2016-05-12T16:08:19-05:00 2015-06-30 410746749 CLIFTONLARSONALLEN LLP 20 E THOMAS RD STE 2300 PHOENIX AZ 85012 990 2014-07-01 860072608 PHOENIX ART MUSEUM PHOE 6022571880 1625 N CENTRAL AVENUE PHOENIX AZ 850041685 GARY EGAN DEPUTY DIRECTOR OF FINANCE & ADMIN 6022571880 2016-04-25 1 STEPHEN E LIVINGSTON CPA P00317845 6022662248 2014 2016-08-17 19:52:53Z GARY EGAN 1625 N CENTRAL AVENUE PHOENIX AZ 850041685 15227934 0 X WWW.PHXART.ORG X 1949 AZ WORLD CLASS MUSEUM, SEE SCHEDULE O, PART III EXPLANATIONS. 47 47 199 2839 34146 438 6348004 10735711 3176952 2754195 7505 3665 1004990 -183937 10537451 13309634 0 0 0 0 4557467 5628459 0 0 1150337 6663939 5263808 11221406 10892267 -683955 2417367 9557942 9468365 6317321 4469296 3240621 4999069 X SEE SCHEDULE O 0 0 410700 177213 SEE SCHEDULE O 310070 239701 SEE SCHEDULE O 239237 3565 SEE SCHEDULE O 186830 195000 EMPHATICS ARCHIVE AQUISITIONPHOENIX ART MUSEUM IS PROUD TO ANNOUNCE THE RECENT ACQUISITION OF THE "EMPHATICS" ARCHIVE, A RARE COLLECTION OF AVANT-GARDE CONTEMPORARY FASHIONS COLLECTED BY JAMES AND KARIN LEGATO. THE LEGATOS SPENT DECADES BUILDING AND CURATING "EMPHATICS," (ONE OF THE COUNTRY'S PREMIERE DESIGNER RETAILERS LOCATED IN PITTSBURGH, PA) AND AFTER 50 YEARS OF OPERATING THE EXCLUSIVE BOUTIQUE, THEY DECIDED TO CLOSE THE STORE AND BOLSTER ITS LEGACY BY OFFERING THEIR COLLECTION TO PHOENIX ART MUSEUM FOR PURCHASE. A GROUP OF DEDICATED PATRONS CAME TOGETHER TO SUPPORT THIS LANDMARK ACQUISITION."WE ARE THRILLED TO BE PASSING THE "EMPHATICS" ARCHIVES ONTO PHOENIX ART MUSEUM'S FASHION DESIGN COLLECTION. FROM ITS DIVERSE ROSTER OF EXHIBITIONS AND PROGRAMS TO THE GENEROUS SUPPORT FROM ITS COMMUNITY, WE ADMIRE THE MUSEUM'S LONGSTANDING LEGACY OF CELEBRATING FASHION AS ART AND ARE PROUD THAT OUR COLLECTION WILL BE CELEBRATED FOR YEARS TO COME." - KARIN LEGATO THE "EMPHATICS" ARCHIVES INCLUDE OVER 400 ICONIC FASHIONS AND ACCESSORIES BY WORLD RENOWNED DESIGNERS SUCH AS ALEXANDER MCQUEEN, ISSEY MIYAKE, THIERRY MUGLER, JOHN GALLIANO, ROMEO GIGLI, CHRISTIAN LACROIX, ALAIA, AND JEAN PAUL GAULTIER AMONG OTHERS. THE ARCHIVE ALSO INCLUDES RARE PHOTOGRAPHY AND VIDEOS OF THE DESIGNERS FASHION SHOWS, ORIGINAL RUNWAY SHOW INVITATIONS AND OTHER EPHEMERA PRODUCED BY THE DESIGNER'S HOUSES. "THE EMPHATICS ARCHIVE REPRESENTS THE MOST FORWARD THINKING DESIGNERS WORKING IN THE 80S AND 90S, A VERY FERTILE PERIOD IN FASHION," EXPLAINS DENNITA SEWELL, THE MUSEUM'S CURATOR OF FASHION