2013-05-14T09:00:07-05:00 2012-06-30 271728945 O'CONNOR DAVIES LLP 665 FIFTH AVENUE NEW YORK NY 10022 990 2011-07-01 112278998 QUEENS MUSEUM OF ART NEW YORK CITY BUILDING QUEE 7185929700 FLUSHING MEADOWS CORONA PARK QUEENS NY 11368 THOMAS FINKELPEARL 7185929700 2013-05-13 1 GARRETT HIGGINS P00543209 2122862600 2011 2016-02-24 21:20:13Z THOMAS FINKELPEARL FLUSHING MEADOWS CORONA PARK QUEENS NY 11368 11215383 0 X WWW.QUEENSMUSEUM.ORG X 1972 NY SINCE ITS FOUNDING IN 1972, THE QUEENS MUSEUM OF ART (QMA) HAS BEEN INTIMATELY CONNECTED TO ITS 18 18 87 32 0 0 10162667 10887943 208890 190770 1597 8807 119605 6750 10492759 11094270 19859 15278 0 0 1971015 2333411 0 0 374254 1542983 1795264 3533857 4143953 6958902 6950317 16147233 23108994 264602 287946 15882631 22821048 X THE QUEENS MUSEUM OF ART 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 OF ART 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 1801921 134612 EXHIBITIONSEXHIBITIONS ARE AT THE CENTER OF ALL PROGRAMS ORGANIZED AT THE QUEENS MUSEUM OF ART. THE MUSEUM'S PERMANENT AND SPECIAL EXHIBITIONS OF MODERN AND CONTEMPORARY ART RECEIVE WIDE ACCLAIM AND ATTRACT ATTENTION FROM A BROAD AND DIVERSE COMMUNITY. QMA HAS DISTINGUISHED ITSELF AS ONE OF THE CITY'S MOST DRAMATIC AND EXCITING PLACES TO VIEW ART, AS EVIDENCED BY REGULAR FEATURE ARTICLES IN THE NEW YORK TIMES, TIME OUT NEW YORK, ART IN AMERICA, LOCAL NEWSPAPERS IN QUEENS, AND MYRIAD NATIONAL AND INTERNATIONAL PUBLICATIONS. WITH A VARIED EXHIBITION SCHEDULE THAT INCLUDES BOTH CRITICAL CONTEMPORARY ART PRESENTATIONS AND IMPORTANT HISTORICAL EXAMINATIONS OF SUBJECTS PERTINENT TO THE EVER-CHANGING BOROUGH, THE MUSEUM STRIVES TO PRESENT OFFERINGS THAT WILL APPEAL TO EVERY MEMBER OF THE VARIOUS COMMUNITIES IT SERVES. OUR PERMANENT AND LONG-TERM EXHIBITIONS CONSIST OF THE PANORAMA OF THE CITY OF NEW YORK A 9,335-SQUARE FOOT MODEL OF ALL FIVE NEW YORK CITY BOROUGHS BUILT BY ROBERT MOSES FOR THE 1964 WORLD'S FAIR; TIFFANY GLASS: SELECTIONS FROM THE NEUSTADT MUSEUM OF TIFFANY ART A DISPLAY OF DR. EGON NEUSTADT'S TIFFANY OBJECTS THAT WERE ONCE FABRICATED IN CORONA, QUEENS; THE RELIEF MAP OF THE NEW YORK CITY WATER SUPPLY SYSTEM, A 540-SQUARE FOOT TOPOGRAPHICAL MAP BUILT FOR THE 1939 WORLD'S FAIR BUT NEVER EXHIBITED; AND OUR COLLECTION OF 1939 AND 1964 WORLD'S FAIR MEMORABILIA. TEMPORARY EXHIBITIONS AT QMA FALL INTO THE FOLLOWING CATEGORIES:1. MULTICULTURAL AND NEW YORK CITY INSPIRED EXHIBITIONS: EMBRACING BOTH OUR SITE AND COMMITMENT TO PRESENTING THE WORK OF INTERNATIONAL ARTISTS, OUR RECENT EXHIBITS INCLUDE INDIVIDUAL ARTIST PROJECTS, GROUP EXHIBITIONS AND MAJOR COLLABORATIONS WITH NEW YORK CITY-BASED CULTURAL INSTITUTIONS. IN 2011-2012 THE QMA PRESENTED: NIYETI CHADHA: A SCRIPT FOR A LANDSCAPE: CHADHA TRANSFORMED THE MUSEUM'S UNISPHERE GALLERY WITH A SITE-SPECIFIC DRAWING THAT WAS HALF IMAGINARY AND HALF ABSTRACTION. QUEENS INTERNATIONAL: THREE POINTS MAKE A TRIANGLE -THE FIFTH EDITION OF THE QUEENS MUSEUM OF ART'S BIANNUAL SURVEY OF ARTISTS LIVING AND WORKING IN THE BOROUGH. QUEENS INTERNATIONAL FEATURED 31 MULTI-NATIONAL ARTISTS BASED IN ASTORIA, FLUSHING, JACKSON HEIGHTS, LONG ISLAND CITY, KEW GARDENS, RICHMOND HILL, AND RIDGEWOOD. FRANK OSCAR LARSON: 1950S