2013-05-13T15:23:30-07:00 2012-06-30 990 2011-07-01 366154098 MUSEUM OF CONTEMPORARY ART MUSE 3123973813 220 East Chicago Avenue Chicago IL 606112643 Janet Alberti 3123973801 2013-05-13 2011 2016-02-24 21:20:13Z Madeleine Grynsztejn 220 East Chicago Ave Chicago IL 60611 32668652 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). 68 68 303 281 5951 0 10050909 18665763 1369161 1533845 1190789 2225408 1782760 228867 14393619 22653883 0 0 0 0 6108720 6658915 0 109775 2016453 8993911 9691256 15102631 16459946 -709012 6193937 132420783 135510211 34865903 37324820 97554880 98185391 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 6055993 0 986186 (4a) Exhibitions:The MCA presented 9 major and 19 smaller exhibitions in FY 2012 and welcomed 167,236 visitors. Total FY2012 attendance was 303,081. The MCA Chicago's 2011-2012 season was a potent blend of history-writing exhibitions. A survey of art from the 1980s highlighted lesser known, yet important artists. The first major solo exhibition of New York-based, Chicago-born Rashid Johnson spanned the first 14 years of his career. The season galvanized our permanent collections by juxtaposing the strengths of the MCA collection with new work, and continued our commitment to emerging Chicago artists in our Chicago Works series. Major highlights include: Mark Bradford was the first survey of the artist's work to date. Spanning the years 2001 to 2010, it examined Bradford's work in all media, beginning with early sculptural projects, and culminating in a number of new commissions. The exhibition was preceded by a community residency that connected the artist with Chicagoans, teachers, students, and MCA audiences. Mark Handforth launched the MCA's first installation of a new plaza exhibition series. Hong Kong-born, Miami-based sculptor Mark Handforth unveiled four new large-scale sculptures at the MCA. Handforth utilized materials drawn from everyday civic infrastructure, such as street lamps, road signs, fluorescent lights, and the like, but radically reworked and deformed them into new and exciting configurations. Pandora's Box: Joseph Cornell Unlocks the Collection, was an exhibition that put American master Joseph Cornell's work into direct dialogue with objects from the MCA's collection to illuminate the continued relevance of his pursuits while also grounding even very recent work within a historical continuum that yielded surprises even recently. Motor Cocktail: Sound and Movement in Art of the 1960s brought together artists from the 1960s in the MCA's Collection who used sound and movement to directly engage individuals within mass consumer society and draw them into an immediate sensual experience with the artworks. Jean Tinguely's Motor Cocktail (1965), fully restored and on view for the first time in 30 years, was one of the exhibition's focal points. The language of less (then & now) brought to the fore the MCA's belief that history is always under constant reappraisal. The language of less reintroduced now classic minimal and postminimal material from the MCA collection to the public alongside work by artists who have not shown in Chicago before but who are starting to gain international attention. Ron Terada: Being There was the first solo show of the artist's work in the country. Ron Terada (b. 1969) has used signage, advertising, and Hollywood films in unusual and inventive ways, often using his own position within the art world of Vancouver as the starting point for measuring his own self-worth, self-esteem, and self-identification. Iain Baxter&: Works 1959-2009 was co-organized with the Art Gallery of Ontario and sought to appraise the remarkable achievement of this artist, and to position his contribution in relation to histories of conceptual art, photography, and installation art. This Will Have Been: Art, Love, & Politics in the 1980s was a comprehensive survey of art produced during the 1980s by more than 80 artists. The exhibition provided viewers with an overview of the artistic production of these heady days, as well as imparting the decade's sense of political and aesthetic urgency by placing many of the era's competing factions in close proximity to one another. * Rashid Johnson was the inaugural show in the MCA's ascendent artist series. Johnson explores the complexities of black identity by creating a dialogue with legacies of black intellectual and popular figures through a process and materials-based practice of photographs, sculptures, videos, installations, and paintings that are rooted in his own identity as a black man in the U.S. 1582519 0 22729 (4b) EDUCATION: Education programs, geared to every segment of the museum's audience (serving 26,272 attendees), are central to our efforts to connect artists and audiences as well as increase visitor engagement and public understanding our exhibitions and collections. For school-age children, Artist-led Tours of up to 30 adolescents led by three expert teaching