2012-04-02T13:42:58-07:00 2011-06-30 990 2010-07-01 366154098 MUSEUM OF CONTEMPORARY ART MUSE 3123973813 220 East Chicago Avenue Chicago IL 606112643 Peter Walton 3123973808 2012-04-02 2010 2016-02-24 21:20:13Z Madeleine Grynsztejn 220 E Chicago Ave Chicago IL 60611 25818073 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). 67 67 281 336 1586 0 18949529 10050909 1196984 1369161 1050697 1190789 133732 1782760 21330942 14393619 0 0 0 0 5624229 6108720 0 0 1692841 9031507 8993911 14655736 15102631 6675206 -709012 123857149 132420783 36298790 34865903 87558359 97554880 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 5599942 0 922927 (4a) EXHIBITIONS: The MCA presented 13 major and 13 smaller exhibitions in FY2011 and welcomed 191,075 visitors. Total FY2011 attendance was 329,635. The MCA's dynamic 2010 - 2011 exhibition program introduced Chicagoans and out-of-town visitors to new artistic voices while also revisiting the work of renowned figures within art history and our collection. One such beloved American artist, Alexander Calder, was the subject of a major reexamination. Alexander Calder and Contemporary Art: Form, Balance, Joy (June 26 - October 17, 2010) paired his classic works along with a whole new generation of sculptors who cite Calder as a source of inspiration. It drew from the MCA's extensive holdings and Chicago area and national public and private collections. Organized by MCA Curator Lynn Warren, this was the first exhibition to explore Calder's significance for an emerging generation of sculptors, and was accompanied by a full-color catalogue that offered new art historical perspectives on Calder's work and legacy. After its Chicago presentation, the exhibition traveled to the Nasher Sculpture Center in Dallas (December 11, 2010-March 6, 2011), the Orange County Museum of Art in Newport Beach (April - July 2011) and the Nasher Museum of Art at Duke University, Durham, North Carolina (August 25, 2011 - January 15, 2012). Presentation of the Calder show overlapped with Rewind: 1970s to 1990s (March 13 - September 5, 2010), an exhibition of the MCA's permanent collection that highlighted the museum's exhibition history and its role in promoting the most compelling art of each generation for the past forty years. The exhibition showcased works by Vitto Acconci, Richard Artschwager, Matthew Barney, Alfredo Jaar, Mike Kelley, Sharon Lockhart, Richard Long, Loma Simpson, Tony Tasset, Gillian Wearing, and others from the MCA's in-depth holdings. A second exhibition of the MCA's permanent collection, Works on Paper from the MCA Collection; ran from May 15, 2010 - October 3, 2010. Works selected for the exhibition represented a sense of conflict or alienation, often in a disproportionately cartoonish manner. From October 2, 2010 to January 9, 2011, the MCA hosted the first major exhibition of work in the United States by internationally acclaimed Belgian artist Luc Tuymans. Tuymans' paintings meld the rich history of Northern European art with the modern visual media of photography, television, and cinema through his use of serial sequencing, cropping, and framing. His stark paintings and muted palette isolate and reflect on political and social issues from the 20th and 21st centuries. Co-organized by the San Francisco Museum of Modern Art and the Wexner Center for the Arts, this exhibition featured approximately 80 paintings from 1985 to the present arranged in chronological order and was accompanied by a comprehensive, fully illustrated catalogue. The MCA presented the first major exhibition of Chicago artist Jim Nutt's work in more than a decade. Jim Nutt: Coming into Character (January 29 - May 29, 2011) was a survey of this influential artist from 1966 to the present that emphasized his most recent body of work of female portraiture. It examined these paintings and drawings through their precedents in Nutt's own work to reveal his consistent, unique aesthetic achievement. The exhibition was complemented by a catalogue with full-color illustrations of presented works and was designed in close collaboration with the artist. A companion show titled Seeing Is A Kind of Thinking (January 29 - May 29, 2011) included work by more than 50 contemporary artists that resonates-either formally or through its subject matter-with aspects of Nutt's work. The exhibition was organized into four thematic sections that examine how artists look to comics, folk art and non-Western art as source material; representations of surrealist psycho-sexual dramas; the traditional portrait bust genre; and an architectural approach to materials that oscillates between 2-D drawings and 3-D forms. Concurrently, the museum debuted its newly commissioned work by Scottish artist Susan Philipsz, who is the 2010 recipient of the eminent Turner Prize. In this sound installation that utilized slogans and statements associated with the groups that color Chicago's complex political