2014-04-15T09:47:16-07:00 2013-06-30 990 2012-07-01 366154098 MUSEUM OF CONTEMPORARY ART MUSE 3123973813 220 East Chicago Avenue Chicago IL 606112643 Peggy Papaioannou 3123973801 2014-04-15 2012 2015-11-30 17:44:51Z Madeleine Grynsztejn 220 East Chicago Avenue Chicago IL 60611 35766376 0 X www.mcachicago.org X 1964 IL Enhance appreciation of contemporary art through education, programming and exhibitions (see statement on Part III Line 1). 70 70 314 286 -4419 0 18665763 26301499 1533845 1382388 2225408 642498 228867 -7319 22653883 28319066 0 0 0 0 6658915 7384420 109775 51829 2020671 9691256 10219675 16459946 17655924 6193937 10663142 135510211 155368070 37324820 35971089 98185391 119396981 The MCA is an innovative and compelling center of contemporary art where the public can directly experience the work and ideas of living artists, and understand the historical, social and cultural context of the art of our time. The Museum boldly interweaves exhibitions, performances, collections, and educational programs to excite, challenge, and illuminate our visitors and to provide insight into the creative process. The MCA aspires to engage a broad and diverse audience, create a sense of community and be a place for contemplation, stimulation, and discussion about contemporary art and culture. 0 0 6887852 0 876835 (4a) Exhibitions: The MCA presented 8 major and 11 smaller exhibitions in FY 2013 and welcomed 149,514 visitors. Total FY2013 attendance was 283,824. From July 1, 2012 - June 30, 2013, the MCA's curatorial team continued to present thought provoking exhibitions aligned with the museum's vision. MCA exhibitions offer a new model for how a contemporary art museum can best serve and stimulate its public, and new works are regularly commissioned and brought into the MCA collection out of its exhibition program. A) Martin Creed Plays Chicago, Residency and Summer Plaza Exhibition (Through December 2012): Creed (b. 1968, London) was a winner of the 2001 Turner Prize and one of the UK's leading artists. This project marked the first major Midwestern showing of Creed's work. One of the key components of this project was an installation on the MCA's front plaza that extended through June 2013. B) Cauleen Smith: A Seed is a Star: A Star is a Seed (Through September 16, 2012): The second installment in the MCA Screen moving image exhibition series, noted experimental filmmaker Cauleen Smith continued her work on the Afro-futurist identity that experimental musician and performer Sun-Ra developed in Chicago in the mid-1950s. C) Skyscraper: Art and Architecture Against Gravity (June 30 - September 23, 2012): Skyscraper explored the proliferation of contemporary artworks around the form, technology, myth, and image of the skyscraper in the city of Chicago that is widely known as the birthplace of this architectural type. D) Jimmy Robert (August 25, 2012 - November 25, 2012): The MCA was proud to host Brussels-based artist Jimmy Robert's (b. 1975, Guadeloupe, France) first large-scale solo exhibition. Robert has developed a poetic, process-oriented body of work utilizing ephemeral materials, language and the body. E) Akram Zaatari: Tomorrow everything will be alright (September 29, 2012 - January 13, 2013): Tomorrow everything will be alright (2010) was a departure from Akram's political works. Designed as a commercial short film to be screened before major features at movie theatres in London, Zaatari presented a more commercial, yet no less emotionally charged, subject-a love story through this exhibition. F) Ronan and Erwan Bouroullec: Bivouac (October 12, 2012 - January 20, 2013): In collaboration with the Pompidou Metz, Bivouac was a mid-career retrospective of these young French furniture designing brothers. G) Goshka Macuga (December 12, 2012-March 3, 2013): Macuga's practice is located at the intersection of two strands that have done much to define the landscape of contemporary art in the last decade: an increasing tendency towards archival, historical research, on one hand, and a growing interest in strategies of display and the dialogue between artistic and curatorial practice on the other. H) Painting the Void: 1949 - 1962 (February 9 - May 12, 2013): This exhibition focused on one of the most significant consequences of the rise of gestural abstraction in