Attach to Form 990 or Form 990-EZ.
See separate instructions.| (i) Name of supported organization |
(ii) EIN |
(iii) Type of organization (described on lines 1- 9 above or IRC section (see instructions)) |
(iv) Is the organization in col. (i) listed in your governing document? |
(v) Did you notify the organization in col. (i) of your support? |
(vi) Is the organization in col. (i) organized in the U.S.? |
(vii) Amount of support? |
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|---|---|---|---|---|---|---|---|---|---|
| Yes | No | Yes | No | Yes | No | ||||
| Total | |||||||||
| Calendar year(or fiscal year beginning in) | (a) 2006 | (b) 2007 | (c) 2008 | (d) 2009 | (e) 2010 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") .... | 44,237,196 | 46,833,475 | 17,633,022 | 24,532,780 | 87,381,774 | 220,618,247 |
| 2 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf....... | ||||||
| 3 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | ||||||
| 4 | Total. Add lines 1 through 3.. | 44,237,196 | 46,833,475 | 17,633,022 | 24,532,780 | 87,381,774 | 220,618,247 |
| 5 | The portion of total contributions by each person (other than a governmental unit or publicly supported organization) included on line 1 that exceeds 2% of the amount shown on line 11, column (f).. | 155,856,244 | |||||
| 6 | Public Support. Subtract line 5 from line 4. | 64,762,003 | |||||
| Calendar year(or fiscal year beginning in) | (a) 2006 | (b) 2007 | (c) 2008 | (d) 2009 | (e) 2010 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 44,237,196 | 46,833,475 | 17,633,022 | 24,532,780 | 87,381,774 | 220,618,247 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources.. | 3,502,342 | 4,295,191 | 6,533,664 | 3,516,750 | 2,769,911 | 20,617,858 |
| 9 | Net income from unrelated business activities, whether or not the business is regularly carried on.. | 708 | 708 | ||||
| 10 | Other income. (Explain in Part IV.) Do not include gain or loss from the sale of capital assets.. | ||||||
| 11 | Total support (Add lines 7 through 10). | 241,236,813 | |||||






| Calendar year(or fiscal year beginning in) | (a) 2006 | (b) 2007 | (c) 2008 | (d) 2009 | (e) 2010 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") . | ||||||
| 2 | Gross receipts from admissions, merchandise sold or services performed, or facilities furnished in any activity that is related to the organization's tax-exempt purpose...... | ||||||
| 3 | Gross receipts from activities that are not an unrelated trade or business under section 513.. | ||||||
| 4 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf... | ||||||
| 5 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | ||||||
| 6 | Total. Add lines 1 through 5. | ||||||
| 7a | Amounts included on lines 1, 2, and 3 received from disqualified persons... | ||||||
| b | Amounts included on lines 2 and 3 received from other than disqualified persons that exceed the greater of $5,000 or 1% of the amount on line 13 for the year. | ||||||
| c | Add lines 7a and 7b.. | ||||||
| 8 | Public Support (Subtract line 7c from line 6.) | ||||||
| Calendar year (or fiscal year beginning in) | (a) 2006 | (b) 2007 | (c) 2008 | (d) 2009 | (e) 2010 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 9 | Amounts from line 6... | ||||||
| 10a | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources.. | ||||||
| b | Unrelated business taxable income (less section 511 taxes) from businesses acquired after June 30, 1975. | ||||||
| c | Add lines 10a and 10b. | ||||||
| 11 | Net income from unrelated business activities not included in line 10b, whether or not the business is regularly carried on. | ||||||
| 12 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part IV.) | ||||||
| 13 | Total support (Add lines 9, 10c, 11 and 12.). | ||||||




| Facts And Circumstances Test |
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| Explanation |