history, Philipsz explored sound's spatial properties and the physicality of the human voice as a collective and individual experience. As a hallmark of the museum's artist-activated, audience-engaged focus, the MCA presented Without You I'm Nothing: Art and Its Audience (November 20, 2010 - May 1, 2011). It was comprised of works drawn from the MCA Collection that demonstrate how art has reflected a larger cultural shift towards a greater agency for the individual in the public realm and requires the direct participation of the viewer to effect its completion. Complementing the objects on display, a program of live interactions - performance, sound, lectures, and dance - were presented in the galleries from January to May, further emphasizing the critical importance of interactivity and the physical relationship of the viewer in the experience of contemporary art as it is being created. Over the summer of 2011, the MCA presented the first survey of MacArthur Fellow Mark Bradford's work. The exhibition will examine his work in varied media from 1996 to 2010, beginning with early sculptural projects. Bradford's work is influenced by his experience growing up in South Central Los Angeles; working as an anthropologist of his own environment, he uses location-specific elements like handbills and fliers in deeply layered and abstracted "subjective maps" with titles that allude to the dynamics of class, race, and gender-based economies that structure urban societies in the United States. Exclusive to the MCA's presentation, an artist's residency with Bradford added an exciting interactive dimension for MCA audiences. It connected the artist with different Chicago communities such as the MCA public, students and teachers from Lindblom Math and Science Academy, as well as teenagers in Chicago Public Library's YOUMedia program. Finally, as an important part of the MCA's efforts to further the art of our time, the exhibition series UBS 12x12: New Artists/New Work has allowed the museum to showcase monthly emerging local artists each year since 2001. The museum also invites these artists to engage with the MCA's audience about their creative processes in artist gallery talks. The lineup of artists for the 2011 fiscal year included: Carrie Gundersdorf, Ben Russell, Tim Louis Graham, Derek Chan, and Jessica Labatte. 1597119 0 46534 (4b) EDUCATION: Education programs, geared to every segment of the museum's audience (serving 21,926 attendees), are central to our efforts to connect artists and audiences as well as to increase visitor engagement and public understanding of our exhibitions and collection. School Programs: Students across the Chicago region benefit from free MCA school programs, which support Illinois Learning Standards in the Fine Arts, Language Arts, and Social Sciences. Once at the MCA, teaching artists lead a 50 minute tour of the museum's galleries. Trained to make connections between students' lives and the art, tours assume a discussion and inquiry-based format. Artist-Led Off the Beaten Path Tours are an expanded version of the Artist-Led Guided Tour that features the same discussion and inquiry-based format, but also includes both writing and drawing exercises in the galleries. Following a half hour discussion and writing exercises in the galleries, students join an MCA teaching artist for a hands-on art-making project inspired by the exhibitions called Creation Labs. Past Creation Lab projects have incorporated mixed-media, found object sculptures, portrait collages, and murals. For all programs, each student receives a free pass for a return visit. The MCA also provides free bus transportation to and from the museum for Chicago Public Schools. Family Programs: Also for families, the MCA continued its complimentary Summer Creation Stations (Tuesdays in June - September) and Family Days (families with children under the age of 12 receive complimentary admission on the second Saturday of the month). Both drop-in events feature programs that tie in with current exhibitions and are designed to make contemporary art accessible for young children and their loved ones. Family Days have become overwhelmingly popular, attracting repeat visitors and record attendance. Children and families enjoy learning about the art of our time through hands-on art activities, scavenger hunts, and Look 'n' Learn stations. Teacher Programs: The MCA offers a thoughtful program of professional development opportunities for teachers, collectively titled Contemporary Art, Contemporary Educators. They are designed to provide a range of professional development opportunities, including entry-level programs for the teacher who is perhaps just starting out on a teaching career or is unfamiliar with the riches of contemporary art to the more experienced, arts-savvy teacher who expects a more thorough, challenging learning experience. Programs in the first tier include Teacher Open Houses and Teacher Workshops. These programs are intended for educators seeking to acquire tools for using contemporary art in the classroom and to create classroom connections with the MCA's collection and exhibitions. Programs in the second tier offer participants a deeper, more complex engagement with contemporary art. These programs are Educator Salons, Summer Teacher Institute and Partner Schools Program. All programs are free for Illinois teachers, who also receive Continuing Professional Development Units (CPDU). 