NEW YORK STREET STORIES FRANK OSCAR LARSON (1896-1964) WAS BORN IN GREENPOINT, BROOKLYN, OF SWEDISH IMMIGRANT PARENTS AND LIVED IN FLUSHING, QUEENS MOST OF HIS LIFE. STREET STORIES EXHIBITED MORE THAN 50 OF LARSON'S BEAUTIFUL BLACK AND WHITE PHOTOGRAPHS OF NEW YORK STREET SCENES. GREG SHOLETTE: FIFTEEN ISLANDS FOR ROBERT MOSES: FIFTEEN ISLANDS FOR ROBERT MOSES WAS A SITE-SPECIFIC ART INTERVENTION ON THE PANORAMA OF THE CITY OF NEW YORK. ADA BOBONIS: STAGES, MOUNTAINS, WATER: BOBONIS' SITE-SPECIFIC INSTALLATION ENTITLED TRANSFORMED THE MUSEUM'S SECOND FLOOR GALLERY SPACE INTO AN INVIGORATING CHROMATIC ENVIRONMENT EVOKING THE CARIBBEAN LANDSCAPE. CARIBBEAN: CROSSROADS OF THE WORLD: IN AN UNPRECEDENTED COLLABORATION ORGANIZED BY EL MUSEO DEL BARRIO WITH THE QUEENS MUSEUM OF ART AND THE STUDIO MUSEUM IN HARLEM, CARIBBEAN: CROSSROADS OF THE WORLD, WAS AN AMBITIOUS AND TRAILBLAZING EXHIBITION, HIGHLIGHTING OVER TWO CENTURIES OF RARELY-SEEN WORKS FROM THE HAITIAN REVOLUTION (C. 1804) TO THE PRESENT. THE SHOW FEATURED MORE THAN 400 WORKS INCLUDING PAINTING, SCULPTURE, PRINTS, BOOKS, PHOTOGRAPHY, FILM, VIDEO AND HISTORIC ARTIFACTS FROM VARIOUS CARIBBEAN NATIONS, EUROPE AND THE UNITED STATES.2. THE PARTNERSHIP GALLERY: THE MOST ACTIVE SPACE IN THE GALLERIES, THE PARTNERSHIP GALLERY, BRINGS TOGETHER THE QMA EDUCATION, PUBLIC EVENTS, AND EXHIBITION DEPARTMENTS IN PROVIDING OPPORTUNITIES FOR OUR CULTURAL AND NONPROFIT ORGANIZATIONAL PARTNERS AND TO DEVELOP AND MOUNT EXHIBITIONS BASED ON THEIR PROGRAMS. ADDITIONALLY, THE PARTNERSHIP GALLERY REGULARLY SHOWCASES THE WORK OF STUDENTS WHO PARTICIPATE IN OUR EDUCATION DEPARTMENT PROGRAMS. THE PARTNERSHIP GALLERY MOUNTS OVER 20 SHORT-RUN EXHIBITIONS ANNUALLY. THE MUSEUM SEES EACH OF THESE EXHIBITS AS A MEANS TO MAINTAIN AND FORTIFY OUR TIES WITH COMMUNITY PARTNERS. EXHIBITIONS RANGE FROM AN ANNUAL SHOW OF ARTWORK FOR WORLD AIDS DAY, TO AN EXHIBITION OF WORK BY STUDENTS IN OUR ARTACCESS PROGRAM FOR JAILED JUVENILES AT ISLAND ACADEMY ON RIKER'S ISLAND. 870181 15278 95736 EDUCATION PROGRAMSTHE QUEENS MUSEUM OF ART 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. WITH A STAFF OF NINE FULL-TIME AND 20 PART-TIME EDUCATORS, THE EDUCATION DEPARTMENT IS THE LARGEST AT QMA, SIGNALING OUR COMMITMENT TO DIVERSITY, INCLUSION AND PARTNERSHIP. QMA IS NOT ONLY A RENOWNED ART AND HISTORY MUSEUM; IT IS ARGUABLY THE LARGEST NONPROFIT PROVIDER OF K-12 ARTS EDUCATION SERVICES IN THE BOROUGH OF QUEENS, THE MOST DIVERSE COUNTY IN THE COUNTRY. THE QUEENS MUSEUM IS TRULY BOROUGH-WIDE IN ITS REACH AND SCOPE. THROUGH YEAR-ROUND IN-SCHOOL AND OUT-OF SCHOOL PROGRAMS, AND A RANGE OF COLLABORATIONS, OUR EDUCATION PROGRAMS OCCUR AT OUR MUSEUM AND ALSO FROM ONE END OF QUEENS TO THE OTHER, FROM ASTORIA TO JAMAICA TO THE ROCKAWAYS. 1. AFTER-SCHOOL PROGRAMS: QMA COLLABORATES WITH SCHOOLS AND COMMUNITY ORGANIZATIONS TO PROVIDE CUSTOMIZED ARTS-BASED AFTER-SCHOOL PROGRAMS IN SCHOOLS, COMMUNITY SETTINGS AND AT THE MUSEUM. IN 2012 ALONE, MORE THAN 300 NEW YORK CITY STUDENTS AND THEIR PARENTS PARTICIPATED IN QMA AFTER-SCHOOL PROGRAMS AND EVENTS. 