2011-05-12T15:53:00-07:00 2010-06-30 990 2009-07-01 366154098 MUSEUM OF CONTEMPORARY ART MUSE 3123973813 220 East Chicago Avenue Chicago IL 606112643 Peter Walton 3123973808 2011-05-11 2009 2016-02-24 21:20:13Z Madeleine Grynsztejn 200 E Chicago Avenue Chicago IL 60611 29525901 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). 69 69 268 259 -4983 0 11555619 18949529 1480654 1196984 -1078369 1050697 518016 133732 12475920 21330942 0 0 0 0 5602605 5624229 0 0 1363589 10152343 9031507 15754948 14655736 -3279028 6675206 117134223 123857149 40957721 36298790 76176502 87558359 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 5656399 0 658257 (4a) EXHIBITIONS: The MCA presented 11 major and 12 smaller exhibitions in FY2010 and welcomed 192,648 visitors. Total FY2010 MCA attendance was 328,505. The season's success can largely be attributed to extensive partnerships in pursuit of artistic excellence. Collaboration was both citywide and international in reach and involved both major institutions and individual artists. The program featured diverse artists with varying degrees of local, national, and international distinction working with a wide spectrum of media. The MCA fall season launched with a joint collaboration between the MCA, Witte de With in Rotterdam, Kunsthalle Zurich, and the Kunstverein in Munich to present the most comprehensive exhibition of London-based Liam Gillick's work in an American museum to date. Liam Gillick: Three Perspectives and a Short Scenario (October 10, 2009 - January 20, 2010) was comprised of a major site-specific installation in the gallery ceiling, as well as a presentation of his design and published works and a slideshow documenting projects from the entirety of his career. As a complement to his major solo survey, Liam Gillick curated a selection of works from the MCA's collection. The exhibition provided an institutional and historical context for the presentation of Gillick's work and took a fresh and unexpected look at iconic works from the museum's permanent collection. Another international collaboration brought a monumental survey of Italian art from the past 40 years to Chicago. Co-presented by the MCA Chicago and the Palazzo Grassi, Venice, Italics: Italian Art between Tradition and Revolution, 1968-2008 (November 14, 2009 - February 14, 2010) offered an unprecedented look at the artistic production of a country where cultural change has often been defined by the persistence of the past. It included work by more than 75 Italian artists and was not just an exhibition about art made in Italy but, more importantly, demonstrated how these artists have forged new identities from deep roots blossoming in many different directions. Organized by MCA curator Dominic Molon, the MCA played a leading role in a citywide partnership, called Studio Chicago, which brought broader awareness and understanding of how artists and their work-spaces shape our city. This year-long collaboration was defined by exhibitions, talks, publications, and research held in conjunction with Chicago Department of Cultural Affairs, Columbia College Chicago, DePaul University, Gallery 400 at UIC, Hyde Park Art Center, The School of the Art Institute of Chicago, and threewalls. The MCA's leading role in Studio Chicago was advanced through the exhibition Production Site: The Artist's Studio Inside and Out (February 6 - May 30, 2010)-a major inquiry into the artist's studio as subject. Presenting work that documents, depicts, reconstructs, or otherwise invokes that space, the exhibition revealed how the studio functions as a place where research, experimentation, production, and social activity intersect. Several new commissions were featured during the 2009-2010 season, produced as part of the Three M Project, a series organized by the MCA Chicago, the New Museum of Contemporary Art, New York; and The Hammer Museum, Los Angeles. The first (October 3, 2009 - February 7, 2010) was a 16mm film by London-based American artist Daria Martin. Titled Minotaur, the film paid tribute to the work of dancer Anna Halprin, one of the key pioneers of postmodern dance and movement along with Trisha Brown, Simone Forti, and Yvonne Rainer. It was centered on a Halprin dance based on the sculpture Minotaur by Auguste Rodin from 1886. The second was Jeremy Deller: It Is What It Is (October 10 - November 15, 2009), an effort to encourage the public to discuss current circumstances in Iraq. It provided a