DESIGN. "THE DESIGNS ARE EXCITING BUT ALSO ACQUIRING THE INVITATIONS AND VIDEO MATERIAL PLACES THE DESIGNERS WORK IN A LARGER CREATIVE CONTEXT AND MAKES IT AN IDEAL ARCHIVE FOR AN EDUCATIONAL INSTITUTION LIKE PHOENIX ART MUSEUM".THIS ACQUISITION IS THE FIRST OF A ROSTER OF SIGNIFICANT ACQUISITIONS AND EVENTS THE MUSEUM IS PLANNING TO CELEBRATE THE UPCOMING 50TH ANNIVERSARY OF ITS FASHION DESIGN COLLECTION AND VOLUNTEER ORGANIZATION, ARIZONA COSTUME INSTITUTE IN 2016. "OUR MAIN GOAL IN SUPPORTING THE FASHION DESIGN COLLECTION AT PHOENIX ART MUSEUM IS TO BUILD AN IMPORTANT AND DIVERSE HISTORY OF FASHION THAT WILL INSPIRE AND EDUCATE OUR COMMUNITY FOR DECADES TO COME," SAYS KELLY ELLMAN MUSEUM BENEFACTOR WHO SPEARHEADED THE FUNDRAISING EFFORTS FOR THE EMPHATICS ARCHIVE. PHOENIX ART MUSEUM'S FASHION DESIGN COLLECTION WAS FOUNDED IN 1966 AND HAS SINCE AMASSED OVER 5,000 OBJECTS, A PERMANENT EXHIBITION SPACE (THE KELLY ELLMAN FASHION DESIGN GALLERY) AND FULL-TIME CURATORIAL STAFF. WITH TWO ANNUAL EXHIBITS, DOZENS OF PUBLIC PROGRAMS AND A DEDICATED SUPPORT ORGANIZATION, THE FASHION DESIGN DEPARTMENT AT PHOENIX ART MUSEUM IS KNOWN NATIONALLY AS A VIBRANT FASHION PROGRAM AND RESOURCE TO FASHION PROFESSIONALS AND MUSEUM ENTHUSIASTS ALIKE. 76565 24668 FROM NEW YORK TO NEW MEXICO: "MASERWORKS OF AMERICAN MODERNISM FROM THE VILCEK FOUNDATION COLLECTION"DRAWN FROM THE IMPRESSIVE COLLECTION OF THE VILCEK FOUNDATION IN NEW YORK, THIS EXCITING EXHIBITION PRESENTS RARELY-BEFORE SEEN MASTERWORKS OF AMERICAN MODERNISM.WORKS IN THE EXHIBITION DATE FROM THE EARLY 1900S TO THE POST-WAR ERA. A WIDE RANGE OF MODERN STYLISTIC APPROACHES IN VARIOUS MEDIA (PAINTINGS, SCULPTURE, AND WORKS ON PAPER) ARE PRESENTED, WITH PARTICULAR EMPHASIS GIVEN TO AMERICAN ARTISTIC RESPONSES TO THE GEOMETRIC COMPOSITIONS OF CUBISM, THE NATURE-BASED ABSTRACTIONS BY ARTISTS OF THE STIEGLITZ CIRCLE, AND THE REGIONALLY-INSPIRED MODERNISM PRODUCED IN THE AMERICAN SOUTHWEST AFTER THE FIRST WORLD WAR.TO COMPLEMENT THE VILCEK COLLECTION, PHOENIX ART MUSEUM WILL EXHIBIT 33 EXAMPLES OF MODERNIST AMERICAN ART FROM THE MUSEUM'S OWN SUPERB COLLECTION OF ART FROM THIS ERA. THE COMBINED INSTALLATIONS WILL OFFER A THOROUGH REPRESENTATION OF THE MANY WAYS IN WHICH AMERICAN ARTISTS RESPONDED AND CONTRIBUTED TO MODERNIST TRENDS IN THE EARLY TWENTIETH CENTURY.THE EXHIBITION IS ORGANIZED BY THE PHILBROOK MUSEUM OF ART, TULSA, OKLAHOMA IN COOPERATION WITH THE VILCEK