2. ARTACCESS: A NATIONALLY RECOGNIZED MODEL OF ART EDUCATION FOR CHILDREN AND ADULTS WITH PHYSICAL, DEVELOPMENTAL, AND EMOTIONAL DISABILITIES. ARTACCESS PROVIDES ARTMAKING CLASSES AND WEEKEND WORKSHOPS TO OVER 5,500 PARTICIPANTS ANNUALLY. OF NOTE ARE A SERIES OF COMMUNITY-BASED ACTIVITIES AND SERVICES FOR FAMILIES WITH CHILDREN ON THE AUTISM SPECTRUM OFFERED AT BOTH QMA AND QUEENS LIBRARY SITES IN QMA'S SERVICE COMMUNITIES.3. FAMILY PROGRAMS: OUR FAMILY PROGRAMS REACH OVER 3,000 ADULTS AND CHILDREN ANNUALLY THROUGH A SERIES OF FREE WEEKLY DROP-IN ART WORKSHOPS AND TOURS FOR CHILDREN AGES FIVE THROUGH 12 AND THEIR ADULT COMPANIONS. OUR RENOWNED SECOND SUNDAYS FOR FAMILIES FEATURES TOURS, ARTMAKING, AND PERFORMANCES FOR VISITORS OF ALL AGES. 4. NEW NEW YORKERS: THIS IS A GROUND-BREAKING PARTNERSHIP WITH THE QUEENS PUBLIC LIBRARY OFFERS 30 FREE, EIGHT-WEEK FREE, MULTI-SESSION, MULTILINGUAL ARTS, TECHNOLOGY, LITERACY AND SKILL-BUILDING COURSES TO OVER 500 ADULT NEW YORK CITY IMMIGRANTS ANNUALLY. WORKSHOPS TAKE PLACE AT THE MUSEUM, AND IN LIBRARY BRANCHES AND COMMUNITY SPACES ACROSS QUEENS. 5. PROFESSIONAL DEVELOPMENT: QMA EDUCATION PROVIDES CUSTOMIZED PROFESSIONAL DEVELOPMENT PROGRAMS TO A WIDE RANGE OF EDUCATORS, ARTISTS, THERAPISTS, LIBRARIANS, AND ADMINISTRATORS.6. QUEENS TEENS: A NATIONAL AWARD-WINNING YOUTH DEVELOPMENT AND LEADERSHIP PROGRAM THAT IMMERSES DIVERSE YOUTH IN THE QMA'S PROGRAMS AND OPERATIONS. THROUGH INTENSIVE MENTORING AND ARTS EXPERIENCES AND EMPLOYMENT, QUEENS TEENS ARE PREPARED FOR COLLEGE AND CAREERS AFTER HIGH SCHOOL. 7. SCHOOL PROGRAMS: OUR POPULAR SCHOOL PROGRAMS REACH MORE THAN 25,000 K-12 STUDENTS EVERY AFTER YEAR THROUGH DAILY SCHOOL TOURS AND LONG-TERM SCHOOL PARTNERSHIP AND RESIDENCY PROGRAMS.8. SENIOR PROGRAMS: A SERIES OF FREE PROGRAMS THAT PROVIDE OPPORTUNITIES FOR SENIORS TO WORK WITH ART IN MYRIAD WAYS. 347906 0 PUBLIC EVENTSOVER THE PAST SEVEN YEARS, QMA HAS BECOME KNOWN AS A LEADER IN PRODUCING CULTURAL PROGRAMMING FOR NON-TRADITIONAL MUSEUM-GOING AUDIENCES AND FOR OPENING OUR DOORS TO PROGRAMS ORGANIZED BY OUR COMMUNITY PARTNERS. QMA'S PUBLIC EVENTS DEPARTMENT HAS THREE COMMUNITY ORGANIZERS ON STAFF AND PRESENTS MORE THAN 75 EVENTS AND SERIES ANNUALLY ROOTED IN CELEBRATING THE INCREDIBLE ETHNIC DIVERSITY OF THE BOROUGH OF QUEENS, INTEGRATING WITH CURATORIAL AND EDUCATIONAL PROGRAMMING , AND PROVIDING A PLATFORM FOR ARTISTIC EXPRESSION IN VARIOUS MEDIA INCLUDING MUSIC, DANCE, FILM AND SPOKEN WORD. PUBLIC EVENTS PROGRAMS INCLUDE:1. CORONA STUDIOCORONA STUDIO IS A LONG-TERM MULTIFACETED COMMUNITY ENGAGEMENT PROJECT THAT INTERTWINES THE ARTS WITH COMMUNITY BUILDING, AND IS PERHAPS THE MUSEUM'S CLEAREST EXAMPLE OF COMMUNITY ENGAGEMENT. THIS PROGRAM SUPPORTS PARTICIPANTS' WORK OUTSIDE OF THE MUSEUM WALLS IN THE LOCAL QUEENS COMMUNITY. BUILT ON THE IDEA THAT THE MUSEUM CAN HAVE A TANGIBLE IMPACT BY ENGAGING OUR LOCAL COMMUNITY OF CORONA, QUEENS, THE PROJECT'S CORE VALUES ARE: LISTENING TO AND PROMOTING THE LOCAL VOICE, INTEGRATING ARTISTS INTO THE COMMUNITY, AND CREATING POSITIVE CHANGE. THE PROGRAM IS DEDICATED TO SELECTING ARTISTS WHO DESIRE TO USE ART FOR SOCIAL CHANGE, AND PROVIDING THEM WITH THE HELP NEEDED TO REALIZE THEIR OBJECTIVES. THE LONG-TERM GOAL IS TO IMPROVE THE QUALITY OF LIFE FOR RESIDENTS OF CORONA AND TO CREATE A MODEL FOR SOCIAL