revolving cast of participants that included veterans, journalists, scholars, and Iraqi nationals with expertise in a particular aspect of the region and/or first-hand experience of Iraq. They were invited to take up residence in the museum gallery space with the express purpose of encouraging discussion with visitors. The MCA's permanent collection was spotlighted in two major shows this year as part of the Artists in Depth series, a presentation of concentrations of work by artists whom the MCA has collected in depth, or whose pieces in the collection are definitive examples of their singular aesthetic. The exhibitions showcased key artists of the last forty years whose work has been and continues to be defining to international contemporary art, underscoring the MCA's role as a leader in and incubator of artistic innovation. The museum has also continued its commitment to talented Chicago artists through its UBS 12x12 New Artists / New Work Series. Introducing new local artistic talent each month, the series acts as a fresh, up-to-the-minute view of new developments in the studios of Chicago. Finally, Alexander Calder and Contemporary Art: Form, Balance, Joy (June 26 - October 17, 2010) was a major exhibition of works by beloved American artist Alexander Calder, drawn from the MCA's extensive holdings and Chicago area and national public and private collections. It was mounted along with new works by seven international sculptors who have been directly influenced by Calder: Martin Boyce, Nathan Carter, Abraham Cruzvillegas, Aaron Curry, Kristi Lippire, Jason Meadows, and Jason Middlebrook. These artists return to explorations of structure and balance, in many cases, handcrafting their materials into expressive artworks that celebrate the visual over the intellectual experience. Curated by MCA Curator Lynne Warren, it is accompanied by a fully-illustrated catalogue and is touring at the Nasher Sculpture Center, 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). 1647936 0 68629 (4b) EDUCATION: In FY2010, the MCA presented a broad range of education programs and activities serving all segments of the MCA community - serving 24,998 attendees. For K-12 students, artist guides led tours of the museum and focused on making relevant connections between students' lives and art by engaging them in meaningful discussions. Additional extended tours offered in-gallery writing and drawing exercises designed to provoke thoughtful dialogue and help students form deep personal connections with the art of our time. Students also had the opportunity to participate in Creation / Design Labs, an in-depth, two-hour art making experience based on students' reactions to work in the galleries. Each student received a free family pass for a return visit and CPS schools received free bus transportation. A suite of professional development opportunities were offered for teachers of multiple skill levels and familiarity with contemporary art. Teacher Workshops are forums the MCA organizes and leads to provide teachers concrete strategies for integrating art into their classroom practice. For those teachers who desire a deeper engagement with the timely pedagogical issues of arts education, the MCA continued to hold intimate Educator Salons to create a supportive professional learning community to explore and share ideas. In addition, the Summer Teacher Institute offered teachers a cross-disciplinary eight-day encounter with local artists, talks in the museum, and hands-on, artist-led studio projects. The MCA's annual Open House provided a crucial networking opportunity for teachers and museum staff. Finally, the MCA continued its partnership with CPS high schools through its Partner School Initiative, where teaching artists are placed in the classroom. Participating schools this year included Farragut Career Academy and Lindblom Math and Science Academy. Family Days, designed to introduce young children to contemporary art in an accessible and approachable interactive environment, were offered from October through May. This drop-in event is held on the second Saturday of the month and is intended for children and their adult companions to explore art and enjoy the MCA together. Themes and event activities changed each month to encourage routine attendance and complement the featured artworks in our exhibitions. A strong adult education program provided a range of experiences for visitors to engage with the art on display as