twentieth-century painting: artists' literal assault on the picture plane. Painting the Void featured approximately 100 works created between 1949 and 1962 by 25 artists from eight countries: the United States, United Kingdom, France, Germany, Austria, Spain, Italy, and Japan. I) Amalia Pica (April 18 - August 11, 2013): Born in Argentina and based in London, artist Amalia Pica explores metaphor, communication, and civic participation through drawings, sculptures, large-scale photographic prints, live performances, and installations. Amalia Pica was the artist's first major solo museum exhibition in the United States and included approximately fifteen of her most significant works from the last seven years, in addition to new commissions. J) Theaster Gates:12 Ballads for Huguenot House (May 18 - October, 2013): A collaboration between Chicago-based artist Theaster Gates and the MCA, the project involved Gates' continuing efforts at architectural and social rejuvenation in his South Chicago neighborhood, which started with the refurbishment of a studio and house for himself on Dorchester Avenue using recycled and repurposed materials. K) BMO Harris Bank Chicago Works: Every three months, the MCA hosts an exhibition featuring a local Chicago artist on the rise. This year, the series featured the following artists: Molly Zuckerman- Hartung (Through July 24, 2012), Heidi Norton (August 7 - October 23, 2012), Paul Cowan (November 6, 2012 - January 22, 2013), Jason Lazarus (February 5 - April 23, 2013). 1796613 0 38110 4(b) EDUCATION: The MCA is Chicago's only museum dedicated to the art of our times serving 34,129 attendees. As an integral component of the museum's mission, the MCA offered a full range of educational programs during the 2012-2013 program year for elementary and high school audiences, including artist-led exhibition tours and hands-on Creation Labs, as well as a complement of professional enrichment opportunities for educators. Education programs continue to serve a diverse pool of Chicago Public Schools students and teachers, and are provided to all Illinois school audiences on a complimentary basis to facilitate access and encourage broad participation. A) The MCA continued its successful school tour programs for teachers and students in grades 1 -12. Our School Tours programs continue to be the cornerstone of our Education programs and provide the broadest exposure to contemporary art for students in grades 1-12. This year, our School Tours program reached nearly 11,000 students with 75 percent of the participating schools serving students with identified needs and programs. B) The MCA's program for 15-19 year olds, Teen Creative Agency (TCA), completed its second year during the summer 2013, and the inaugural group of teens has now segued into program alumni. Guided by two local artists who facilitated the weekly sessions, TCA members led in-gallery activities, took monthly trips to cultural organizations, Chicago neighborhoods and artist studios, and worked alongside MCA staff and artists on projects. C) From its origins as a week-long summer experience, the MCA Teacher Institute has evolved into a year-long engagement initiative - the museum's most immersive and intensive professional development program for teachers. During this year's Institute, creative practitioners used contemporary art and MCA resources to explore their teaching practice, experiment with classroom curriculum, and collaborate with other teachers to learn about other teaching styles. D) Our popular Family Day programming continued with more than 700 families participating in the program (families with children under the age of 12 receive complimentary admission on the second Saturday of each month, October - May). E) As part of our wide-ranging Education programs, the MCA presented a diverse range of public programs including conversations, lectures, and panels that explore the visual and intellectual complexities of contemporary art and design and their connection to culture and history. 