ENGAGEMENT THAT CAN BE ADAPTED TO THE SPECIFIC CONTEXTS OF OTHER MUSEUMS. IMMIGRANT MOVEMENT INTERNATIONAL, CONCEIVED OF AND DIRECTED BY ARTIST TANIA BRUGUERA, IS A MULTIYEAR CORONA STUDIO SOCIAL ART PROJECT THAT TAKES THE FORM OF A COMMUNITY CENTER, IMMIGRATION THINK-TANK, AND LIVING PERFORMANCE, WITH ITS STOREFRONT ON ROOSEVELT AVENUE PROVIDING A PLATFORM FOR OTHER ACTIVITIES. WHAT BEGAN AS THE PURSUIT TO DEFINE THE IMMIGRANT AS A UNIQUE, NEW GLOBAL CITIZEN IN A POST-NATIONAL WORLD HAS EVOLVED TO INCLUDE SOCIAL SERVICE OFFERINGS RANGING FROM CHILDREN'S ART AND MUSIC INSTRUCTION AND FREE LEGAL ADVICE TO THE CREATION OF A MIGRANT MANIFESTO AND INTERNATIONAL ARTIST COMMEMORATION OF UN INTERNATIONAL MIGRANTS DAY ON DECEMBER 18. CORONA PLAZA: A SERIES OF SEASONAL PUBLIC ART INSTALLATIONS IN A ONCE-GRAND BUT NEGLECTED NEIGHBORHOOD MEETING PLACE HAS TRANSFORMED INTO AN ADVOCACY EFFORT TO TRANSFORM THE PLAZA FROM A PARKING LOT INTO A VIBRANT MULTI-USE PUBLIC SPACE. THROUGH THE EFFORTS OF THE MUSEUM AND ITS PARTNERS, THE SPACE WAS RE-LAUNCHED AS A PUBLIC PLAZA, WITH A LARGER-SCALE CAPITAL IMPROVEMENT SCHEDULED FOR 2014. THE MUSEUM HAS INVITED AN ARCHITECT AND AN URBAN PLANNER TO ASSIST ITS TWO COMMUNITY ORGANIZERS IN KEEPING THE COMMUNITY AT THE TABLE IN AN IMAGINATIVE AND INCLUSIVE MANNER SO THAT THEY WILL BECOME THE STEWARDS AND ACTIVE PROGRAMMERS OF THE SPACE. THROUGHOUT THE PROCESS, THE MUSEUM HAS OFFERED FREE CULTURAL AND SOCIAL SERVICE PROGRAMMING IN THE PLAZA RANGING FROM PERFORMANCE ART, CHILDRENS ART-MAKING, DANCE AND MUSICAL PRESENTATIONS TO HEALTH SCREENINGS, VOTER REGISTRATION, AND PLAZA DESIGN WORKSHOPS.SOCIAL PRACTICE QUEENS IS THE FIRST MASTERS OF FINE ARTS (MFA) PROGRAM IN SOCIAL PRACTICE ART ON THE EAST COAST. IN PARTNERSHIP WITH QUEENS COLLEGE, SOCIAL PRACTICE QUEENS FOCUSES ON SOCIAL INTERVENTION THROUGH ART WITH STUDENTS GAINING ACCESS TO BOTH THE QUEENS MUSEUM'S ARTISTIC AND EDUCATIONAL PROGRAMS AND QUEENS COLLEGE'S DIVERSE COURSES IN URBAN STUDIES, SOCIOLOGY, HISTORY, AND LAW, ETC. THIS PILOT PROGRAM INTEGRATES TRADITIONAL MFA STUDIO PRACTICES WITH SOCIAL INTERVENTIONIST ART FORMS, AND SOCIAL DESIGN STRATEGIES DIRECTLY RELATED TO THE QUEENS MUSEUM'S ONGOING COMMUNITY PROGRAMMING. 2. PASSPORT FRIDAYS: OUR EIGHT-WEEK OUTDOOR FILM, DANCE, AND MUSIC SERIES UNDER THE STARS IN FLUSHING MEADOWS CORONA PARK. THE WEEKLY SUMMER FESTIVITIES OFFER LIVE PERFORMANCES FROM LOCAL MUSICIANS AND QMA'S IN-HOUSE DANCE RESIDENCY PROGRAM FEATURING SOME OF THE MOST TALENTED CONTEMPORARY DANCE COMPANIES IN OUR BOROUGH. WITH ATTENDANCE REACHING UPWARDS OF 600+ PEOPLE PER EVENT, PASSPORT FRIDAYS IS QMAS MOST VISIBLE AND MOST WIDELY ATTENDED PUBLIC PROGRAMMING SERIES EACH YEAR. 3. CULTURAL CELEBRATIONS: ANNUAL PROGRAMS OFFERED BY THE PUBLIC EVENTS DEPARTMENT INCLUDE HOLIDAY AND SEASONAL EVENTS SUCH AS: CHINESE LUNAR NEW YEAR CELEBRATIONS; DAY OF THE DEAD CELEBRATION; CINEMAROSA, THE ONLY GAY FILM FESTIVAL IN QUEENS; FATAL LOVE, THE MUSEUM'S ANNUAL CELEBRATION OF PAKISTANI AND INDIAN INDEPENDENCE DAYS. QMA ALSO PRESENTS COMPLIMENTARY PROGRAMMING IN THE PARK FOR SUMMER FESTIVALS, INCLUDING ECUADORIAN, PERUVIAN, AND COLOMBIAN FESTIVALS THAT ATTRACT HUNDREDS OF THOUSANDS OF VISITORS. 