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| Software ID: | |
| Software Version: |
Attach to Form 990 or 990-EZ.| Identifier | Return Reference | Explanation |
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| PROGRAM SERVICE STATEMENT | FORM 990, PART III, LINE 4A | EXHIBITIONS AND PUBLICATIONS: DUE IN LARGE PART TO ITS MANY POPULAR EXHIBITIONS, THE MUSEUM CONCLUDED ANOTHER SUCCESSFUL YEAR, PRESENTING EXCELLENT AND DYNAMIC EXAMPLES OF ART AND CULTURE TO OVER 238,000 VISITORS IN 2010, WHICH REPRESENTS AN INCREASE OF 31.5% OVER THE PRIOR YEAR. APPROXIMATELY ONE-QUARTER OF GENERAL ADMISSION VISITORS ALSO VISITED YIN YU TANG, THE ONLY COMPLETE QING DYNASTY HOUSE OUTSIDE OF CHINA AND A MODEL IN INTERNATIONAL HISTORIC PRESERVATION. THE MUSEUM'S 2010 EXHIBITION CALENDAR INCLUDED MANY STYLES AND SOURCES OF ART AND CULTURE. THE MUSEUM OPENED EIGHT NEW SPECIAL EXHIBITIONS IN 2010 AND CONTINUED FOUR SHOWS THAT OPENED IN 2009, INCLUDING: - REVISIONS: INDIAN ARTISTS ENGAGING TRADITIONS (APRIL 2, 2009 THROUGH APRIL 2010): THIS EXHIBITION WAS PRESENTED IN COLLABORATION WITH HARVARD UNIVERSITY'S SACKLER MUSEUM. THROUGH THE JUXTAPOSITION OF MORE THAN 36 TRADITIONAL AND MODERN INDIAN ARTWORKS, THIS EXHIBITION EXAMINED THE MANNER IN WHICH POST-INDEPENDENCE ARTISTS NEGOTIATE THE CONTEMPORARY ART WORLD'S VERNACULAR WHILE MAINTAINING STRONG TIES WITH THEIR AESTHETIC TRADITIONS. REVISIONS PROMINENTLY FEATURED WORKS FROM THE PEABODY ESSEX MUSEUM'S CHESTER AND DAVIDA HERWITZ COLLECTION, ONE OF THE LARGEST CONTEMPORARY INDIAN ART COLLECTIONS OUTSIDE OF INDIA. - TRASH MENAGERIE (JUNE 20, 2009 THROUGH JUNE 1, 2010): THIS EXHIBITION, DISPLAYED IN THE MUSEUM'S ART AND NATURE CENTER, PRESENTED VISITORS WITH ENDLESS POSSIBILITIES FOR CREATIVITY AND INGENUITY THROUGH A MENAGERIE OF ANIMALS CREATED FROM COMMON HOUSEHOLD TRASH. CONTEMPORARY ARTISTS EXPLORED WHIMSY AND HUMOR AS WELL AS THE MORE SERIOUS TOPIC OF OUR SOCIETY'S CURRENT PRACTICES OF CONSUMERISM AND WASTE. THROUGH ENGAGING AND ACCESSIBLE WORKS INTERWOVEN WITH EXPERIENTIAL AND INTERACTIVE OPPORTUNITIES, VISITORS OF ALL AGES WERE INSPIRED TO TRY MAKING THEIR OWN ART FROM HOUSEHOLD MATERIALS AND COMPELLED TO RE-EVALUATE THE IMPACTS OF UNCHECKED WASTE ON OUR CURRENT AND FUTURE ENVIRONMENT. - RARE BIRD OF FASHION: THE IRREVERENT IRIS APFEL (OCTOBER 17, 2009 THROUGH FEBRUARY 7, 2010): THIS EXHIBITION PRESENTED MORE THAN 80 DRAMATIC ENSEMBLES FROM THE COLLECTION OF LEGENDARY TASTEMAKER AND STYLE ICON IRIS APFEL. KNOWN FOR HER ECLECTIC MIXING OF HAUTE COUTURE WITH COSTUME JEWELRY AND EXOTIC BAUBLES, APFEL HAS INSPIRED BOLD DEVELOPMENTS IN THE FASHION INDUSTRY THROUGH HER SPIRITED IRREVERENCE AND PITCH-PERFECT TASTE. APFEL CONTINUES TO CHALLENGE VISUAL CULTURE WITH RADICAL JUXTAPOSITIONS OF DISPARATE INFLUENCES. THESE SPECTACULAR AND UNEXPECTED WARDROBE COMBINATIONS WERE EXHIBITED WITH INVENTIVE STAGING AND PLAYFUL DISPLAYS THAT UNDERSCORED APFEL'S INEXHAUSTIBLE CREATIVE SPIRIT. - VALERIE BELIN: MADE UP (NOVEMBER 14, 2009 THROUGH FEBRUARY 14, 2010): THE PEABODY ESSEX MUSEUM PRESENTED THE FIRST SOLO EXHIBITION IN THE UNITED STATES OF THE WORK OF INTERNATIONALLY ACCLAIMED FRENCH PHOTOGRAPHER, VALERIE BELIN. FEATURING 20 LARGE-FORMAT PHOTOGRAPHS, THIS EXHIBITION EXPLORED PERCEPTIONS OF BEAUTY AND IDENTITY THROUGH IMAGES WHICH BLUR THE LINE BETWEEN FASHION MODELS AND MANNEQUINS. EACH IMAGE INVITED REFLECTION ON CONVENTIONS OF GENDER, FASHION, AND COMMERCE. - FACES OF DEVOTION, INDIAN SCULPTURE FROM THE FIGIEL COLLECTION (APRIL 10, 2010 THROUGH 2012): THIS EXHIBITION CELEBRATES PEM'S ACQUISITION OF DR. LEO FIGIEL'S COLLECTION OF VERNACULAR INDIAN RELIGIOUS SCULPTURE FROM DIVERSE TRADITIONS ACROSS INDIA - THE COLLECTION IS RECOGNIZED AS THE FINEST OF ITS KIND IN EXISTENCE. WORKS RANGE OVER THE PAST MILLENNIUM, WITH MOST DATING FROM THE 16TH TO 19TH