FOUNDATION, NEW YORK. 73033 20000 DON COEN, "THE MIGRANT SERIES"DON COEN: THE MIGRANT SERIES BRINGS A REMARKABLE SERIES OF LARGE PORTRAITS TO PHOENIX ART MUSEUM. CREATED BY COLORADO-BASED ARTIST DON COEN, THESE 15 LARGE-SCALE REALISTIC PORTRAITS TELL THE VISUAL STORY OF MIGRANT FARMERS IN TODAY'S UNITED STATES, A GROUP OF OUR POPULATION RARELY CONSIDERED IN FINE ART. THE WORKS TAKE A HUMAN-CENTRIC APPROACH, HIGHLIGHTING THE UNIQUE PERSONALITIES OF EACH SUBJECT AND ACKNOWLEDGING BOTH THEIR PERSONHOOD AND WORK ETHIC.EACH PIECE IN THE MIGRANT SERIES SUGGESTS THE INTIMACY OF A TRADITIONAL PORTRAIT, BUT THEY ARE PRESENTED ON A CAPTIVATING SCALE, COERCING CAREFUL CONSIDERATION OF THEIR PRESENCE. PAINTED BETWEEN 2001 AND 2010, THE SERIES COMES FROM HUNDREDS OF HOURS SPENT IN FIELDS MAKING STUDIES AND TAKING PHOTOS IN CALIFORNIA, COLORADO, IDAHO, OREGON, TEXAS AND FLORIDA.THE VALUE OF HARD WORK AND MANUAL LABOR WAS INSTILLED IN COEN FROM A YOUNG AGE, HAVING SPENT A GREAT DEAL OF HIS YOUTH ON A FAMILY FARM. "FOR THE AVERAGE AMERICAN," WRITES COEN, "MIGRANT WORKERS ARE AN INVISIBLE AND TRANSPARENT COMPONENT OF OUR WORLD." WITH THIS SERIES COEN HOPES TO COUNTER THIS NOTION. HIS AIM WITH THE MIGRANT SERIES IS TO GIVE THESE HARD-WORKING MEN, WOMEN AND CHILDREN AN IDENTITY THROUGH HIS HUMBLE EXPRESSION OF GRATITUDE.LOOK FOR THE FULL-COLOR CATALOG WITH ESSAYS BY LEWIS SHARP, DENVER ART MUSEUM DIRECTOR EMERITUS, AND JERRY N. SMITH, PH.D., CURATOR OF AMERICAN AND WESTERN AMERICAN ART, PHOENIX ART MUSEUM IN THE MUSEUM STORE. 329906 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. 6359652 2094048 REMAINING PROGRAM REVENUES AND EXPENSES OF THE MUSEUM THAT HAVE NOT BEEN ALLOCATED TO A SPECIFIC EXHIBIT. 6696080 2663622 7656087 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 0 0 0 1 81 0 1 199 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 SCOTT MCDANIEL 6022572103 1625 N CENTRAL AVENUE PHOENIX AZ 850041685 JIM PATTERSON TRUSTEE-CHAIRMAN 1.00 X 0 0 0 TONY ASTORGA TRUSTEE-VICE CHAIRMAN 1.00 X 0 0 0 MIKE COHN TRUSTEE-VICE CHAIRMAN 1.00 X 0 0 0 ROSELLEN PAPP TRUSTEE-TREASURER 1.00 X 0 0 0 DENISE DELGADO TRUSTEE-SECRETARY 1.00 X 0 0 0 ANGELA C SINGER TRUSTEE 1.00 X 0 0 0 ALICE BAZLEN TRUSTEE 1.00 X 0 0 0 BRUCE COVILL TRUSTEE 1.00 X 0 0 0 DENNIS LYON TRUSTEE 1.00 X 0 0 0 ALVAN ADAMS TRUSTEE 1.00 X 0 0 0 DORIS ONG TRUSTEE 1.00 X 0 0 0 DREW BROWN TRUSTEE 1.00 X 0 0 0 ELLEN KATZ TRUSTEE 1.00 X 0 0 0 JAMES LUNDY TRUSTEE 