1269677 0 218113 (4c) PERFORMANCES: The MCA continued to offer an aggressive performance schedule, complete with unique offerings and collaborations with other cultural institutions during the MCA Stage's 17th anniversary season. Here are some highlights from the season. A) John Leaños Imperial Silence (Una Opera Muerta) (September 14 - 16): This innovative work combined traditional and contemporary forms, playfully fusing opera with mariachi, animated versions of TV news with children's stories, folkloric dance with hip-hop. Using Day of the Dead imagery, its topical explorations addressed Chicano culture and U.S. politics. B) Handspring Puppet Company: Woyzeck on the Highveld (September 27 - 30) Directed by artist William Kentridge, set in 1950s urban South Africa, this transformative work blended animation, puppetry and human action into a fragmentary riddle about the agitated mind of a man destined to commit murder. A landmark in recent contemporary performance, this marked its final tour. C) Stew and The Negro Problem: Chicago Omnibus (October 18 - 20): Acclaimed songwriter/musician and Broadway star Stew developed a new song cycle portraying his experiences of and perspective about Chicago. D) Miguel Gutierrez and the Powerful People: and lose the name of action (January 24 - 27): A new work using improvisation in dance to explore states of body-mind consciousness in the performers and audiences. E) Teatro Buendia: Pedro Paramo (February 20 - March 3): Based in Havana, Buendia is a world-renowned company that combines live music and theater in rich tapestries of story-telling. For this new work, the magic realist novel Pedro Paramo was adapted for the stage, and co-directed by Buendia artistic director Flora Lauten with Henry Godinez, the Chicago-based Cuban American and Goodman Theatre Artistic associate. F) Young Jean Lee's Theater Company, Untitled Feminist Show (April 18 - 21): This exhilarating work used a dizzying array of modes to shake up gender norms through movement and music and express ideas about conventional and unconventional roles and expectations. G) eighth blackbird with Nico Muhly and Bryce Dessner (April 30 - May 1): This concert culminated the MCA's mid-winter focus on new music. Dessner and Muhly perform with Grammy Award Winning eighth blackbird as well as each other, playing their own music as well as music by composers who have inspired them. H) Paige Hernandez: Paige in Full (May 6-11): Using the language of hip-hop-dance, rhymes, and beats-Hernandez retraced her life growing up in Baltimore, recounting the joys, losses, and big bad wolves (heartless young men). I) Back to Back Theatre, Ganesh Versus the Third Reich (May 16- 19): One of the most exciting theater groups today, Australia's acclaimed Back to Back Theatre made its Chicago debut with an unforgettable work. Back to Back Theatre's ensemble primarily features actors with perceived intellectual disabilities, a group of people whose position of marginality provides them with a unique and at times subversive view of the world. J) ICE (International Contemporary Ensemble), David Lang: The Whisper Opera (May 30 - June 2): The final concert of ICE's third year as ensemble-in-residence at MCA Stage featured a world-premiere chamber opera by David Lang, commissioned by ICE with Tony Arnold as solo soprano. This one-of-a-kind work was performed with the musicians, singer, and audience enclosed in an intimate, onstage set. 1135771 0 134644 (4d) COMMUNICATIONS AND COMMUNITY ENGAGEMENT: To implement the MCA's strategic vision, the Communications and Community Engagement (CCE) team plays a crucial role in activating the MCA as an audience-engaged platform for producing art, ideas, community, and conversation around the creative process, in order to be a consciousness leader of local necessity and international distinction. CCE seeks to build relationships with Chicago's diverse communities while establishing the museum as integral within our city and to produce ideas, community and conversation around the creative process. The MCA experienced first-hand that the presentation of works by artists of color like Rashid Johnson and Jimmy Robert vis-a-vis drew a measurable increase in attendance by audiences of diverse ethnicity. As the MCA purchases work by minority artists for its permanent collection, more diverse exhibitions become possible. A targeted mix of print, digital, and outdoor advertisements make the Museum widely visible in Chicago and out of town. Collaborations with cultural partners is a further way to promote audience-sharing with the city. Online audiences also benefit from substantive and interactive web resources that range from the Museum's website and high-quality digital videos hosted on YouTube and Vimeo, to our highly active social media presences on Twitter, Instagram, and Facebook pages. 