARCHIVE OF AVANT-GARDE CONTEMPORARY FASHIONS AND EPHEMERA COLLECTED BY JAMES AND KARIN LEGATO WHO OWNED AND OPERATED EMPHATICS, AN EXCLUSIVE BOUTIQUE IN PITTSBURGH. THIS COMPREHENSIVE ARCHIVE FEATURES FASHIONS AND ACCESSORIES BY RENOWNED DESIGNERS SUCH AS ALEXANDER MCQUEEN, ISSEY MIYAKE, THIERRY MUGLER, JOHN GALLIANO, ROMEO GIGLI, ALAIA AND JEAN PAUL GAULTIER WITH ORIGINAL RUNWAY SHOW INVITATIONS, VIDEOS AND OTHER MATERIALS AND ACCESSORIES. ON VIEW TOGETHER FOR THE FIRST TIME, THIS EXHIBITION CELEBRATES THE ENORMOUS CREATIVITY OF FASHION FROM 1963-2013 IN A DYNAMIC, MULTI-MEDIA INSTALLATION. FORM 990, PART VI, SECTION A, LINE 6 THE MUSEUM HAS A MEMBERSHIP PROGRAM THAT CURRENTLY HAS 8,031 MEMBERS. REGULAR MEMBERS AND CIRCLES MEMBERS, EACH GET ONE VOTE FORM 990, PART VI, SECTION A, LINE 7A MEMBERS OF THE GOVERNING BODY (BOARD OF TRUSTEES) ARE NOMINATED BY THE MUSEUM'S NOMINATING COMMITTEE AND THEN ARE VOTED UPON BY THE MUSEUM MEMBERSHIP. FORM 990, PART VI, SECTION B, LINE 11B THE RETURN WILL BE PROVIDED TO EACH BOARD MEMBER TO READ AND EACH WILL BE GIVEN THE OPPORTUNITY TO ASK QUESTIONS. FORM 990, PART VI, SECTION B, LINE 12C THE MUSEUM'S GUIDELINES FOR PROFESSIONAL PRACTICES QUESTIONNAIRE AND COMPLIANCE AGREEMENT IS REQUIRED TO BE COMPLETED AND SIGNED BY TRUSTEES, PRESIDENTS OF SUPPORT ORGANIZATIONS, MUSEUM DIRECTOR, DIVISION HEADS, DEPARTMENT HEADS, AND ALL ACCOUNTING STAFF ANNUALLY. THIS PROCESS IS DONE EVERY YEAR IN SEPTEMBER. THE COMPLETED AND SIGNED AGREEMENTS ARE REVIEWED BY HUMAN RESOURCES MANAGER FOR COMPLETENESS. ANY QUESTION THAT ARISES IS DISCUSSED WITH THE INDIVIDUAL SIGNING THE AGREEMENT. FORM 990, PART VI, SECTION B, LINE 15 DATA FROM OTHER MUSEUMS IS USED TO EVALUATE COMPENSATION FOR THE CEO, INCLUDING FROM THE AMERICAN ASSOCIATION OF MUSEUM DIRECTORS. THE EXECUTIVE COMMITTEE MAKES THE DECISION. DECISIONS MADE DURING BUDGET PROCESS. LAST PERFORMED MARCH 2017. FOR DETERMINING THE COMPENSATION OF OTHER OFFICERS OR KEY EMPLOYEES, COMPARISONS ARE MADE WITH OTHER MUSEUMS. DECISIONS MADE DURING BUDGET PROCESS BY THE CEO. LAST PERFORMED MARCH 2017. FORM 990, PART VI, SECTION C, LINE 19 THE ORGANIZATION FINANCIAL STATEMENTS ARE AVAILABLE ON THE WEBSITE AND THE ORGANIZATION MAKES ITS GOVERNING DOCUMENTS AND CONFLICT OF INTEREST POLICY AVAILABLE UPON REQUEST. FORM 990, PART XI, LINE 9: ACQUISITION OF FINE ART ACQUISITION OF FINE ART -34,845. FORM 990, PART XII, LINE 2C THE ORGANIZATION HAS NOT CHANGED ITS OVERSIGHT PROCESS FOR THE AUDIT OR ITS SELECTION PROCESS FOR INDEPENDENT AUDITORS DURING THE YEAR. PHOENIX ART MUSEUM ENDOWMENT FUND INC 1625 N CENTRAL AVENUE PHOENIX AZ 850041685 860765761 FINANCIAL SUPPORT OF PHOENIX ART MUSEUM AZ 501(C)(3) LINE 12A, I PHOENIX ART MUSEUM 1 0 0 1 0 0 0 0 0 0 0 0 1 0 1 1 0 1 1 1 PHOENIX ART MUSEUM ENDOWMENT FUND C 987248 FAIR MARKET VALUE