1.00 X 0 0 0 JOE LAMPE TRUSTEE 1.00 X 0 0 0 JOHN BOUMA TRUSTEE 1.00 X 0 0 0 KEN KENDRICK TRUSTEE 1.00 X 0 0 0 PAUL GROVES TRUSTEE 1.00 X 0 0 0 RICHARD GOLDSMITH TRUSTEE 1.00 X 0 0 0 STEVE RINEBERG TRUSTEE 1.00 X 0 0 0 MICHAEL H BILL TRUSTEE 1.00 X 0 0 0 DIANE HALLE TRUSTEE 1.00 X 0 0 0 AMY CLAGUE TRUSTEE 1.00 X 0 0 0 WILLIAM G WAY TRUSTEE 1.00 X 0 0 0 SUSAN DRESCHER-MULZET TRUSTEE 1.00 X 0 0 0 NANCY HANLEY TRUSTEE 1.00 X 0 0 0 DR MERYL HABER TRUSTEE 1.00 X 0 0 0 SALLY LEHMANN TRUSTEE 1.00 X 0 0 0 JAY SCHLOTT TRUSTEE 1.00 X 0 0 0 PETER BANKO TRUSTEE 1.00 X 0 0 0 JOAN CREMIN TRUSTEE 1.00 X 0 0 0 JUDY LINHART TRUSTEE 1.00 X 0 0 0 JACQUIE DORRANCE TRUSTEE 1.00 X 0 0 0 SHARRON LEWIS TRUSTEE 1.00 X 0 0 0 GARY TOOKER TRUSTEE 1.00 X 0 0 0 K DAVID LINDNER TRUSTEE 1.00 X 0 0 0 DONALD BRANDT TRUSTEE 1.00 X 0 0 0 RON BUTLER TRUSTEE 1.00 X 0 0 0 GARRETT MCKNIGHT TRUSTEE 1.00 X 0 0 0 ERIN GOGOLAK TRUSTEE 1.00 X 0 0 0 DAVID ROUSSEAU TRUSTEE 1.00 X 0 0 0 SUZANNE L SELIG TRUSTEE 1.00 X 0 0 0 ADAM SINGER TRUSTEE 1.00 X 0 0 0 EDGARDO RIVERA MD TRUSTEE 1.00 X 0 0 0 MICHAEL GREENBAUM TRUSTEE 1.00 X 0 0 0 LILA HARNETT TRUSTEE 1.00 X 0 0 0 PATRICIA NOLAN TRUSTEE 1.00 X 0 0 0 RAYMOND SLOMSKI TRUSTEE 1.00 X 0 0 0 ANN SINER TRUSTEE 1.00 X 0 0 0 MARK TARBELL TRUSTEE 1.00 X 0 0 0 MEREDITH VON ARENTSCHILDT TRUSTEE 1.00 X 0 0 0 JAMES BALLINGER SYBIL HARRINGTON DIRECTOR 37.50 X 318465 0 401627 GARY EGAN DEPUTY DIR-FINANCE & ADMIN 37.50 4.00 X 152493 0 9600 RONALD MILLER DIRECTOR OF DEVELOPMENT 37.50 X 152815 0 12861 AMANDA CRUZ SYBIL HARRINGTON DIRECTOR 37.50 X 0 0 0 623773 0 424088 3 0 1 0 VICTORIA AND ALBERT MUSEUM 1301 AVENUE OF THE AMERICAS FLOOR NEW YORK NY 100196036 EXHIBITION/MUSEUM 318260 MUSEUM OF FINE ARTS HOUSTON PO BOX 6826 HOUSTON TX 77265 EXHIBITION/MUSEUM 205408 PLAN B FACILITY SERVICES PO BOX 7758 SURPRISE AZ 85374 JANITORIAL SERVICES 192479 ARIZONA REPUBLIC PO BOX 677595 DALLAS TX 752677595 MARKETING 186475 THE GROUNDSKEEPER 620 N GOLDEN KEY ST GILBERT AZ 85233 LANDSCAPE MAINTENANCE 176962 15 840806 1371162 5582629 92560 2848554 1018623 10735711 PROGRAM SERVICE REVENUE 900099 1630607 1630607 MEMBERSHIP DUES 900099 1123588 1123588 2754195 3665 3665 848351 1371162 1536086 -687735 -687735 712120 382214 329906 329906 REIMBURSEMENTS 900099 139746 139746 CATERING 722320 34146 34146 173892 13309634 3084101 34146 -544324 753668 251126 258179 244363 3456822 2393186 767202 296434 592869 600862 689 -8682 504550 347181 124478 