CENTURIES. MANY OF THESE BRONZES WERE MADE FOR HINDU RITUAL PRACTICE IN THE REGION THAT IS NOW THE STATES OF MAHARASHTRA AND KARNATAKA. - FIERY POOL: THE MAYA AND THE MYTHIC SEA (MARCH 27, 2010 THROUGH JULY 18, 2010): THE RELATIONSHIP BETWEEN THE MAYA AND THE SEA WAS THE FOCUS OF THIS INTERNATIONAL LOAN EXHIBITION ORGANIZED AND CURATED BY THE PEABODY ESSEX MUSEUM. THIS WAS THE FIRST MAJOR EXHIBITION TO EXPLORE THE INFLUENCE OF THE SEA ON ANCIENT MAYA PEOPLE IN TERMS OF THEIR COSMOLOGY, ICONOGRAPHY AND ECONOMY. THE EXHIBITION INCLUDED APPROXIMATELY 90 WORKS THAT ATTEST TO THE PRIMACY OF THE SEA IN MAYA COGNITION AND DAILY LIFE. MANY OF THE OBJECTS HAD NEVER BEEN PUBLISHED OR PLACED ON PUBLIC VIEW, WHILE OTHERS HAD NOT BEEN RECOGNIZED FOR THE ESSENTIAL ROLE OF THE SEA THAT WAS INTEGRAL TO THEIR CONCEPTION, CREATION, TRANSPORT OR USE. AFTER BEING PRESENTED AT PEM, THIS EXHIBITION TRAVELLED TO TWO OTHER MAJOR AMERICAN ART MUSEUMS: THE KIMBALL ART MUSEUM IN FT. WORTH, AND THE ST. LOUIS ART MUSEUM. THIS EXHIBITION WAS ACCOMPANIED BY A MAJOR SCHOLARLY CATALOG WHICH PEM CO-PUBLISHED WITH YALE UNIVERSITY PRESS. - PAINTING THE MODERN IN INDIA (APRIL 10, 2010 THROUGH JANUARY 1, 2012): SEVEN RENOWNED PAINTERS WHO CAME OF AGE DURING THE HEIGHT OF THE MOVEMENT TO FREE INDIA FROM BRITISH RULE PIONEERED NEW APPROACHES TO PAINTING, REPOSITIONING THEIR PRACTICES INTERNATIONALLY AND IN RELATION TO INDIA'S 5,000-YEAR HISTORY OF ART. THIS EXHIBITION FEATURED WORKS DRAWN FROM PEM'S HERWITZ COLLECTION, AMERICA'S MOST IMPORTANT HOLDING OF 20TH CENTURY INDIAN ART AND THE THE TINA AND ANIL AMBANI COLLECTION, ONE OF INDIA'S LEADING PRIVATE COLLECTIONS. - THE KENNEDYS|PORTRAIT OF A FAMILY: PHOTOGRAPHS BY RICHARD AVEDON (APRIL 17, 2010 THROUGH JULY 18, 2010): THIS EXHIBITION FEATURED RECENTLY REDISCOVERED VINTAGE PHOTOGRAPHS BY RENOWNED PORTRAIT AND FASHION PHOTOGRAPHER RICHARD AVEDON, INCLUDING PHOTOGRAPHS MADE IN JANUARY, 1961 WHEN JOHN F. KENNEDY WAS PRESIDENT ELECT. THE EXHIBITION EXPLORED PHOTOGRAPHIC PRACTICE - THE DECISIONS AVEDON MADE IN PRODUCING HIS PHOTOGRAPHS AND THE WAYS IN WHICH THESE CONTRIBUTED TO THE KENNEDY MYSTIQUE. THE SHOW CONTAINED BOTH INDIVIDUAL PHOTOGRAPHS AND ENLARGED CONTACT SHEETS (PRINTED AND SIGNED BY AVEDON) OF THE ARTIST'S UNEDITED NEGATIVES. THESE ILLUSTRATED AVEDON'S SELECTION, CROPPING, AND RETOUCHING PROCESSES, AND REVEALED SOME OF HIS THINKING ABOUT HOW BEST TO PORTRAY THE FAMILY TO THE PUBLIC. THE EXHIBITION WAS OFFERED AS THE FIRST AND ONLY SHOWING OF THE MATERIAL IN THE BOSTON AREA. THE PHOTOGRAPHS CAME FROM A COLLECTION OF SEVERAL HUNDRED VINTAGE AVEDONS IN THE COLLECTION OF THE SMITHSONIAN NATIONAL MUSEUM OF AMERICAN HISTORY. - EYE SPY: PLAYING WITH PERCEPTION (JUNE 19, 2010 THROUGH APRIL 2011): EYE SPY PRESENTED 11 LEADING REGIONAL AND NATIONAL ARTISTS WHO FOCUS ON DIFFERENT ASPECTS OF PERCEPTION IN THEIR ART, INCLUDING VIEWS OF NATURE. THIS EXHIBITION EXPLORED HOW EACH OF THE ARTISTS USES FUNDAMENTALS OF PERCEPTION (E.G., LIGHT, FORM, COLOR, AND LINE) TO CREATE THEIR INNOVATIVE WORKS. VISITORS WERE ABLE TO EXPERIENCE WAYS IN WHICH PERCEPTION AND ILLUSION INFLUENCE THE WAY WE INTERPRET OUR WORLD THROUGH BOTH ARTWORKS AND RELATED INTERACTIVE ACTIVITIES. - IMPRINTS: PHOTOGRAPHS BY MARK RUWEDEL (JUNE 5, 2010 THROUGH JANUARY 2011): THIS EXHIBITION BROUGHT TOGETHER SPECTACULAR COLOR AND BLACK-AND-WHITE PHOTOGRAPHS OF DINOSAUR TRACKS AND ANCIENT HUMAN FOOTPATHS BY MARK RUWEDEL, ONE OF THE COUNTRY'S PRE-EMINENT CONTEMPORARY LANDSCAPE PHOTOGRAPHERS. COLLECTIVELY, THESE PICTURES RECORD CHANGES IN THE LAND OVER MILLENNIA, AND THE STRANGE AND WONDERFUL LOCATIONS IN WHICH PREHISTORIC EVIDENCE IS NOW FOUND. IN RUWEDEL'S PHOTOGRAPHS, FOOTPRINTS APPEAR AND DISAPPEAR INEXPLICABLY, DESCENDING INTO GORGES, CROSSING RIVERS, AND CIRCLING MOUNTAINS - MYSTERIOUS MEMENTOS OF PEOPLES AND ANIMALS FROM LONG AGO. RUWEDEL USES THE CAMERA TO DOCUMENT TRAVELS THROUGH THE LANDSCAPE - HIS OWN AS WELL AS THOSE OF THE FOOTPRINTS HE FINDS. HIS PHOTOGRAPHS ARE BEAUTIFUL BUT ALSO POIGNANT, RAISING QUESTIONS ABOUT THE PASSAGE OF TIME, THE EPHEMERAL NATURE OF EXISTENCE, AND THE NATURE OF PHOTOGRAPHIC REPRESENTATION. RUWEDEL'S PICTURES OF DINOSAUR TRACKS HAD NEVER BEEN SHOWN BEFORE, JUST AS THE ANCIENT HUMAN FOOTPATHS THEMSELVES ARE SELDOM SEEN. |