well as its social and cultural community. The UBS New Artists/New Work exhibition series' informal evening gallery talks offered an opportunity for audiences to interact directly with local and emerging artists. Visitors also had access to a wide range of tours including daily docent-led public tours, audio tours, and curator-led tours for every exhibition. Finally, through a compelling program of public conversations, lectures, panels, symposia, gallery talks and other discussion-based programs led by influential artists, designers, and tastemakers, audiences were invited to explore the visual and intellectual complexities of contemporary art and design and its connection to culture and history. Notable public programs included a discussion forum with curator Dominic Molon and artists Liam Gillick and Jeremy Deller; a panel discussion about studio myths featuring Nikhil Chopra, John Neff, and Amanda Ross-Ho; and a lecture by artist Andrea Zittel about her live/work studio. The MCA's exhibitions, performances and collections all served as a point of departure. These stimulating programs put our audiences in direct contact with today's most innovative curators, artists, architects, designers, and thinkers, thus encouraging our audience to learn and develop relationships with contemporary art, the museum and each other. 1129744 0 188474 4(c) MARKETING AND PUBLIC RELATIONS: This year, partnerships and outreach were critical in developing new audiences. The museum's central role in Studio Chicago put the museum within a constellation of exhibitions, talks, publications, and research held in conjunction with Chicago Department of Cultural Affairs, Columbia College Chicago, DePaul University, Gallery 400 at UIC, Hyde Park Art Center, The School of the Art Institute of Chicago, and threewalls. Outreach efforts include the continuation of the museum's Free Tuesdays, which are cross-programmed with jazz and Farmers' Markets during the summer months to appeal to a diversity of interests. Tuesdays are also open until 8pm to accommodate visitors beyond traditional working hours. Social networking efforts breathed life into the museum's website and Facebook page. Regular, refreshed video content has made our website a more dynamic destination and a moderator now posts daily on our Facebook page and responds to visitor comments and questions. The MCA's annual program on diversity, titled The Dialogue, again ushered in critical and timely conversations. MCA Pritzker Director Madeleine Grynsztejn led the discussion among interdisciplinary artist Tania Bruguera, author Melissa Harris-Lacewell, and painter Glenn Ligon. This event was sponsored by the museum's Audience Development and Diversity committee. In FY2010, MCA produced a wide range of printed material to increase public awareness of the MCA and its programming-indoor and outdoor local and national advertising; media releases; advance exhibition schedules; newsletters; magazines and postcards; e mail blasts; invitations; radio spots; etc. These efforts resulted in local, regional, national and international media attention and press coverage. 958202 0 247716 (4d-1) PERFORMANCES: : In FY2010, the MCA presented 25 productions on the MCA Stage, and welcomed 13,807 visitors. Through dance, music, and theater and a range of interdisciplinary programs, the MCA continues its renowned reputation as a vital presenting center in Chicago's performing arts landscape. This season, the MCA Stage placed a particular emphasis on projects that illuminate a cross-generational artistic dialogue. This includes new productions of landmark works; new projects created through collaborations among younger and older artists; and artists inspired by and in artistic dialogue with precedent figures. Through its programming, the MCA has proven itself again as a leading curatorial showcase for original and provocative artists. The season began with a partnership with the Chicago Human Rhythm Project, bringing JUBA!, a festival of American tap and percussive dance to the MCA. More than a dozen performing ensembles and collectives were featured over the course of two nights in August. Later in the month, the MCA joined Chicago Dancing Company in presenting Chicago Dancing Festival in three free concerts of great American companies at the Harris Theater and Pritzker Pavilion. The Festival landed at MCA Stage for one of our Artists Up Close education programs, featuring the Art of the Duet, in