32891 320550 196680 85536 38334 32650 32650 8760 8760 32239 32239 330898 157469 157076 16353 350250 335959 13554 737 1160672 599546 221159 339967 46172 16729 29443 751714 595269 114636 41809 227179 159415 43667 24097 13856 7695 6119 42 26767 26767 558897 519774 16767 22356 116545 90931 25147 467 CONTRACTED LABOR 716885 716885 OPERATING EXPENSES 656676 524746 71473 60457 DUES AND SUBSCRIPTIONS 120403 86543 28793 5067 REPAIRS AND MAINTENANCE 113245 56091 54159 2995 10892267 7656087 2085843 1150337 799440 690022 1104015 1814581 1106006 647554 111661 177471 425843 378912 103579 299819 15171227 10200601 5384657 4970626 522741 489380 9557942 9468365 1568114 1836247 377300 405061 3465010 1064230 906897 1163758 6317321 4469296 X -1768230 198370 5008851 4800699 3240621 4999069 9557942 9468365 X 2417367 -658919 X X 0 1 X 1 0 X 4982269 4943370 5491850 6348004 10735711 32501204 5190328 5070886 4693127 4892897 4712695 24559933 10172597 10014256 10184977 11240901 15448406 57061137 57061137 8985 6704 7982 4777 3665 32113 30190 31882 28053 5749 438 96312 112981 131082 143872 161260 139746 688941 57878503 21521284 0.98590 0.98140 X SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: REIMBURSEMENTS RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X 1 25422566 5259560 31541 1268464 4400308 22158 25022737 23739569 295894 2777782 1324623 66056 25422566 22949075 193587 2028519 1350242 81370 23739569 23172236 1075930 -186681 1044693 67717 22949075 20470831 507399 2932883 680198 58679 23172236 0.00000 0.01240 0.98760 0 1 1 699253 699253 10769933 7210569 3559364 2592994 1916346 676648 1109047 1073686 35361 4970626 CHARITABLE GIFT ANNUITIES 489380 489380 CHARITABLE GIFT ANNUITIES 368668 ACCRUED PENSION 420090 SUPPLEMENTAL RETIREMENT ACCOUNT 375000 1163758 PART III, LINE 1A: FINANCIAL STATEMENT FOOTNOTE REGARDING THE FINE ARTS COLLECTION: 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 $283,919 AND $492,702 FOR THE YEARS ENDED JUNE 30, 2015 AND 2014, 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 905698 792298 113400 216325 38877 329381 INDEPENDENT WOMENS LUNCHEON 275813 120411 155402 27902 52349 5106 16891 7 1038002 458453 579549 496844 221109 131302 2219513 1371162 848351 524746 489783 43983 477574 1536086 -687735 X 1 1 X X X 0 1 0 0 0 0 0 0 0 JAMES BALLINGER SYBIL HARRINGTON DIRECTOR 316539 0 0 0 1926 0 388891 0 12736 0 720092 0 0 0 GARY EGAN DEPUTY DIR-FINANCE & ADMIN 152493 0 0 0 0 0 3449 0 6151 0 162093 