| - THE EMPEROR'S PRIVATE PARADISE: TREASURES FROM THE FORBIDDEN CITY (SEPTEMBER 11, 2010 THROUGH JANUARY 9, 2011): DURING HIS REIGN FROM 1736 TO 1796, CHINA'S QIANLONG EMPEROR WAS ONE OF THE RICHEST, MOST POWERFUL LEADERS IN THE WORLD AND ALSO A VISIONARY PATRON OF THE ARTS. THE ELEGANT, INTIMATE PALACE GARDEN COMPLEX THAT HE BUILT WITHIN THE FORBIDDEN CITY FOR HIS RETIREMENT, AS WELL AS THE MANY ARTWORKS HE COMMISSIONED FOR THE COMPLEX, WERE SEQUESTERED FROM PUBLIC VIEW SINCE THE LATE 1700S AND ARE NOW UNDERGOING EXTENSIVE CONSERVATION. THE CULMINATION OF COLLABORATION AMONG PEM, THE PALACE MUSEUM, BEIJING, AND WORLD MONUMENTS FUND, THIS THEMATIC EXHIBITION PRESENTED 90 NEVER-BEFORE-SEEN MURALS, PAINTINGS, WALL COVERINGS, JADES, FURNITURE, AND ARCHITECTURAL ELEMENTS FROM THE QIANLONG GARDEN AND THE PALACE MUSEUM. THE CHOICE SELECTION OF OBJECTS EXPRESSES THE EMPEROR'S DESIRE TO INTEGRATE ART, NATURE, AND ARCHITECTURE AS WELL AS ANCIENT CULTURAL VALUES AND NEW PERSPECTIVES IN AN EXQUISITELY CRAFTED PALACE GARDEN COMPLEX THAT HAS BEEN DESCRIBED AS A MINI FORBIDDEN CITY AND A GEM AMONG EXISTING IMPERIAL CHINESE GARDENS. AFTER THE COMPLETION OF ITS RUN AT PEM, THIS EXHIBITION WILL TRAVEL TO TWO OTHER MAJOR AMERICAN ART MUSEUMS: THE METROPOLITAN MUSEUM OF ART, AND MILWAUKEE ART MUSEUM. PEM ALSO PARTNERED WITH YALE UNIVERSITY PRESS TO CO-PUBLISH A MAJOR EXHIBITION CATALOG IN CONJUNCTION WITH THIS EXHIBITION. - FREEPORT NO. 1: CHARLES SANDISON "FIGUREHEAD" (OCTOBER 1, 2010 THROUGH APRIL 24, 2011): FOR FREEPORT, PEM'S GROUNDBREAKING PROGRAM OF CONTEMPORARY ART, SEVERAL ARTISTS WILL ANNUALLY CREATE WORKS IN DIALOGUE WITH THE MUSEUM, ITS COLLECTION AND ITS HISTORICAL ARCHITECTURE. THE FIRST PROJECT WAS A MAJOR COMMISSION BY CHARLES SANDISON. RENOWNED FOR HIS ANIMATED DIGITAL TEXT PROJECTIONS IN DRAMATIC ARCHITECTURAL SETTINGS SUCH AS THE GRAND PALAIS IN PARIS, SANDISON CREATED "FIGUREHEAD," AN INSTALLATION FOR THE EAST INDIA MARINE HALL, THE MUSEUM'S ORIGINAL BUILDING AND HOME TO SOME OF THE EARLIEST WORKS IN THE COLLECTION. VISITORS WERE IMMERSED IN THE ANIMATED WORDS OF THE SEA CAPTAINS AND MERCHANTS RECORDED IN PEM'S EXTRAORDINARY COLLECTION OF SHIPS' LOGS AND JOURNALS THAT MAKE VISIBLE THE TRADE ROUTES, POLITICS, COMPETITION, AND EMOTIONS THAT LED TO THE MUSEUM'S FOUNDING AND PEM'S GLOBAL COLLECTION. | ||
| PROGRAM SERVICE STATEMENT | FORM 990, PART III, LINE 4B, DESCRIPTION OF PROGRAM SERVICE: | CURATORIAL AND COLLECTIONS: THE CURATORIAL STAFF IS RESPONSIBLE FOR CONCEIVING AND ORGANIZING EXHIBITIONS FOR THE MUSEUM AND ALSO FOR TRAVEL TO OTHER VENUES, AS WELL AS CULTIVATING SUPPORT FOR THE MUSEUM'S PROGRAMMATIC INITIATIVES AND COLLECTION. CURATORS ACQUIRE, PRESERVE, RESEARCH, AND INTERPRET THE MUSEUM'S COLLECTION. THE CURATORIAL STAFF ALSO PREPARES AND PUBLISHES SCHOLARLY CATALOGUES AND EDUCATIONAL TEXTS RELATED TO THE EXHIBITIONS AND THE COLLECTION AT LARGE. THE MUSEUM MAINTAINS AND EXHIBITS MANY UNIQUE AND WIDELY RESPECTED COLLECTIONS: - THE AFRICAN COLLECTION INCLUDES EARLY AND SIGNIFICANT WORKS FROM COASTAL EAST AND WEST AFRICA AND AN IMPORTANT BODY OF ZULU ARTWORK. THE MUSEUM ALSO HOUSES ONE OF THE WORLD'S FINEST COLLECTIONS OF ETHIOPIAN CHRISTIAN ART, CONSISTING OF SIXTEENTH-TO TWENTIETH-CENTURY ICONS AND METALWORK. - THE AMERICAN DECORATIVE ART, FOLK ART, AND COSTUME COLLECTION REPRESENTS MORE THAN 300 YEARS OF NEW ENGLAND ART AND CULTURE. IT FEATURES EXCEPTIONAL EXAMPLES OF REGIONAL