1185544 0 175080 (4c) COMMUNICATIONS AND COMMUNITY ENGAGEMENT -To formulate a strategic vision responsive to community needs, the MCA's has undertaken extensive audience surveys and consultation with key museum stakeholders. Making the MCA necessary and engaging for Chicago's diverse audiences was a key theme within this undertaking and one discussed at length as part of the museum's annual public series about diversity and museums titled "The Dialogue," which this year featured Mark Bradford. A direct result of these conversations was the merging of the museum's Marketing and Media Relations departments into a single, streamlined unit called Communications and Community Engagement (CCE). 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. Working hand in hand with the MCA's Education department and community partners, public programs and Mark Bradford's artist residency were designed to create a new model for what a residency can be. 1026963 0 220337 (4d-1) PERFORMANCES: In FY2011, the MCA presented 24 productions on the MCA Stage, and welcomed 16,374 visitors. New productions and in-depth artist residencies have played a significant role in the MCA's 2010-2011 program year. The season began with a monumental new co-production by MCA Stage and Chicago's Redmoon Theater: The Astronaut's Birthday. It featured a blend of shadow puppetry and animation and was projected on the MCA's 80-foot facade for audiences of thousands over nine magical evenings. Another new production, Let us think of these things always. Let us speak of them never, was co-commissioned by the MCA through the National Performance Network Creation Fund and was presented in its US premiere. Every House Has a Door, a recently formed Chicago-based company, created this dance-theater work about utopian beliefs in collaboration with artists from different countries and cultures: two performers from Chicago and two from Zagreb, Croatia. The multi-faceted project was conceived in three parts: performance, film program, and symposium; and MCA Stage worked across its programming departments to realize it fully. Global Stage Series: The MCA's new Global Stage series builds upon and strengthens the public profile of the MCA's longstanding work in bringing distinctive international artists to Chicago. The current season features five multidisciplinary companies. Superamas, the Paris and Vienna-based theater collective, made their Chicago debut in October with EMPIRE (Art & Politics), which MCA Stage programmed to coincide with Belgian artist Luc Tuymans' survey exhibition at the MCA - whose work has thematic links with EMPIRE. In mid- October, the MCA co-presented Sankai Juku in their long-anticipated Chicago debut with the Dance Center of Columbia College and the Harris Theater. The Tokyo-based group is the most internationally acclaimed Butoh dance company; their visually and emotionally arresting performance built upon stylized, symbolic movement. In January, the MCA presented an Eastern European collaboration between leading Slovenian dance-theater company Betontanc ("Concrete Dance") and object theater company Umka.LV to combine puppetry, physical and object theater, dance, and live vocal and instrumental music in a truly virtuosic performance called Show Your Face! MCA Stage was joined by Goodman Theatre to present Abbey Theatre, the national theater of Ireland, in a powerful work by Mark O'Rowe titled Terminus. The final performance this season was April's El Gallo: opera for actors, a work by Teatro de Ciertos Habitantes. The Mexico City-based company will be joined by Chicago's new music group MAVerick Ensemble, who will perform Paul Barker's music live. This marks the second appearance of Ciertos Habitantes at MCA Stage, building upon their acclaimed March 2009 performance of Monsters and Prodigies. MCA Composers Stage Series: Another major initiative this season is the MCA Composers Stage series, a program dedicated to accomplished ensembles performing innovative works by important composers at the MCA. The most prominent segment of this series is the MCA Stage's first-ever ensemble-in-residence. Now in its first year of an unprecedented three-year project, New York- and Chicago-based ICE (International Contemporary Ensemble) will perform three projects per season for the next three years. In September MCA presented "Roots and Return," a concert that traced the web of connections between