4. EXHIBITION-RELATED PROGRAMMING: OUR EXHIBITION-RELATED PROGRAMMING ALLOWS VISITORS A DYNAMIC RANGE OF FILM SCREENINGS, POETRY READINGS, MUSICAL EXPERIENCES, AND PUBLIC DIALOGUES TO PROVIDE A POINT OF ENTRY FOR UNDERSTANDING EXHIBITIONS. PUBLIC INFORMATIONMARKETING AND PUBLIC RELATIONS EFFORTS ACCOMPANY EVERY PROGRAM AND THE QMA IS REGULARLY FEATURED IN LOCAL, NATIONAL AND INTERNATIONAL PRINT, RADIO AND TELEVISION MEDIA. IN ADDITION, QMA ADVERTISES IN LOCAL PAPERS, THROUGH PRINTED MEDIA, ON-LINE AND THROUGH A MEDIA SPONSORSHIP WITH WNYC RADIO. THE QUEENS MUSEUM HAS AN ACTIVE ON-LINE AND SOCIAL MEDIA PRESENCE. OUR WEB SITE WWW.QUEENSMUSEUM.ORG OFFERS A COMPREHENSIVE PRESENTATION OF OUR PROGRAMS AND ACTIVITIES AND INCLUDES A PROGRAM CALENDAR, EXHIBITION DESCRIPTIONS, CONTACT INFORMATION, ETC. AND A LINK TO OUR QUEENSMUSE BLOG (HTTP://WWW.QUEENSMUSEUM.ORG/BLOG/). OUR WEB SITE ALSO INCLUDES LINKS TO VARIOUS SOCIAL MEDIA OUTLETS. THE MUSEUM'S FACEBOOK PAGE WWW.FACEBOOK.COM/QUEENSMUSEUM (11,012 FANS), TWITTER FEED WWW.TWITTER.COM/QUEENSMUSEUM (46,834 FOLLOWERS) YOUTUBE, FLICKR, FOURSQUARE AND OTHER SOCIAL MEDIA SITES ATTRACT A LARGE ON-LINE PRESENCE AND GENERATE DIALOGUE WITH COMMUNITIES THROUGHOUT THE WEB. ONE OF OUR MOST POPULAR CONVERSATIONS INCLUDE #EDUTUES WHERE THE MUSEUM HOSTS A TWITTER CONVERSATION ON VARYING SUBJECTS RELATED TO MUSEUM EDUCATION. 3020008 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 1 0 0 0 0 0 0 0 0 0 1 59 0 87 1 0 0 0 0 0 1 1 0 0 0 0 X 18 18 0 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 GRETCHEN WERWAISS 6.00 X X 0 0 0 ALAN SUNA 2.00 X X 0 0 0 PETER MEYER 1.00 X X 0 0 0 MURRAY TARNAPOLL 0.50 X X 0 0 0 ANDREW LEVINE 2.00 X X 0 0 0 ALINA CAMACHO-GINGERICH 0.50 X 0 0 0 CHRISTINE CIAMPA 0.50 X 0 0 0 DANIEL COHEN 0.50 X 0 0 0 ANDREW KIRBY 1.50 X 0 0 0 SIGMUND R BALKA 1.50 X 0 0 0 MARC KRAMER 0.50 X 0 0 0 VICTORIA SCHNEPS-YUNIS 2.00 X 0 0 0 IFEOMA OKORONKWO MD 0.50 X 0 0 0 MARGARETTE LEE 1.00 X 0 0 0 AMY D'AMATO 1.50 X 0 0 0 JACQUIE HEMMERDINGER 1.50 X 0 0 0 SHAILJA KOUFAKIS 1.00 X 0 0 0 HARVEY ROSS 0.50 X 0 0 0 TOM FINKELPEARL 40.00 X 143288 0 16485 JULIE LOU 40.00 X 62612 0 22882 205900 0 39367 1 0 1 0 0 1171 207900 9220149 1458723 72000 10887943 ADMISSIONS & WORKSHOPS 900099 190770 190770 190770 8807 8807 742 742 26050 4104 21946 21946 21946 21432 207900 84966 -63534 -63534 71621 32043 39578 39578 CAFE SALES 722210 6525 6525 HONORARIA 900099 1493 1493 8018 11094270 230348 0 -24021 15278 15278 265193 171924 56464 36805 1548791 1001963 331765 215063 109188 70973 22956 15259 245529 158493 53387 33649 164710 106732 35153 22825 12000 10587 857 556 196918 167847 18879 10192 18277 17987 80 210 268366 226228 34825 7313 11384 9517 1699 168 950 535 332 83 25008 19278 4637 1093 20825 11728 7286 1811 1041231 880679 135776 24776 33485 9788 23697 EQUIPMENT MAINTENANCE & 151053 128197 19230 3626 HONORARIA 5655 4989 404 262 MISCELLANEOUS EXPENSES 5088 2865 1780 443 EXHIBITION LOAN & RENTA 3642 3642 0 0 1382 778 484 120 4143953 3020008 749691 374254 948158 990353 1149636 1151950 732351 723959 39863 37963 37867 30382 25853760 5828813 13086834 20024947 152524 149440 16147233 23108994 264602 261396 26550 264602 287946 X 715313 728413 