FURNITURE, PORTRAITS, AND NEEDLEWORK. ADDITIONALLY, THE MUSEUM'S COSTUME COLLECTION RANKS AMONG THE TOP TEN IN THE NATION. - THE ASIAN EXPORT ART COLLECTION IS THE WORLD'S MOST COMPREHENSIVE COLLECTION OF DECORATIVE ART MADE IN ASIA FOR EXPORT TO WESTERN NATIONS AND REFLECTS THE COMPLEX AND FASCINATING INTERACTION BETWEEN THE ARTISTIC AND CULTURAL TRADITIONS OF EAST AND WEST. IT ENCOMPASSES PAINTINGS, FURNITURE, SILVER, PORCELAINS, WORKS ON PAPER, AND A WIDE RANGE OF OBJECTS CREATED BETWEEN THE FIFTEENTH AND TWENTIETH CENTURIES. - BORN DURING THE HEIGHT OF THE CHINA TRADE IN SALEM, THE CHINESE COLLECTION IS UNIQUE FOR ITS STRENGTH IN VERNACULAR ART THAT EXPLORES THE RICH TRADITIONS OF CHINESE CULTURE. IT FEATURES IMPORTANT QING DYNASTY WORKS, INCLUDING CERAMICS, TEXTILES, AND DECORATIVE ARTS. - THE MUSEUM'S INDIAN COLLECTION ENCOMPASSES BOTH CONTEMPORARY AND HISTORIC WORK. THE HERWITZ GALLERY, NAMED IN HONOR OF PIONEERING COLLECTORS CHESTER AND DAVIDA HERWITZ, IS THE FIRST AMERICAN MUSEUM GALLERY DEDICATED TO THE MODERN AND CONTEMPORARY ART OF INDIA, EXHIBITING PIECES BY ARTISTS WHO EXPRESS THE DYNAMIC PUBLIC AND PRIVATE CHARACTER OF CONTEMPORARY INDIA AND THE WORLD. BEGUN WITH MARINERS' DONATIONS FROM INDIA IN THE EARLY YEARS OF THE MUSEUM'S OPERATION, THE OLDER PORTION OF THE INDIAN COLLECTION INCLUDES IMPORTANT SCULPTURE, TEXTILES, CERAMICS, AND METALWORK. ADDITIONALLY, THE GEOGRAPHICALLY-RELATED HIMALAYAN COLLECTION CONTAINS THE NATION'S FOREMOST COLLECTION OF NINETEENTH AND TWENTIETH CENTURY BHUTANESE TEXTILE ARTS AS WELL AS IMPORTANT TIBETAN AND NEPALESE WORKS. - CONTRIBUTIONS FROM MANY OF AMERICA'S MOST IMPORTANT NINETEENTH AND TWENTIETH CENTURY COLLECTORS OF JAPANESE ART HAVE COMBINED TO CREATE A MAJOR COLLECTION OF THE ART AND CULTURE OF JAPAN. THE COLLECTION WAS BEGUN IN 1799 AND CONTAINS MANY WORKS CONSIDERED RARE EVEN IN JAPAN, WITH THE LATE EDO- AND MEIJI-PERIOD EXAMPLES RANKING AMONG THE FINEST IN THE WORLD. - FOUNDED IN THE 1880S, THE KOREAN COLLECTION PIONEERED AMERICAN INTEREST IN KOREAN ART AND CULTURE. TODAY, IT CONTAINS A BROAD SPECTRUM OF ART OF THE LATE JOSEON DYNASTY. THE COLLECTION IS DEEMED BY KOREAN SCHOLARS TO BE THE BEST OF ITS KIND IN THE UNITED STATES AND IS THE ONLY FOREIGN COLLECTION TO BE EXHIBITED AT THE NATIONAL MUSEUM IN SEOUL. - THE MARITIME COLLECTION, BEGUN IN 1803, IS THE FINEST IN AMERICA. IT IS INTERNATIONALLY RENOWNED FOR ITS HOLDINGS OF APPROXIMATELY 30,000 PAINTINGS, DRAWINGS, AND PRINTS, AS WELL AS ITS 20,000 MARITIME OBJECTS (SHIP MODELS, TOOLS, SHIP PLANS, ETC.) DATING FROM THE SEVENTEENTH THROUGH THE EARLY TWENTIETH CENTURIES. - THE NATIVE AMERICAN ART COLLECTION INCLUDES 20,000 WORKS DATING FROM THE SEVENTEEN CENTURY TO THE PRESENT, AS WELL AS 50,000 ARCHEOLOGICAL WORKS DATING BACK 10,000 YEARS. IN ADDITION, THE DEPARTMENT ACTIVELY WORKS WITH CONTEMPORARY ARTISTS THROUGHOUT THE AMERICAS. - THE OCEANIC COLLECTION IS INTERNATIONALLY RECOGNIZED FOR THE EARLY ORIGINS AND PROVENANCE OF ITS OBJECTS AS WELL AS ITS SIZE AND BREADTH AND REPRESENTS SOME OF THE FIRST PIECES DONATED TO THE MUSEUM IN 1799. IT INCLUDES MORE THAN 20,000 OBJECTS FROM MORE THAN THIRTY-SIX ISLAND GROUPS IN POLYNESIA, MELANESIA, AND MICRONESIA. - THE PHOTOGRAPHY COLLECTION COMPRISES MORE THAN 800,000 RARE AND VINTAGE IMAGES REPRESENTING NEARLY EVERY KIND OF PHOTOGRAPHIC FORMAT AND PROCESS. THE COLLECTION INCLUDES THE WORLD'S FINEST GROUP OF NINETEENTH-CENTURY PHOTOGRAPHS OF ASIA, THOUSANDS OF MARITIME IMAGES, EARLY AMERICA PHOTOGRAPHIC PORTRAITS, AS WELL AS ARCHITECTURAL AND LANDSCAPE IMAGES. - THE ARCHITECTURE COLLECTION INCLUDES TWENTY-TWO HISTORIC AMERICAN STRUCTURES AND A MAJOR ARCHITECTURAL FRAGMENT COLLECTION. FOUR OF THE BUILDINGS ARE DESIGNATED NATIONAL HISTORIC LANDMARKS; SIX OTHERS ARE LISTED ON THE NATIONAL REGISTER OF HISTORIC PLACES. THE MUSEUM HOLDS AMERICA'S FIRST COLLECTION OF HISTORIC BUILDINGS AND ONE OF ITS FINEST. - THE PHILLIPS LIBRARY, PART OF THE PEABODY ESSEX MUSEUM, IS ONE OF NEW ENGLAND'S MOST IMPORTANT AND HISTORIC RESEARCH LIBRARIES. IT IS A MAJOR RESOURCE FOR MONOGRAPHS AND MANUSCRIPTS RELATED TO ART AND CULTURE, WITH A PARTICULAR FOCUS ON MARITIME ART AND HISTORY, NEW ENGLAND ART AND HISTORY, AND DOCUMENTS RELATING TO THE MUSEUM'S DIVERSE COLLECTIONS. THE LIBRARY ALSO HOLDS THE NATION'S LARGEST COLLECTION OF SHIP LOGS AND JOURNALS AS WELL AS ORIGINAL COURT DOCUMENTS FROM THE 1692 SALEM WITCHCRAFT TRIALS. |