0 0 0 RONALD MILLER DIRECTOR OF DEVELOPMENT 152815 0 0 0 0 0 6710 0 6151 0 165676 0 0 0 PART I, LINE 1A MEMBERSHIP IN THE UNIVERSITY CLUB OF PHOENIX FOR ANNUAL DUES OF $1,200 WAS PROVIDED TO JIM BALLINGER FOR THE PURPOSE OF PROVIDING DINING FACILITIES THAT WERE USED BY JIM FOR BUSINESS ENTERTAINMENT USE ON BEHALF OF THE MUSEUM. PART I, LINE 4B JIM BALLINGER, PURSUANT TO HIS EMPLOYMENT AGREEMENT, PARTICIPATES IN A SUPPLEMENTAL RETIREMENT PLAN. THE AMOUNT ACCRUED DURING THE TAX YEAR ENDED 6/30/2015 WAS $375,000 TO BE PAID OUT OVER 3 YEARS BEGINNING 7/1/2015. X 206 0 N/A X 5 0 N/A X 0 N/A X 16 493877 MARKET VALUE X FR AUCTION ITEMS 424 524746 FMV 0 1 0 PART I, COLUMN (B): THE NUMBER OF CONTRIBUTORS IS LISTED. 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 MISSION STATEMENT 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 ANDY WARHOL: "PORTRAITS" PHOENIX ART MUSEUM IS PROUD TO PRESENT ANDY WARHOL: PORTRAITS, AN EXHIBITION ORGANIZED BY AND FEATURING ORIGINAL WORKS FROM THE ANDY WARHOL MUSEUM, ONE OF THE FOUR CARNEGIE MUSEUMS OF PITTSBURGH. AS AN ARTIST, ANDY WARHOL'S UNIQUE VISUAL LANGUAGE TELLS THE STORY OF AN ARTIST FASCINATED WITH THE PHENOMENA OF FAME AND CELEBRITY. THIS EXHIBITION FEATURES WARHOL'S DEPICTIONS OF THE PERSONA THAT FOREVER EMBEDDED CELEBRITIES LIKE MARILYN MONROE, SYLVESTER STALLONE AND PRINCE - TO NAME A FEW - INTO AMERICA'S CULTURAL CONSCIENCE AS WELL AS SEVERAL OF HIS SELF-PORTRAITS INCLUDING SILKSCREEN WORKS, POLAROIDS OF THE ARTIST IN DRAG, AND FAMILY PHOTOGRAPHS OF A YOUNG WARHOL. OFTEN CITED AS AN ICON OF THE POP ART MOVEMENT, WARHOL'S VISUAL EXPLORATIONS SPAN ALMOST EVERY AVAILABLE MEDIUM: DRAWING, PAINTING, PRINTMAKING, PHOTOGRAPHY, SILK SCREENING, SCULPTURE, FILM AND EVEN MUSIC. ANDY WARHOL: PORTRAITS INCLUDES NEARLY 200 PORTRAITS, PAINTINGS AND DRAWINGS PRODUCED BY WARHOL FROM THE 1940S TO THE 1980S. MORE THAN 25 YEARS AFTER HIS DEATH, WARHOL REMAINS UNDENIABLY ONE OF THE MOST INFLUENTIAL FIGURES IN CONTEMPORARY ART. THIS COMPREHENSIVE EXHIBITION OF PORTRAITURE BY WARHOL DEBUTED AT THE ANDY WARHOL MUSEUM IN SPRING 2010 AND IS ON VIEW AT PHOENIX ART MUSEUM FOR THE FIRST TIME IN THE SOUTHWEST. FORM 990, PART III, LINE 4B LEONARDO DA VINCI'S "CODEX LEICESTER AND THE POWER OF OBSERVATION" THERE'S NO QUESTION THAT LEONARDO DA VINCI (1452-1519) WAS ONE OF THE MOST INTRIGUING PEOPLE TO EVER LIVE. BRILLIANT IN THE ARTS, SCIENCES, AND ENGINEERING, LEONARDO DA VINCI WAS