14624279 21549596 543039 543039 15882631 22821048 16147233 23108994 X 6950317 -11900 X X 0 1 1 X 0 X 4627912 2914837 6287306 10162667 10887943 34880665 4627912 2914837 6287306 10162667 10887943 34880665 196286 34684379 63904 38640 15517 51283 35599 204943 28105 21546 36315 6111 8018 100095 35185703 1707388 0.98580 0.98510 X SCHEDULE A, PART IV, SUPPLEMENTAL INFORMATION: FORM 990, SCHEDULE A, SECTION B, EXPLANATION FOR LINE 10, OTHER INCOME: 2011 OTHER INCOME CONSISTS OF THE FOLLOWING ITEMS: CAFE SALES $6525 HONORARIA $1493 --------------------------- TOTAL OTHER INCOME $8018 RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 1 0 0 0 0 1 20388 0 0 20388 0 EXPLANATION OF LOBBYING ACTIVITIES: PART II-B, LINE 1: THE MUSEUM'S EXECUTIVE DIRECTOR, DIRECTOR FOR EXTERNAL AFFAIRS, AND BOARD MEMBERS, ON OCCASION, MEET WITH OR CONTACT GOVERNMENT OFFICIALS OR LEGISLATORS TO PROVIDE ADDITIONAL INFORMATION AND DISCUSS CONCERNS THAT DIRECTLY AFFECT CULTURAL INSTITUTIONS. THE QUEENS MUSEUM OF ART BUILDING IS OWNED BY THE CITY OF NEW YORK AND IS CURRENTLY UNDERGOING A CAPITAL EXPANSION PROJECT UNDERTAKEN BY THE CITY. AS SUCH, MUSEUM ADMINISTRATION STAFF REGULARLY MEET WITH CITY OFFICIALS REGARDING THE PROJECT. X X X X 0 544843 40 -141 544742 371299 175000 44 -1500 544843 249779 120000 1520 371299 172552 76000 1227 249779 0.99690 0.00310 0 0 25663045 5656085 20006960 185058 172728 12330 5657 5657 20024947 11094270 4143953 6950317 -11900 -11900 6938417 11440955 310538 36147 346685 11094270 0 11094270 4490638 310538 36147 346685 4143953 0 4143953 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 (MEMORABILIA AND GRAPHICS). 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. IN ADDITION TO THE INDIVIDUAL DONATIONS MADE BY NUMEROUS DONORS OF SOUVENIRS, FURNITURE, PHOTOGRAPHS AND DOCUMENTS, WE RECEIVED THREE SIGNIFICANT COLLECTIONS OF SOUVENIRS AND MEMORABILIA - EACH TOTALING BETWEEN 75 AND 125 ITEMS. IN ADDITION, WE RECEIVED A GIFT OF A "NEUROLOGICAL MODEL" FABRICATED BY THE DONOR'S FATHER, AND EXHIBITED AT THE BELGIAN PAVILION IN THE 1964 FAIR. 12 DIGITAL PRINTS FROM ARCHIVAL NEGATIVES BY PHOTOGRAPHER LUIS MARQUEZ WERE DONATED AND ILLUMINATE THE MEXICAN PRESENCE AT THE FAIR IN 1940. 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.) 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 -2012, 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. DESCRIPTION OF INTENDED USE OF ENDOWMENT FUNDS: PART V, LINE 4: THE MUSEUM HAS ESTABLISHED AN ENDOWMENT FUND WHICH CONSISTS OF DONOR RESTRICTED GIFT AND CONTRIBUTIONS. THE MUSEUM APPROPRIATES FOR EXPENDITURE OR ACCUMULATION AS IS PRIDENT FOR THE USES, BENEFITS, PURPOSES AND DURATION FOR WHICH THE ENDOWMENT FUND IS ESTABLISHED, SUBJECT TO THE INTEND OF THE DONOR AS EXPRESSED IN THE GIFT INSTRUMENT. CURRENTLY, EXPENDITURES FROM THE ENDOWMENT FUNDS ARE USED TO SUPPORT OPERATIONAL PURPOSES AS NEEDED. DESCRIPTION OF UNCERTAIN TAX POSITIONS UNDER FIN 48: PART X: THE MUSEUM RECOGNIZES THE EFFECT OF INCOME TAX POSITIONS ONLY IF THOSE POSITIONS ARE MORE LIKELY THAN NOT OF BEING SUSTAINED. MANAGEMENT HAS DETERMINED THAT THE MUSEUM HAD NO UNCERTAIN TAX POSITIONS THAT WOULD REQUIRE FINANCIAL STATEMENT RECOGNITION. THE MUSEUM IS NO