| PROGRAM SERVICE STATEMENT | FORM 990, PART III, LINE 4C, DESCRIPTION OF PROGRAM SERVICE: | EDUCATION: THE MUSEUM'S DEPARTMENT OF EDUCATION AND INTERPRETATION DEVELOPS AND IMPLEMENTS A WIDE ARRAY OF EDUCATIONAL PROGRAMS AND CONTRIBUTES TO INTERPRETIVE DEVELOPMENT OF EXHIBITIONS. IT ALSO PREPARES AND DISTRIBUTES PRINT AND ONLINE MATERIALS TO HELP VISITORS OF ALL AGES WITH DIVERSE BACKGROUNDS, KNOWLEDGE, INTERESTS, PREFERENCES AND NEEDS GAIN INSIGHT ABOUT THEMSELVES AND THE WORLD AROUND THEM THROUGH AN UNDERSTANDING OF INTERNATIONAL ART AND CULTURE. EACH YEAR, THE MUSEUM OFFERS HUNDREDS OF PROGRAMS TO ADVANCE ARTS LEARNING AND APPRECIATION AND TO STIMULATE CRITICAL THINKING, CROSS-CULTURAL DIALOGUE, INTELLECTUAL INQUIRY, CREATIVITY, AND CONNECTION-MAKING BETWEEN THE PAST AND PRESENT. THROUGH ITS PROGRAMMING, PEM STRIVES TO CREATE EXPERIENCES THAT TRANSFORM PEOPLE'S LIVES BY BROADENING THEIR PERSPECTIVES, ATTITUDES, AND KNOWLEDGE OF THEMSELVES AND THE WIDER WORLD. PROGRAMS EMPLOY AGE- AND AUDIENCE-APPROPRIATE PEDAGOGIES AND USE THE MUSEUM'S OUTSTANDING COLLECTIONS AND EXHIBITIONS TO ENGAGE VISITORS DIRECTLY WITH WORKS OF ART AND CULTURE. THE DEPARTMENT OF EDUCATION AND INTERPRETATION FOCUSES ON SEVERAL BROAD AUDIENCE AREAS: K-12 STUDENTS, TEACHERS, FAMILIES, AND ADULTS. INTERNSHIPS FOR HIGH SCHOOL AND COLLEGE AGE STUDENTS AS WELL AS THE AWARD-WINNING ART & NATURE CENTER FOR INTERACTIVE FAMILY LEARNING ARE ALSO MANAGED BY THIS DEPARTMENT. THE SINGLE VISIT SCHOOL PROGRAM PROVIDES EDUCATIONAL OPPORTUNITIES FOR STUDENTS ENROLLED IN PUBLIC, INDEPENDENT, AND HOME SCHOOLS IN GRADES PRE K-12 AND BLENDS GUIDED DOCENT-LED GALLERY TOURS WITH ENGAGING ACTIVITIES THAT INSPIRE CLOSE LOOKING AND REFLECTION. USING ITS COLLECTIONS, THE MUSEUM CREATES CONNECTIONS BETWEEN CLASSROOM CONTENT AND STUDENTS' DAILY LIVES AND INTRODUCES IDEAS AND TECHNIQUES THAT ENCOURAGE STUDENTS TO THINK CREATIVELY AND ANALYTICALLY, INCLUDING FACILITATING STUDENT ART-MAKING. IN 2010, 23,332 STUDENTS FROM 461 SCHOOLS PARTICIPATED IN SINGLE VISIT SCHOOL PROGRAMS. FORMAL MUSEUM-SCHOOL PARTNERSHIPS ARE MANAGED THROUGH THE MULTIPLE VISIT PARTNERSHIP PROGRAM. THIS PARTNERSHIP, WHICH TARGETS TITLE I SCHOOLS AND TEACHERS IN THE NORTH SHORE REGION, PROVIDES MEANINGFUL SEQUENCED MUSEUM VISITS AND OBJECT-BASED LESSON PLANS THAT BUILD KNOWLEDGE IDENTIFIED AS CRITICAL IN THE ART, SOCIAL STUDIES, AND LANGUAGE ARTS CURRICULUM FRAMEWORKS. AS PART OF THIS PROGRAM, STUDENTS FROM PRIMARILY LOW RESOURCE SCHOOLS MAKE MULTIPLE (3-5) VISITS TO THE MUSEUM, RESULTING IN 4,631 TOTAL VISITS DURING 2010. AT THE END OF THE YEAR, APPROXIMATELY 200 TEACHERS, STUDENTS, AND FAMILY MEMBERS ATTEND A CULMINATING EVENT TO SHOWCASE AND CELEBRATE STUDENT ACHIEVEMENT AND INVOLVE THE ENTIRE SCHOOL COMMUNITY IN SUPPORTING STUDENT LEARNING. A SUMMATIVE EVALUATION OF THE PROGRAM, PERFORMED BY THE PROGRAM EVALUATION GROUP OF LESLEY UNIVERSITY, WAS COMPLETED DURING 2010. TO AID IN THE INTEGRATION OF THE ARTS IN CLASSROOM LESSONS, PROFESSIONAL DEVELOPMENT PROGRAMS PROVIDE K-12 EDUCATORS WITH AN IN-DEPTH ANALYSIS AND UNDERSTANDING OF THE MUSEUM'S COLLECTIONS AND EXHIBITIONS. THE PROGRAMS COVER NUMEROUS TOPICS AND SCHOOL DISCIPLINES AND ARE LINKED TO THE MASSACHUSETTS CURRICULUM FRAMEWORKS FOR VISUAL ARTS, ENGLISH LANGUAGE ARTS, AND HISTORY AND SOCIAL