artists facilitated learning in the galleries and in the MCA's classrooms, drawing connections between students' lives and contemporary art through meaningful discussions. Also led by teaching artists, Creation Labs were in-depth art-making experiences that explore students' reactions to work in the galleries. Tours were free to Illinois schools and complimentary transportation was provided by the museum to Chicago Public Schools. Additionally, each student was sent home with a family pass for a free return visit. Also for families, the MCA continued its complimentary Summer Creation Stations and Family Days (families with children under the age of 12 received complimentary admission on the second Saturday of the month, October - May). Both drop-in events featured programs that tied in with current exhibitions and were designed to make contemporary art accessible for young children and their loved ones. The MCA also sought participants for its first teen program, The MCA's Teen Creative Agency (TCA), a rigorous two-year program where teens interpret and make sense of contemporary art and their world through their own perception, by asking creative questions with the passion that characterizes their age cohort. The goal of the program is to give adolescents a voice by strengthening the critical thinking skills and awareness of TCA members, while preparing them to become capable young leaders and ambassadors. The MCA also included teaching artists in facilitation and development of its teacher programs, which are designed to encourage professional communities and emphasize ways to embrace the spirit of inquiry and innovation inherent in contemporary art. Professional development is available to educators of all skill levels and these teacher programs meet Illinois state education standards. Artists and educators host the MCA's Teacher Workshops and Educator Salons, providing fresh ideas on how to incorporate art into the curriculum. The Teacher Institute convenes elementary and high school teachers for weeklong immersions in artist-led discussion, field trips, and hands-on studio projects in the MCA's galleries and local artists' studios that leave teachers prepared to mentor students in understanding and appreciating contemporary art. Follow-up workshops and reflective sessions take place throughout the year for these select teachers. Adult visitors to the MCA were invited to participate in a range of programming that reflects the diverse artistic, cultural, and intellectual contexts of contemporary art. The MCA offers visitors a wide variety of gallery tours including daily docent-led public tours, audio tours, and curator-led tours for every exhibition. Lectures and discussions enabled our audiences to interact directly with contemporary art through UBS 12x12 Artist Talks with emerging local artists, Artists Up Close following MCA Stage performances, and special discussion-based programs led by the most influential artists, designers, and tastemakers of today. Some of this season's offerings included: The Dialogue-an annual conversation on museums, diversity, and inclusion led by Pritzker Director Madeleine Grynsztejn, and featuring Mark Bradford, Three Scenes-a three part series discussing Bradford's work in relation to different cultural and social contexts. In addition, each month from October to May the Coffee and Art series is hosted by scholars in the field; attending guests are invited to take part in an informal seminar on art history that use MCA exhibitions and performances as a point of departure for discussion. 1203023 0 228911 (4c) COMMUNICATIONS AND COMMUNITY ENGAGEMENT: COMMUNICATIONS AND COMMUNITY ENGAGEMENT -To implement the MCA's strategic vision, the Communications and Community Engagement 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 ethnicities. 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 within 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 page. 1155491 0 228911 (4d) PERFORMANCES: In FY2012, the MCA presented 29 productions on the MCA Stage, and welcomed 16,338 visitors.Artists-in-residence, new work co-productions, and interdisciplinary collaborations were important segments of the MCA Stage's 15th anniversary season: Eiko & Koma, Time Is Not Even, Space Is Not Empty: In conjunction with a multifaceted retrospective exhibition, plaza and stage performances were performed by influential dance artists Eiko and Koma, tracing their 40-year career in living dance documentation. Curious Theatre Branch, Untitled Curious Show: Written by Jenny Magnus, this consistently innovative experimental theater company presented a large ensemble work based on behind-the-scenes relationships. Faustin Linyekula, More more more... Future: A combination of dance, theater and live music created an intricate and powerful work about the current struggles in the artist's home country and hope for the future. Driving music was produced by a 5-piece Congolese band. Lucky