LONGER SUBJECT TO AUDITS BY THE APPLICABLE TAXING JURISDICTIONS FOR PERIODS PRIOR TO 2008. PART XII, LINE 2D - OTHER ADJUSTMENTS: COST OF SALES 32,043. STAFF OVERTIME FOR RENTAL PROGRAM 4,104. PART XIII, LINE 2D - OTHER ADJUSTMENTS: COST OF SALES 32,043. STAFF OVERTIME FOR RENTAL PROGRAM 4,104. FORM 990, PART XI, LINE 7 - EXPLANATION FOR PRIOR PERIOD ADJUSTMENT: $11,900 OF DEFERRED REVENUE FOR MEMBERSHIPS AND ADMISSIONS WAS RECLASSIFIED FROM TEMPORARILY RESTRICTED NET ASSETS TO DEFERRED REVENUE IN THE FINANCIAL STATEMENTS FOR FISCAL YEAR ENDING 6/30/11. QMA ANNUAL GALA 229332 207900 21432 22778 36318 3295 22575 229332 207900 21432 22778 36318 3295 22575 84966 -63534 1 STIPENDS FOR TEEN DOCENT PROGRAM 15 14678 STIPENDS FOR STAFF 2 600 PROCEDURE FOR MONITORING GRANTS IN THE U.S.: PART I, LINE 2: SCHEDULE I, 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. X X X 0 0 0 0 0 0 0 0 0 TOM FINKELPEARL 143288 0 0 0 0 0 15843 0 642 0 159773 0 0 0 X 72000 COST 0 0 0 METHOD FOR DETERMINING NUMBER OF CONTRIBUTORS: PART I, COLUMN (B): THE ORGANIZATION IS REPORTING THE NUMBER OF CONTRIBUTIONS RECEIVED IN ACCORDANCE WITH THE ORGANIZATION'S RECORDKEEPING ACTIVITIES. SIGNIFICANT PROGRAM ACTIVITIES (CONTINUED) FORM 990, PART 1, LINE 1 COMMUNITY AND THE HISTORY OF ITS SITE. OUR MISSION STATEMENT DECLARES THAT QMA 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 PRINCIPAL FINE ARTS-COLLECTING INSTITUTION IN THE BOROUGH, QMA 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. QMA 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. OUR VISION IS OF A HETEROGENEOUS AND NONTRADITIONAL MUSEUM-GOING AUDIENCE EMPOWERED TO APPRECIATE, PRACTICE, AND REFLECT ON ART IN THEIR DAILY LIVES AND RESPECTIVE COMMUNITIES, BEYOND DISCRETE ENCOUNTERS AND BRICK-AND-MORTAR BOUNDARIES OF THIS CULTURAL INSTITUTION. OVER THE PAST DECADE, THE QMA HAS REDEDICATED ITSELF TO EXERTING THE SAME SORT OF IMAGINATION, EXPERIMENTATION, AND RESOURCES TO COMMUNITY ENGAGEMENT AS WE DO TO ARTISTIC EXCELLENCE. QMA HAS THREE COMMUNITY ORGANIZERS AND THREE ART THERAPISTS ON STAFF, TWENTY EDUCATORS WHO SPEAK NINE LANGUAGES AND AN EXHIBITION PROGRAM THAT CONSISTENTLY BRINGS IN ARTISTS WHO WORK COLLABORATIVELY WITH OUR DIVERSE COMMUNITIES. ADMISSION IS BY VOLUNTARY CONTRIBUTION. FREE PROGRAMMING RUNS THE GAMUT FROM LITERACY AND VISUAL ARTS EDUCATION FOR ADULT IMMIGRANTS (COURSES TAUGHT IN MANRARIN, SPANISH, KOREAN, FARSI, TURKISH AND TIBETAN), TO CULTURAL FESTIVALS AND EXHIBITIONS ORGANIZED BY LONG-TERM COMMUNITY PARTNERS. ALL OF THIS ALLOWS NON-CONVENTIONAL AUDIENCES TO UNDERSTAND THAT THE QMA IS THEIR MUSEUM AND CULTURAL PRODUCTION IS IN THEIR HANDS. THE QMA STAFF AND BOARD IS DIVERSE AND MULTILINGUAL: PEOPLE OF COLOR COMPRISE 56% OF THE PROFESSIONAL AND PROGRAM STAFF, 63% OF THE OVERALL STAFF, AND 27% OF BOARD MEMBERS. WE FEEL STRONGLY THAT THIS DIVERSITY HAS LED TO BETTER PROGRAMMING BECAUSE THE HORIZONS OF THE STAFF ARE CONSTANTLY WIDENING THROUGH INTERNAL AND EXTERNAL COMMUNICATION. OUR VERY SETTING IN FLUSHING MEADOWS CORONA PARK, A 1255-ACRE EXPANSE THAT STANDS ROUGHLY ONE AND A HALF TIMES THE SIZE OF MANHATTAN'S CENTRAL PARK, REFLECTS OUR DYNAMIC RELATIONSHIP TO THE CITY AND THE WORLD. HOUSED IN THE HISTORIC