SCIENCE, WITH OVERALL ATTENDANCE TOTALING 195 EDUCATORS IN 2010. DURING THE 2010-2011 SCHOOL YEAR, THE MUSEUM CONTINUED TO PARTNER WITH SCHOOL DISTRICTS TO OFFER GRADE-LEVEL FOCUSED DISTRICT-WIDE TRAINING IN ARTS INTEGRATION STRATEGIES. IN TOTAL, EIGHT PROFESSIONAL DEVELOPMENT WORKSHOPS WERE HELD IN COORDINATION WITH LOCAL SCHOOL ADMINISTRATORS. THE MUSEUM ALSO PROVIDES SPECIAL LEARNING OPPORTUNITIES FOR HIGH SCHOOL AND COLLEGE AGED STUDENTS AS PART OF THE MUSEUM ACTION CORPS PROGRAM (MAC). UP TO 75 STUDENTS PER YEAR ARE OFFERED PAID INTERNSHIPS ACROSS DIFFERENT DEPARTMENTS OF THE MUSEUM, PROVIDING THEM WITH VALUABLE PROFESSIONAL WORK EXPERIENCE AND A CHANCE TO CONNECT WITH THE MUSEUMS COLLECTIONS. PARTICIPATING STUDENTS FROM DIVERSE BACKGROUNDS BUILD LEADERSHIP SKILLS AND CREATIVITY THROUGH BOTH GROUP AND INDIVIDUAL PROJECTS AND, UNDER THE MENTORSHIP OF MUSEUM STAFF SUPERVISORS, ARE INTRODUCED TO THE MANY ASPECTS OF MUSEUM EMPLOYMENT. PROGRAMS FOR FAMILIES AT THE MUSEUM ARE AIMED AT FOSTERING SHARED INTERGENERATIONAL EXPERIENCES AROUND ART BASED ON INQUIRY, DIALOGUE, AND CREATIVE ART-MAKING. THEY TAKE A VARIETY OF FORMS, FROM GALLERY-BASED FAMILY TOURS AND STORYTELLING FOR PRESCHOOLERS AND THEIR ADULT CAREGIVERS TO STUDIO ACTIVITIES AND WEEKEND FESTIVALS THAT COMBINE PERFORMANCE, STORYTELLING, MOVEMENT, FILM, AND ART-MAKING. SELF-GUIDED ACTIVITIES AND PRINT MATERIALS CREATE OPPORTUNITIES FOR SHARED FAMILY INVESTIGATION OF OBJECTS IN THE COLLECTION FROM A WIDE RANGE OF CULTURES. ALL PROGRAMS ARE FREE WITH MUSEUM ADMISSION, ELIMINATING ECONOMIC BARRIERS FOR UNDERSERVED FAMILIES. IN 2010, THE MUSEUM OFFERED 288 FAMILY PROGRAMS FOR A COMBINED TOTAL ATTENDANCE OF 28,044 FAMILY VISITORS. ONE MAJOR FAMILY PROGRAM HIGHLIGHT IS ATRIUM ALIVE, WEEKEND FESTIVALS WHICH OFFER DYNAMIC, INTERGENERATIONAL PROGRAMMING FOCUSED ON A PARTICULAR CULTURE OR THEME. TAKING PLACE UP TO EIGHT TIMES PER YEAR AND WITH A TOTAL ANNUAL ATTENDANCE OF 13,671 IN 2010, ATRIUM ALIVE INCORPORATES ARTIST DEMONSTRATIONS, DANCE AND MUSIC PERFORMANCES, GALLERY TALKS, FILMS, LECTURES, AND HANDS-ON ART ACTIVITIES. ATRIUM ALIVE IS DESIGNED TO ENGAGE ALL AUDIENCES AND LEARNING STYLES IN A MULTIFACETED EXPERIENCE OF ART AND CULTURE. DROP-IN ART ACTIVITIES, PROVIDING HANDS-ON ART PROJECTS DESIGNED TO ENGAGE ALL AGES, ARE ANOTHER POPULAR EXAMPLE OF FAMILY PROGRAMMING AND HAD A COMBINED ANNUAL ATTENDANCE OF 3,730 IN 2010. FAMILIES ARE ENCOURAGED TO WORK TOGETHER ON PROJECTS RELATED TO THE PERMANENT COLLECTIONS AND SPECIAL EXHIBITIONS AT THE MUSEUM. WHEN THIS PROGRAM IS HELD IN CONJUNCTION WITH ATRIUM ALIVE, VISITING ARTISTS OFTEN LEAD DROP-IN ACTIVITIES. WHETHER FACILITATED BY ARTISTS OR EDUCATION DEPARTMENT STAFF, DROP-IN ACTIVITIES FOSTER SELF-GUIDED DISCOVERY, ENABLING FAMILIES TO CHOOSE THE BALANCE THAT FITS THEIR SCHEDULE AND INTERESTS. THE MUSEUM'S ART & NATURE CENTER (ANC) IS A DYNAMIC, INTERACTIVE EXHIBITION SPACE SPECIFICALLY TARGETED AT MULTI-GENERATIONAL AUDIENCES AND EXPLORES THE INTERSECTION BETWEEN ART AND SCIENCE THROUGH THE WORK OF CONTEMPORARY ARTISTS. ACTIVITY STATIONS, MULTIMEDIA ELEMENTS, AND A RANGE OF PROGRAM OFFERINGS PROVIDE VISITORS WITH A VARIETY OF APPROACHES FOR INVESTIGATING THE ARTWORK AND THEMES PRESENTED. THE ANC EXHIBITION SPACE AIMS TO NURTURE INTERGENERATIONAL EXCHANGE AND CREATIVE EXPRESSION, AS WELL AS TO CONTEXTUALIZE ARTWORK BY PROVIDING SUPPORTING MATERIALS ALREADY FAMILIAR TO VISITORS. ALL TOGETHER 73,739 PEOPLE PARTICIPATED IN ANC EXHIBITION PROGRAMMING IN 2010. ADULT PROGRAMS ARE OFFERED TO GENERAL PUBLIC VISITORS THROUGHOUT THE YEAR IN ORDER TO ENGAGE THEM IN VISUAL AND INTELLECTUAL INQUIRY THAT SPARKS CURIOSITY, CREATIVITY, CROSS-CULTURAL UNDERSTANDING, AND CONTRIBUTES TO LIFE LONG LEARNING. PROGRAMS RANGE FROM GALLERY TOURS AND ARTIST DEMONSTRATIONS TO LECTURES, CONCERTS, FILM FESTIVALS, AND STUDIO WORKSHOPS