which Joffrey Ballet's Ashley Wheater facilitated discussion and brief performances by dancers Wendy Whelan and Craig Hall of New York City Ballet, as well as dancers from The Joffrey Ballet and Lar Lubovitch Dance Company. The MCA also hosted the 11th Annual World Music Festival: Chicago 2009 in September, a showcase of traditional and contemporary music for audiences of all ages. The MCA's focus during the multi-venue festival included Middle Eastern musicians, including the all-star Moroccan group Orchestra of Tetouan and Syrian-born Chicago-based Naief Rafah. MCA Stage is a catalyst for the development of new works, supporting artists with commissioning funds and creative residency work periods in the theater. In June 2009 MCA produced a creative residency combined with community workshops for Zimbabwe-born choreographer Nora Chipaumire. Her resulting work was presented by MCA Stage in its world premiere in early October. This piece, a cross-generational collaboration with the older internationally acclaimed musician Thomas Mapfumo, combined dance and acoustic music onstage with Mapfumo and his band The Blacks Unlimited. The MCA also presented the premiere of a new album and feature film by neo-roots rockers Califone. The October 10 and 11 concerts, co-presented with Empty Bottle, served as the soundtrack for Califone frontman Tim Rutili's feature film debut, All My Friends Are Funeral Singers. Also in October, MCA Stage presented Lucinda Childs' Dance, a powerful collaboration of choreographer Lucinda Childs, visual artist Sol LeWitt and composer Philip Glass. On the occasion of Dance, legendary composer Philip Glass performed for a capacity audience. Philip Glass: An Evening of Solo Piano was an intimate evening featuring pieces from his most recent Etudes for piano and classics within his repertoire. The October 16 concert was a refreshing survey of Glass' work, for both longtime fans and new audiences. Like Lucinda Childs' Dance, the MCA reactivated another historic work of the 20th century. Titled parades & changes, replays, French choreographer/performer Anne Collod collaborated with American postmodern dance legend Anna Halprin to recreate this 1965 masterpiece. In time for Halloween, MCA Stage presented a new production of Frankenstein by Chicago-based theater innovators The Hypocrites, from October 21 - November 1. In an adventurous retelling of Mary Shelley's classic novel, acclaimed director and Hypocrites founding artistic director Sean Graney combined live performance with the classic 1931 film with Boris Karloff. One of the country's first openly gay comedians, Marga Gomez, performed Long Island Iced Latina in an exclusive Chicago presentation at the MCA on November 11. Gomez's performance was followed by another MCA Stage co-presentation with Chicago Humanities Festival. Don Byron gathered a ten-member all-star band, for a revival of his groundbreaking 1993 recording, Don Byron Plays the Music of Mickey Katz. The performance is a faithful tribute to the campy wit and musical innovation of klezmer-style music by Mickey Katz, a touring and recording star of the 1950s, who entertained audiences with his virtuoso clarinet and wild pastiche of ethnic Jewish comedy. The fall season was capped by a transformative and sold-out concert by one of the most adventurous and ascendant new music groups today, International Contemporary Ensemble (ICE). This concert was dedicated to the chamber music of Kaija Saariaho, a Finnish-born composer of immense imagination who is the recipient of the eminent Nemmers Composition Prize. MCA Stage is developing a multi-year relation with ICE, who are based in Chicago and New York. To launch the spring 2010 program, acclaimed choreographer Akram Khan brought his newest work, bahok, to Chicago in a dance exploration of the ways in which the body carries national identity and a sense of belonging. Bahok was followed by the Third Coast Filmless Festival, an all-day event presenting a variety of storytelling, audio documentaries, and sound in the form of unique audio screenings from some of the most innovative and celebrated radio producers. From March 12-14, Chicago-based choreographer Carrie Hanson collaborated with visual artist Fraser Taylor to create Marchland, a new ensemble work about mark-making, endurance, and borders. From March 26 - 28, the MCA presented playwright and director Young Jean Lee's The Shipment. One of the boldest voices in contemporary