recent works and classic pieces that inspired them, with four distinctive composers represented: Dai Fujikura, Pierre Boulez, John Adams, and Arnold Schoenberg. In February, ICE - led by guest conductor and percussionist Steven Schick - performed compositions by Nemmers Prize-winning American icon John Luther Adams. In June MCA will present the ICE Lab concert of newly commissioned works by Nathan Davis, Marcos Balter, and Du Yun. Another new music performance group was Grammy-winning eighth blackbird. They returned to the MCA Stage with two concerts: "PowerFUL" confronted the audience with a program of passionate and politically charg 186448 0 309297 (4d-2) MEMBERSHIP 412167 0 268186 (4d-3) FOOD SERVICE 401198 0 251398 (4d-4) PARKING 624420 0 0 (4d-5) DESIGN, PUBLISHING & NEW MEDIA 2651196 0 1049218 11033801 1 1 0 0 0 0 0 1 0 1 1 1 0 0 1 1 1 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 1 121 0 1 281 1 1 1 1 CJ NT EI BD 0 0 0 1 1 1 1 0 0 0 X 67 67 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 Mary Ittelson 10 X X 0 0 0 King Harris 10 X X 0 0 0 Martin Nesbitt 5 X X 0 0 0 Stefan Edlis 2 X X 0 0 0 Michael Canmann 5 X X 0 0 0 Sara Albrecht 2 X 0 0 0 Michael Alper 2 X 0 0 0 Jennifer Aubrey 2 X 0 0 0 Bradford L Ballast 2 X 0 0 0 Rob Bellick 2 X 0 0 0 Gerhard Bette 2 X 0 0 0 Marlene Breslow-Blitstein 2 X 0 0 0 Marc Brooks 2 X 0 0 0 Suzette Bross Bulley 2 X 0 0 0 Carol Cohen 2 X 0 0 0 Donald J Edwards 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23981207 20086620 21325233 97805964 0.90099 0.88277 0.09901 0.11723 X RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 0 X X X X 1 16314528 40885 1375753 0 360976 0 17370190 7068284 8644572 948056 0 346384 0 16314528 8099390 422990 -1454096 0 0 0 7068284 0.05 0.95 0 0 0 0 3523259 3523259 0 56293550 20484432 35809118 0 0 0 0 0 4012536 3526901 485635 0 0 0 0 39818012 Large Cap Equities Mutual Funds 9534536 F Small Cap Equities Mutual Funds 2216709 F International Equities Mutual Funds 7032598 F Offshore Common Stock Funds Mutual Funds 31878474 F Multifamily Portfolio LTD Partnership 1760000 C 52422317 0 Derivatives Marked to Market 1745396 Rental Deposits 68462 Refundable Advances 2020 1815878 14393619 15102631 -709012 9158274 0 0 0 1547259 10705533 9996521 19358922 0 100477 0 6055297 6155774 13203148 0 1190471 1190471 14393619 18304854 100477 0 0 3101746 3202223 15102631 0 0 0 15102631 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 statements 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 $2,136,055 and $0 for the years ended June 30, 2011 and 2010, 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 the a 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, 2011 and 2010. There are no ongoing federal, state or local tax audits; however, the Museum's tax returns for 2009 and subsequent years remain open to examination. SchD_P11_S00_L08 Schedule D, Part XI, Line 8 Net Unrealized Gains on Investments $9,158,274; Unrealized Gain on Derivatives $332,514; Collection Deaccessions $2,136,055; Less Collection Acquisitions ($921,310); SchD_P12_S00_L02d Schedule D, Part XII, Line 2d Rental Expenses $498,712, COGS (Store) $2,594,066; Limited Edition Expenses $8,967; Investment Spending Policy Draw $2,953,551; Rounding $1 SchD_P12_S00_L04b Schedule D, Part XII, Line 4b Dividends and Interest $258,471: Realized Gains $932,000 SchD_P13_S00_L02d Schedule D, Part XIII, Line 2d Rental Expenses $498,712, COGS (Store) $2,594,066; Limited Edition Expenses $8,967; Rounding $1 North America (including Canada and Mexico, but not the United States) 0 0 Program Services Performance: Teatro de Ciertos Habitantes with MAVerick Ensemble El Gallo: opera for actors - Honoraria 28500 Europe (including Iceland and Greenland) 0 0 Investments Hedge fund 0 Central America and the Caribbean 0 0 Investments Hedge funds 0 0 0 28500 0 0 0 0 0 0 Art Auction 2786682 941117 1845565 0 0 0 63349 6800 399279 Performance Benefit 301110 259636 41474 0 0 0 33682 22890 89100 3 153229 101789 51440 0 0 0 30698 0 32010 3241021 1302542 1938479 0 0 0 127729 29690 520389 677808 1260671 X X X X 0 0 0 0 0 0 0 0 0 Madeleine Grynsztejn 355520 0 0 0 0 0 6125 0 8937 0 370582 0 0 Janet Alberti 261076 0 0 0 0 0 6125 0 10674 0 277875 0 0 Lisa M Key 157104 0 0 0 0 0 3875 0 3255 0 164234 0 0 0 X 19 0 Third party estimates X 2 0 Third party estimates X 0 Third party estimates X 12 106696 Transferred value X Theater equipment 1 41515 Third party estimates X Printing 2 10000 Third party estimates X Travel 1 864 Third party estimates 0 0 1 0 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; Judith Neisser and Kate Neisser. F990_P06_S0B_L11a Form 990, Part VI, Section B, Line 11a Review of 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 its 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 Gains on Investments $9,158,274; Unrealized gain on derivatives $332,514; Collection deaccessions $2,136,055; Less Collection acquisition ($921,310)