RELATED TO THE ART AND CULTURES REPRESENTED IN THE MUSEUM'S COLLECTIONS OR EXHIBITIONS. IN TOTAL, 1,847 ADULT PROGRAMS WERE OFFERED IN 2010 FOR A COMBINED ATTENDANCE OF 24,493. ADULT PROGRAMS ARE DESIGNED TO REACH A VARIETY OF AUDIENCE SECTORS WITH VARYING INTEREST AND MOTIVATIONS. ONE SUCH ADULT-FOCUSED PROGRAM IS THE MUSEUM'S LECTURE SERIES, WHICH IS DESIGNED TO PRESENT MULTIPLE PERSPECTIVES ON AND STIMULATE NEW THINKING ABOUT THE MUSEUM'S COLLECTIONS AND CHANGING EXHIBITIONS THROUGH PRESENTATIONS BY SPECIALISTS IN CONTEMPORARY ART, ART HISTORY AND CULTURE, ART-NATURE THEMES, ARCHITECTURE, AND OTHER RELATED FIELDS. A TOTAL OF 2,253 VISITORS ATTENDED A VARIETY OF LECTURES IN 2010, SUCH AS: - A PRESENTATION BY GEORGE STUART, A RENOWNED MAYA EXPERT, IN WHICH HE REFLECTED UPON THE ROLE OF THE SEA IN THE MAYA WORLD. STUART WAS A MAJOR FIGURE AT NATIONAL GEOGRAPHIC MAGAZINE FOR NEARLY 40 YEARS. - A LECTURE ENTITLED "REMBRANDT'S MIND" BY ERNST VAN DER WETERING, ONE OF THE WORLD'S FOREMOST EXPERTS ON REMBRANDT AND CHAIRMAN OF THE REMBRANDT RESEARCH PROJECT IN AMSTERDAM. THIS PRESENTATION HIGHLIGHTED THE LEAPS OF INSPIRATION AND INSIGHT THAT PROPELLED A GREAT ARTIST TO NEW ACHIEVEMENTS. |
| LASTLY, THE PUBLIC TOUR PROGRAM PROVIDES DOCENT-LED TOURS OF MUSEUM COLLECTIONS AND EXHIBITIONS, FACILITATING MEANINGFUL AND STIMULATING CONNECTIONS WITH ART, CULTURE, AND HISTORY. INFORMATION AND DIALOGUE ENRICH VISITORS' UNDERSTANDINGS OF MUSEUM OBJECTS AND THEIR LINKS TO THE WIDER WORLD. A TOTAL OF 10,044 VISITORS PARTICIPATED IN TOURS OF COLLECTION HIGHLIGHTS, SPECIAL EXHIBITIONS, OR HISTORIC HOUSES IN 2010. IN ADDITION, SPECIALIZED TOURS FOR RESIDENTS OF ASSISTED LIVING FACILITIES AND SENIOR CENTERS, AS WELL AS FOR THOSE AFFLICTED WITH ALZHEIMER'S DISEASE, PROVIDED RICH VISUAL EXPERIENCES THAT STIMULATE MEMORY, ASSOCIATION, AND SHARED PERSONAL STORIES FOR THIS IMPORTANT BUT OFTEN OVERLOOKED AUDIENCE. | ||
| FORM 990, PART VI, SECTION B, LINE 11 | THE FINANCE AND AUDIT COMMITTEE CONDUCTS A DETAILED REVIEW OF THE FORM 990 PRIOR TO FILING. AFTER ANY NECESSARY REVISIONS ARE MADE, THE FINAL DRAFT IS DISTRIBUTED TO THE FULL BOARD OF TRUSTEES FOR REVIEW AND COMMENT. | |
| FORM 990, PART VI, SECTION B, LINE 12C | ON AN ANNUAL BASIS, EACH OFFICER AND DIRECTOR IS REQUIRED TO COMPLETE AND SIGN A CONFLICT OF INTEREST STATEMENT. THE STATEMENTS ARE REVIEWED BY THE SECRETARY OF THE BOARD OF TRUSTEES. ANY CONFLICTS ARE BROUGHT TO THE ATTENTION OF AN APPROPRIATE OFFICER, DIRECTOR OR SENIOR MANAGER TO DETERMINE THE APPROPRIATE COURSE OF ACTION IN RESOLVING THE CONFLICT. IF A CONFLICT IS FOUND TO EXIST, THE CONFLICTED INDIVIDUAL IS PROHIBITED FROM PARTICIPATING IN ANY DECISIONS RELATIVE TO THE SOURCE OF CONFLICT. | |
| FORM 990, PART VI, SECTION B, LINE 15 | COMPENSATION FOR THE EXECUTIVE DIRECTOR, OFFICERS AND KEY EMPLOYEES IS SUBJECT TO ANNUAL REVIEW AND APPROVAL BY THE COMPENSATION COMMITTEE AND BY THE FULL BOARD OF TRUSTEES. COMPARATIVE DATA FROM OTHER NONPROFIT ORGANIZATIONS IN THE GEOGRAPHIC VICINITY AND THE MUSEUM SECTOR NATIONWIDE IS GATHERED BY THE DIRECTOR OF HUMAN RESOURCES AND SERVES AS THE BASIS FOR APPROVING REASONABLE COMPENSATION LEVELS. | |
| FORM 990, PART VI, SECTION C, LINE 19 | THE ORGANIZATION'S FINANCIAL STATEMENTS ARE INCLUDED IN ITS ANNUAL REPORT, WHICH IS POSTED ON ITS WEBSITE. THE GOVERNING DOCUMENTS AND CONFLICT OF INTEREST POLICY ARE MADE AVAILABLE IN HARD COPY OR ELECTRONICALLY UPON REQUEST. THE FORM 990 IS AVAILABLE VIA THE MASSACHUSETTS ATTORNEY GENERAL'S WEBSITE AND WWW.GUIDESTAR.ORG | |
| CHANGES IN NET ASSETS OR FUND BALANCES: | FORM 990, PART XI, LINE 5: | NET UNREALIZED GAINS ON INVESTMENTS: 19,715,548. CHANGE IN VALUE OF SPLIT INTEREST AGREEMENTS 369,269. CHANGE IN VALUE OF INTEREST RATE SWAP -457,665. TOTAL TO FORM 990, PART XI, LINE 5: 19,627,152. |
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