204866 0 281721 (4d-2) MEMBERSHIP 426859 0 246680 (4d-e) FOOD SERVICE 418334 0 420803 (4d-4) PARKING 787203 0 0 (4d-5) DESIGN, PUBLISHING & NEW MEDIA 2973033 0 1083848 12927175 1 1 0 0 0 0 0 1 0 1 1 1 0 0 1 1 1 0 0 0 1 0 0 1 1 0 0 0 0 1 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 1 130 0 1 314 1 1 1 1 BD CJ EI 0 0 0 1 1 1 0 0 0 0 X 70 70 1 0 0 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 1 0 IL X X Peggy Papaioannou 3123973813 220 East Chicago Avenue Chicago IL 606112643 KING HARRIS 10 0 X X 0 0 0 STEFAN EDLIS 5 0 X X 0 0 0 ANNE KAPLAN 5 0 X X 0 0 0 SYLVIA NEIL 5 0 X X 0 0 0 MARTIN NESBITT 5 0 X X 0 0 0 ROB BELLICK 5 0 X X 0 0 0 MICHAEL CANMANN 5 0 X X 0 0 0 SARA ALBRECHT 2 0 X 0 0 0 MICHAEL ALPER 2 0 X 0 0 0 JENNIFER AUBREY 2 0 X 0 0 0 GERHARD BETTE 2 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RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 0 X X X X 1 17077566 196444 1951619 0 496682 0 18728947 17370190 93317 51828 0 437769 0 17077566 16314528 40885 1375753 0 360976 0 17370190 7068284 8644572 948056 0 346384 0 16314528 8099390 42290 -1454096 0 0 0 6687584 0 0.91 0.09 0 0 0 3523259 3523259 0 56528004 23177859 33350145 0 0 0 0 0 4996493 3866742 1129751 0 0 0 0 38003155 Offshore Common Stock Funds Mutual Funds 39040884 F Large Cap Equities Mutual Funds 12324659 F International Equities Mutual Funds 8590470 F Small Cap Equities Mutual Funds 3078391 F Multifamily Portfolio LTD Partnership 1760000 C 64794404 Derivatives Mark to Market 2549537 Rental Deposits 87925 Refundable Advances 1220 2638682 X 33977168 0 83564 0 6231601 6315165 27662003 58704 598359 657063 28319066 20897385 83564 0 0 3216601 3300165 17597220 58704 0 58704 17655924 SchD_P03_S00_L01 Schedule D, Part III, Line 1 In conformity with the practice commonly followed by most American art museums, the value of the Museum's collection is not included in the financial statements. Contributions for the purchase of art objects, the proceeds from deaccessions of art and the cost of art objects purchased are reported as other changes in net assets in the statement of activities. The Museum's policy is to maintain and continue to acquire significant works of contemporary art (principally 1945 to present). From time to time, objects may be sold in accordance with the Museum's collection management policy. Deaccessions may result if one of the following conditions has been met: (a) physical condition has deteriorated to a point beyond display or study; or (b) an object is believed to be no longer pertinent to the scope of the Museum's collection. All proceeds realized from deaccessions are allocated to purchase other works of art. Proceeds from deaccessions amounted to $521,995 and $359,980 for the years ended June 30, 2013 and 2012, respectively. SchD_P03_S00_L04 Schedule D, Part III, Line 4 The collection is comprised of approximately 5,898 objects in all media created during the twentieth and twenty-first centuries. Through exhibitions, preservation and research, the collection supports the museum's mission to be an innovative and compelling center of contemporary art where the public can directly experience the work and ideas of living artists, and understand the historical, social and cultural context of the art or our time. SchD_P05_S00_L04 Schedule D, Part V, Line 4 The endowment funds are used to support the Museum's operations, subject to a spending policy. The Museum draws 5.0% of the average market value of assets over a 12 quarter period ending with the prior 12/31. SchD_P10_S00_L02 Schedule D, Part X, Line 2 The Museum's application of GAAPUSA regarding uncertain tax positions had no effect on its financial position as management believes the Museum has no material unrecognized income tax benefits, including any potential risk of loss of its not-for-profit tax status. The Museum would recognize interest and penalties related to unrecognized tax positions in interest and income tax expense, respectively. However, the Museum has no amounts accrued for interest or penalties as of June 30, 2013 and 2012. There are no