Plush w/ 500 Clown: Constant State of Alarm: This new multidisciplinary work created by choreographer Julia Rhoads with director Leslie Danzig; draws from the noir film Gaslight, the piece evokes shifting experiences of truth and reality. Andrew Bird and Ian Schneller, Sonic Arboretum: This unique sound installation with performance by alt-rock innovator Bird and instrument-maker/sculptor Schneller, was located in the MCA atrium where it engaged all visitors and created a "constant" performance.Tsukasa Taiko, GenTaiko, shamisen masters, Taiko Legacy: Taiko Legacy is an innovative cross-pollination of cultures and artistic forms with roots in Japanese, Chinese, and Korean theater, improvisational jazz, ceremonial music, and court music. It was presented by Japanese American Service Committee in conjunction with the MCA. Diamanda Galas, Plague Mass: The vocalist known for her torrential dramatic range re-created a signature work from the 1980s inspired by the HIV/AIDS crisis. This piece was performed in conjunction with the MCA exhibition This Will Have Been. Eighth blackbird, Minimalism / Maximalism: Eighth Blackbird performed two chamber music concerts, with added events in the galleries in conjunction with Language of Less. Marc Bamuthi Joseph / Theaster Gates, red, black & green: a blues: Red, black & green: a blues was a multimedia performance and visual Installation, addressing environmental issues from the perspective of communities of color. Luna Negra Dance Theater, Luna Nueva: Luna Nueva was a new project that focused on new works by company choreographers and invited guests. In addition to the performances described above, the MCA Stage presented three performances by ICE (International Contemporary Ensemble) as part of its artist-in-residence program featuring the music of SO Percussion, Steve Shick, et al Varese - Dreams and Deserts, and George Lewis - with Steve Lehman. ICE co-founder and artistic director Claire Chase was recently honored with a MacArthur Fellowship. 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80343 2144219 2224562 22653883 19686256 139143 0 0 3167510 3306653 16379603 80343 0 80343 16459946 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 deaccession amounted to $359,980 and $2,136,055 for the years ended June 30, 2012 and 2011, respectively. SchD_P03_S00_L04 Schedule D, Part III, Line 4 The collection is comprised of approximately 5,600 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 of 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, 2012 and 2011. 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_L08 Schedule D, Part XI, Line 8 Unrealized Loss on Derivatives -$1,976,720; Collection Acquisitions -$1,433,011; Collection Deaccessions $359,980; -$1 rounding. SchD_P12_S00_L02d Schedule D, Part XII, Line 2d Rental Expenses $542,803;COGS (Store) $2,617,620; Investment Spending Policy Draw $2,672,449; Miscellaneous Expenses $7,086, rounding $1. SchD_P12_S00_L04b Schedule D, Part XII, Line 4b Dividends and Interest $306,458; Realized Gains $1,837,761. SchD_P13_S00_L02d Schedule D, Part XIII, Line 2d Rental Expenses $542,803, COGS(Store) $2,617,620; Miscellaneous Expenses $7,086, rounding $1. Europe (including Iceland and Greenland) 0 0 Program Services Performance: Theatr Zar - The Gospels of Childhood - Artist Fees 10000 Europe (including Iceland and Greenland) 0 0 Investments Hedge funds. Made one new investment. 3000000 Central America and the Caribbean 0 0 Investments Hedge funds. Made two new investments. 1000000 0 0 4010000 1 0 0 0 0 0 X X X X X X 1 Jacqueline Front Kramer 1807-F West Winnemac Chicago IL 60640 Provides fundraising consulting for mail, email, and in person solicitations. 0 0 40850 -40850 Marts and Lundy Inc 1200 Wall Street West Lyndhurst NJ 07071 Provides fundraising consulting for mail, email, and in person solicitations. 0 0 30425 -30425 Eileen Gill 155 W Burton Place Unit 8 Chicago IL 60610 Provides fundraising consulting for mail, email, and in person solicitations. 0 0 30000 -30000 0 101275 -101275 IL ArtEdge 1055850 956420 99430 0 0 0 56963 38500 332630 0 0 1055850 956420 99430 0 0 0 56963 38500 332630 428093 -328663 X X X X 0 0 0 0 0 0 0 0 0 MADELEINE GRYNSZTEJN 386615 0 0 0 0 0 12250 0 9223 0 408088 0 0 JANET ALBERTI 268432 0 0 0 0 0 12250 0 9316 0 289998 0 0 0 MICHAEL DARLING 171168 0 0 0 0 0 0 0 11507 0 182675 0 0 0 LISA M KEY 165102 0 0 0 0 0 8263 0 4675 0 178040 0 0 0 SchJ_P01_S00_L03 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 29 0 Third party estimates X 0 Third party estimates X 16 653741 Transferred value X Lodging 1 3600 Third party estimates 0 0 1 0 SchM_P01_S00_L33 Schedule M, Part I, Line 33 See Schedule D, Part XIV - 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 the 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 Loss on Investments $-2,513,675,Unrealized loss on derivatives $-1,976,720, Collection acquisition, $-1,433,011 and Collection deaccessions $359,980.