theater, Lee, in collaboration with an all-black cast, applied her signature style and acid wit to the black experience and African American identity politics. On April 30, Nicole Mitchell and her ensemble presented Intergalactic Beings. Inspired by the seminal Afrofuturist, science-fiction writer Octavia Butler's Xenogenesis Trilogy, virtuosic flutist and composer Nicole Mitchell evokes a journey into the horrific unknown in the newest chapter of her Xenogenesis Project, Intergalactic Beings. A successful season of theater ended with Modern experimentalists Matmos and So Percussion, who combined forces for a one-night-only concert on the occasion of the record release of Treasure State, a startling new collaboration between these two rogue American groups. 203641 0 303868 (4d-2) MEMBERSHIP 457464 0 266135 (4d-3) FOOD SERVICE 433409 0 252957 (4d-4) PARKING 385421 0 0 (4D-5) DESIGN, PRINT & DIGITAL MEDIA 2438137 0 1070676 10872216 1 1 0 0 0 0 1 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 1 101 0 1 268 1 1 1 1 CJ NT EI BD 0 0 0 1 1 0 0 0 0 0 69 69 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 5 X X 0 0 0 Martin Nesbitt 5 X X 0 0 0 Michael Canmann 2 X X 0 0 0 Stefan Edlis 2 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 Steven P Berkowitz 2 X 0 0 0 Brad Ballast 2 X 0 0 0 Gerhard Bette 2 X 0 0 0 Marlene 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6076064 20281438 0 1049504 1049504 21330942 17787242 118135 0 0 3013371 3131506 14655736 0 0 0 14655736 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. There were no deaccessions for the years ended June 30, 2010 and 2009, 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 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_L00 Schedule D, Part X The Museum's adoption of the Income Tax Topic regarding uncertain tax positions of GAAPUSA on July 1, 2009 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 account for any potential interest or penalties related to possible future liabilities for unrecognized income tax benefits as income tax expense. The Museum is no longer subject to examination by federal, state or local tax authorities for periods before June 30, 2007. Prior to adoption of the Income Tax Topic, the Museum accounted for tax positions under a contingent loss model, requiring recognition of a tax liability when it was both (1) probable that it had been incurred as of year-end and (2) the amount could be reasonably estimated. SchD_P11_S00_L08 Schedule D, Part XI, Line 8 Unrealized loss on derivatives -$540,497, Collection acquisitions -$1,295,272, rounding -1 SchD_P12_S00_L02d Schedule D, Part XII, Line 2d Rental Expenses - $514,017; COGS (Store) - $2,469,602; Limited Edition expenses - $29,752; Investment Spending Policy - $2,944,558 SchD_P12_S00_L04b Schedule D, Part XII, Line 4b Dividends and Interest $ 414,320, Realized Gains $635,184 SchD_P13_S00_L02d Schedule D, Part XIII, Line 2d Rental Expenses $514,017 ; COGS $2,469,602; Limited Edition expenses $29,752 Europe (including Iceland and Greenland) 0 0 Program Services Anna Halprin/Anne Collod & guests:parades & changes, replays - Honoraria 19500 Central America and the Caribbean 0 0 Investments Europe (including Iceland and Greenland) 0 0 Investments 0 0 19500 Program Benefit 813634 737334 76300 0 0 0 54480 0 258737 Performance Benefit 127707 101407 26300 0 0 0 4800 6500 15247 1 117166 87166 30000 0 0 0 30781 0 24434 1058507 925907 132600 0 0 0 90061 6500 298418 394979 -262379 X X X X X 0 0 0 0 0 0 0 0 0 Madeleine Grynsztejn 324581 0 0 0 0 0 0 0 8935 0 333516 0 0 0 Janet Alberti 254319 0 0 0 0 0 11500 0 9397 0 275216 0 0 0 Elizabeth A Smith 179047 0 0 0 0 0 9000 0 8168 0 196215 0 0 0 Lisa M Key 152174 0 0 0 0 0 0 0 4632 0 156806 0 0 0 X 20 0 third party estimate X 0 third party estimate X 14 128762 Transferred value 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. The following trustees have a business relationship: Kenneth Griffin and James Gordon. F990_P06_S0B_L11 Form 990, Part VI, Section B, Line 11 Review of Form 990 delegated to audit committee, after review a draft copy of Form 990 was emailed to all board members prior to filing. F990_P06_S0B_L12c Form 990, Part VI, Section B, Line 12c All trustees are required to disclose annually interest that could give rise to conflicts. The external auditors review the responses and discuss any potential conflict with the audit committee. 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.