DRIVEN BY A DEEP SENSE OF CURIOSITY ABOUT THE WORLD AROUND HIM, RECORDING HIS OBSERVATIONS ON NUMEROUS PAGES OF PAPER, WHICH WERE LATER GATHERED AND BOUND AS MANUSCRIPTS, OR CODICES. THE ONLY MANUSCRIPT BY LEONARDO IN AN AMERICAN COLLECTION, THE CODEX LEICESTER (PRONOUNCED "LESS-TER") CONSISTS OF 18 DOUBLE-PAGE AND DOUBLED-SIDED SHEETS (72 PAGES TOTAL), AND ITS PRESENTATION AT PHOENIX ART MUSEUM WILL BE THE FIRST TIME A WORK BY THE HAND OF LEONARDO HIMSELF WILL BE ON VIEW IN ARIZONA. LEONARDO'S ACTIVE MIND AND WORKING METHOD ARE DEFINED IN THIS EXHIBITION BY THREE PRIMARY CHARACTERISTICS: CURIOSITY, DIRECT OBSERVATION, AND THINKING ON PAPER. THESE CHARACTERISTICS ARE VITAL PARTS OF THE CREATIVE PROCESS AND THEY PAVE THE WAY TOWARD GREAT DISCOVERIES AND INVENTIONS. THIS EXHIBITION OF LEONARDO'S CODEX LEICESTER WILL BE GROUNDBREAKING IN ITS APPROACH OF BRINGING LEONARDO INTO A BROAD ARTISTIC CONTEXT THAT EXPLORES HIS CONTINUING INFLUENCE ON ARTISTS INTO OUR OWN TIME. INCLUDED IN THE EXHIBITION WILL BE CAREFULLY SELECTED WORKS OF ART BY A DIVERSE GROUP OF ARTISTS WHO SHARED ASPECTS OF LEONARDO'S PRACTICES, INCLUDING LEONARDO'S ITALIAN RENAISSANCE CONTEMPORARY JACOPO DE' BARBARI, 19TH-CENTURY PAINTERS CLAUDE MONET AND GUSTAVE COURBET, PHOTOGRAPHERS ANSEL ADAMS, EDWARD WESTON, EADWEARD MUYBRIDGE AND HAROLD EDGERTON, AND LIVING ARTISTS KIKI SMITH, TONY FOSTER AND BILL VIOLA. IN THE 21ST CENTURY, VIDEO ARTIST BILL VIOLA HAS STRESSED THE VALUE OF WATCHING MOVEMENT IN EXTREMELY SLOW MOTION, WHILE OFTEN MAKING REFERENCE TO ART OF THE PAST. VIOLA'S THE RAFT, 2004, IS A VIDEO INSTALLATION IN WHICH AN ASSEMBLED GROUP OF INDIVIDUALS ARE SUBJECTED TO HIGH PRESSURE WATER HOSES, ALLOWING THE SCENE TO SLOWLY REVEAL THE EFFECTS. FORM 990, PART III, LINE 4C ANTONIO BERNI, "JUANITO AND ROMONA" EARLY IN HIS CAREER, ARGENTINEAN ARTIST ANTONIO BERNI (1905-1981) WAS WIDELY RECOGNIZED THROUGHOUT LATIN AMERICA AS A PIONEERING PAINTER OF HIS OWN STRAIN OF "NEW REALISM." HIS PAINTINGS OF THE 1930S AND 1940S FEATURE THEMES OF SOCIAL INJUSTICE PAINTED IN AN INNOVATIVE REALIST STYLE THAT DRAWS EMOTIONAL IMPACT FROM SENSITIVE DEPICTIONS OF THE DOWNTRODDEN. IN THE MID-1950S, MOTIVATED BY THE SOCIAL DISTRESS AND POVERTY HE WITNESSED AMID HIS COUNTRY'S RAPID INDUSTRIALIZATION AND PARALLEL SOCIO-POLITICAL UPHEAVALS, BERNI ABANDONED PAINTING FOR A MORE VISCERAL ARTISTIC MEDIUM: ASSEMBLAGE. IN 1958, HE BEGAN A SERIES OF WORKS THAT CHRONICLED