NEW YORK CITY BUILDING, THE CITY'S OFFICIAL PAVILION DURING THE 1939 AND 1964 WORLD'S FAIRS, THE QMA'S GALLERIES OVERLOOK THE UNISPHERE, THE MONUMENTAL STEEL GLOBE THAT REMAINS BOTH A WELL-KNOWN SYMBOL OF THE 1964 WORLD'S FAIR AND AN ENDURING TRIBUTE TO INTERNATIONALISM. FROM 1946 TO 1950, OUR BUILDING WAS HOME TO THE UNITED NATIONS GENERAL ASSEMBLY. WORLD HISTORIC EVENTS TOOK PLACE HERE, FROM THE PARTITION OF KOREA TO THE PARTITION OF PALESTINE. U.S. PRESIDENTS FROM HARRY S. TRUMAN TO JOHN F. KENNEDY WALKED OUR HALLS. ON PERMANENT DISPLAY AT QMA IS THE PANORAMA OF THE CITY OF NEW YORK, A 9,335-SQUARE FOOT SCALE MODEL OF ALL FIVE NEW YORK CITY BOROUGHS BUILT BY ROBERT MOSES FOR THE 1964 WORLD'S FAIR; MEMORABILIA FROM BOTH WORLD'S FAIRS; AND TIFFANY GLASS: SELECTIONS FROM THE NEUSTADT MUSEUM OF TIFFANY ART, A DISPLAY OF DR. EGON NEUSTADT'S TIFFANY OBJECTS, ONCE FABRICATED IN CORONA, QUEENS. INHABITING A SYMBOLIC SPACE THAT REPRESENTS OUR BOROUGH, OUR CITY, AND OUR WORLD, QMA CARRIES A DEEP MEMORY OF INTERNATIONAL DIALOGUE AND INTERCULTURAL UNDERSTANDING. EACH YEAR, THROUGH OUR EXHIBITIONS AND PROGRAMS, WE SERVE ABOUT 200,000 VISITORS THROUGH ON- AND OFF-SITE PROGRAMMING. ATTENDANCE IS PRIMARILY DRAWN FROM QUEENS, THE OTHER NYC BOROUGHS, AND NASSAU COUNTY, AS WELL AS INTERNATIONAL VISITORS. ABOUT A QUARTER OF ATTENDEES ARE SCHOOLCHILDREN FROM EVERY COMMUNITY SCHOOL DISTRICT IN QUEENS. WHAT DISTINGUISHES OUR AUDIENCE FROM TYPICAL MUSEUM AUDIENCES IS ITS DIVERSITY. AS THE 2000 U.S. CENSUS NOTES, QUEENS IS THE MOST ETHNICALLY DIVERSE COUNTY IN THE NATION. THIRTY-SEVEN PERCENT OF THE POPULATION IS WHITE, 25% LATINO, 20% AFRICAN-AMERICAN, AND 18% ASIAN. APPROXIMATELY 138 LANGUAGES ARE SPOKEN IN QUEENS, AND OVER HALF OF THE HOUSEHOLDS ARE HEADED BY INDIVIDUALS BORN OUTSIDE THE U.S. NOT ONLY ARE THE VISITORS TO THE MUSEUM ETHNICALLY DIVERSE, BUT THE MUSEUM STAFF IS ALSO MULTIETHNIC AND MULTILINGUAL, WITH EIGHT DIFFERENT LANGUAGES SPOKEN BY OUR STAFF. WITHIN ALL OF THESE COMMUNITIES EXIST GREAT DIFFERENCES OF ECONOMIC STATUS, EDUCATIONAL ACHIEVEMENT, AGE, AND EXPERIENCE. WE ARE PROUD OF OUR LONGTIME COMMITMENT TO DEVISING INNOVATIVE AND INCLUSIVE STRATEGIES FOR ENGAGING SUCH A WIDE-RANGING AND NONTRADITIONAL MUSEUM-GOING AUDIENCE. . FORM 990, PART VI, SECTION B, LINE 11 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. THE TRUSTEE MUST RECUSE THEMSELVES FROM ANY VOTING RELATED TO THE TRANSACTION. THE EXECUTIVE COMMITTEE WILL DETERMINE WHETHER THE QUEENS MUSEUM OF ART 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 OF ART 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 OF ART 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. 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 MAY 2011 FOR THE 7/1/11 - 6/30/12 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. CHANGES IN NET ASSETS OR FUND BALANCES: FORM 990, PART XI, LINE 5: PRIOR PERIOD ADJUSTMENTS: -11,900. OVERSIGHT OF AUDIT AND SELECTION OF INDEPENDENT ACCOUNTANT FORM 990, PART XI, LINE 2C: THE MUSEUM HAS A COMMITTEE THAT IS RESPONSIBLE FOR OVERSIGHT OF THE AUDIT OF ITS FINANCIAL STATEMENTS AND SELECTION OF AN INDEPENDENT ACCOUNTANT. THIS PROCESS HAS NOT CHANGED FROM THE PREVIOUS YEAR.