ongoing federal, state or local tax audits; however, the Museum's tax returns for 2010 and subsequent years remain open to examination. SchD_P11_S00_L02d Schedule D, Part XI, Line 2d Rental Expense $543,161; COGS (Store) $2,665,676; Investment Spending Policy Draw $3,015,000; Miscellaneous Expenses $7,764. SchD_P11_S00_L04b Schedule D, Part XI, Line 4b Dividends and Interest $405,641; Realized Gains $192,718. SchD_P12_S00_L02d Schedule D, Part XII, Line 2d Rental Expenses $543,161; COGS (Store) $2,665,676; Miscellaneous Expenses $7,764. Europe (including Iceland and Greenland) 0 0 Program Services 86551 Central America and the Caribbean 0 0 Investments 4000000 0 0 4086551 1 0 0 0 0 0 X X X X X X 1 Marts and Lundy Inc 1200 Wall Street West Lyndhurst NJ 07071 Provides fundraising consulting for mail, email, and in person solicitations. 0 0 50004 -50004 0 50004 -50004 IL ArtEdge 906750 818870 87880 0 0 0 69050 65200 252411 Vernissage 387940 313741 74199 0 0 0 135128 0 37906 0 1294690 1132611 162079 0 0 0 204178 65200 290317 559695 -397616 X X X X 0 0 0 0 0 0 0 0 0 MADELEINE GRYNSZTEJN 412727 0 0 0 0 0 12500 0 9223 0 434450 0 0 0 JANET ALBERTI 279409 0 0 0 0 0 12500 0 9316 0 301225 0 0 0 MICHAEL DARLING 176251 0 0 0 0 0 0 0 13704 0 189955 0 0 0 LISA M KEY 172550 0 0 0 0 0 8625 0 4675 0 185850 0 0 0 SchJ_P01_S00_L03 Schedule J, Part I, Line 3 Schedule J, Part I, Line 3 - The Compensation Committee annually reviews performance, goal achievement, peer data, surveys, etc., when setting the annual salary for the Pritzker Director / Chief Executive Officer. The Committee reviews salaries of senior management and also approves the annual allocation to the staff salary increase pool. The Committee documents its findings in writing, and employees are not present when their compensation is set. X 17 0 N/A X 0 N/A X 20 1178790 Transferred Value 0 0 1 0 SchM_P01_S00_L33 Schedule M, Part I, Line 33 Schedule M, Part I, Line 33 - See Schedule D, Part XIII - Supplemental Information F990_P06_S0A_L02 Form 990, Part VI, Section A, Line 2 The following trustees have a family relationship: Beatrice Cummings Mayer and Robert Mayer, Lindy Bergman and Carol Cohen, and Judith Neisser and Kate Neisser. The following trustees have a business relationship: Robert Bellick and James Gordon; and Kenneth Griffin and James Gordon. F990_P06_S0B_L11b Form 990, Part VI, Section B, Line 11b Review of IRS Form 990 delegated to audit committee, after review a draft copy of Form 990 was emailed to all board members. After a 30 day review period, the Form 990 is then filed electronically to the IRS. F990_P06_S0B_L12c Form 990, Part VI, Section B, Line 12c The Museum maintains a Conflict of Interest Policy which applies to all trustees, members of standing committees, as well as senior management and other designated members of staff. The Policy requires that each person to whom the policy applies complete an annual disclosure statement to identify any business, financial or personal interest in matters relating to the Museum. The Policy forbids such individuals from voting on or using their personal influence in connection with such matters. In event the Museum does conduct business with a related party, the financial terms of those relationships are reported annually to the Audit Committee, whose members must be independent per the terms of the charter. F990_P06_S0B_L15 Form 990, Part VI, Section B, Line 15 The Compensation Committee annually reviews performance, goal achievement, peer data, surveys, etc., when setting the annual salary for the Pritzker Director / Chief Executive Officer. The Committee reviews salaries of senior management and also approves the annual allocation to the staff salary increase pool. The Committee documents its findings in writing, and employees are not present when their compensation is set. F990_P06_S0C_L19 Form 990, Part VI, Section C, Line 19 Upon request, the Museum provides the information. F990_P11_S00_L05 Form 990, Part XI, Line 5 Net Unrealized Gain on Investments $10,084,922; Unrealized Gain on Derivatives $1,172,580; Collection Acquisitions $-1,231,050; and Collection Deaccessions $521,955. F990_P11_S00_L09 Form 990, Part XI, Line 9 Collection Acquisitions ($1,231,050); Collection Deaccessions $521,995; Unrealized Loss on Derivatives $1,172,580, Rounding $1.