THE TALES OF TWO FICTIONAL CHARACTERS, JUANITO LAGUNA AND RAMONA MONTIEL. JUANITO WAS A BOY WHO LEFT HIS HOME IN THE COUNTRYSIDE TO SEEK WORK IN BUENOS AIRES AND ENDED UP LIVING IN POVERTY IN THE CITY'S OUTSKIRTS IN THE SO-CALLED VILLAS MISERIAS (MISERY TOWNS OR SHANTYTOWNS). RAMONA, ON THE OTHER HAND, WAS A MIDDLE-CLASS TEENAGER WHO WAS LURED INTO A LIFE OF HIGH-SOCIETY PROSTITUTION BY THE PROMISE OF EXPENSIVE GIFTS AND A LIFE OF LUXURIOUS DECADENCE. BERNI CONTINUED WORKING WITH THESE TWO INVENTED CHARACTERS ALMOST EXCLUSIVELY UNTIL 1977, CONSTRUCTING NARRATIVES OF THEIR LIVES USING TRASH, MACHINE PARTS, AND OTHER DISCARDS FROM EVERYDAY LIFE. THIS LINK BETWEEN MATERIALS USED AND THE FICTIONAL WORLDS DEPICTED-THE SUBSTANCE AND THE SUBJECT-MIGHT BE CHARACTERIZED AS "MATERIAL REALISM." THIS SERIES DEVELOPED INTO A SOCIAL NARRATIVE ON INDUSTRIALIZATION AND POVERTY, UNDERSCORING DISPARITIES BETWEEN THE WEALTHY ARGENTINE ARISTOCRACY AND THE "JUANITOS" OF THE SLUMS, AND CONDEMNING THE LURID LIFE OF HIGH-SOCIETY PROSTITUTION. BERNI GAVE A VOICE TO THE VOICELESS. ALTHOUGH HE WAS A TREMENDOUSLY INFLUENTIAL ARTIST IN LATIN AMERICA, BERNI'S WORKS ARE NOT WELL KNOWN IN THE UNITED STATES. THIS EXHIBITION WILL REMEDY THAT, FEATURING 98 OBJECTS THAT SPAN A VARIETY OF MEDIA, INCLUDING ASSEMBLAGE, SCULPTURE, WORKS ON PAPER AND A SELECTION OF THE ARTIST'S SKETCHBOOKS AND PRINTING PLATES. IN ADDITION, SEVERAL OF HIS MONSTRUOS (MONSTERS) WILL ALSO BE FEATURED, ASSEMBLAGE SCULPTURES THAT DEPICT THE CHARACTERS THAT HAUNT JUANITO'S AND RAMONA'S NIGHTMARES. ANTONIO BERNI: JUANITO AND RAMONA IS THE FIRST EXHIBITION TO FOCUS ON THIS ICONIC SERIES CREATED BY BERNI AND IS THE FIRST BERNI EXHIBITION ORGANIZED BY A U.S. MUSEUM IN NEARLY FIFTY YEARS. FORM 990, PART VI, SECTION A, LINE 6 THE MUSEUM HAS A MEMBERSHIP PROGRAM THAT CURRENTLY HAS 11,615 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 THE MUSEUM MEMBERSHIP. FORM 990, PART VI, SECTION B, LINE 11 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. FOR DETERMINING THE COMPENSATION OF OTHER OFFICERS OR KEY EMPLOYEES, COMPARISONS ARE MADE WITH OTHER MUSEUMS. DECISIONS MADE DURING BUDGET PROCESS. 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 -283,919. SUPPLEMENTAL RETIREMENT -375,000. 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 11A, I PHOENIX ART MUSEUM 1 0 0 1 0 1 0 0 0 0 0 0 1 0 1 1 0 1 1 1 PHOENIX ART MUSEUM ENDOWMENT FUND C 5582629 FAIR MARKET VALUE