Attach to Form 990 or Form 990-EZ.
See separate instructions.
Information about Schedule A (Form 990 or 990-EZ) and its instructions is at www.irs.gov/form990.
| (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 monetary support | |||
|---|---|---|---|---|---|---|---|---|---|
| Yes | No | Yes | No | Yes | No | ||||
| Total | |||||||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2009 | (b) 2010 | (c) 2011 | (d) 2012 | (e) 2013 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") .... | 24,532,780 | 87,381,774 | 43,070,420 | 76,862,150 | 35,881,722 | 267,728,846 |
| 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 | 24,532,780 | 87,381,774 | 43,070,420 | 76,862,150 | 35,881,722 | 267,728,846 |
| 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).. | 182,678,532 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 85,050,314 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2009 | (b) 2010 | (c) 2011 | (d) 2012 | (e) 2013 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 24,532,780 | 87,381,774 | 43,070,420 | 76,862,150 | 35,881,722 | 267,728,846 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 3,516,750 | 2,769,911 | 3,620,253 | 3,734,027 | 2,983,129 | 16,624,070 |
| 9 | Net income from unrelated business activities, whether or not the business is regularly carried on.. | ||||||
| 10 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part IV.).. | 87,176 | 115,395 | 81,350 | 67,200 | 32,680 | 383,801 |
| 11 | Total support (Add lines 7 through 10). | 284,737,425 | |||||






Calendar year (or fiscal year beginning in) ![]() |
(a) 2009 | (b) 2010 | (c) 2011 | (d) 2012 | (e) 2013 | (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) 2009 | (b) 2010 | (c) 2011 | (d) 2012 | (e) 2013 | (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 |
|---|
| PURSUANT TO TREASURY REGULATION 1.170A-9(F)(3), THE ORGANIZATION SHOULD BE CONSIDERED A PUBLICLY SUPPORTED ORGANIZATION BECAUSE IT MEETS THE FACTS AND CIRCUMSTANCES TEST AS OUTLINED BELOW.TEN-PERCENT-OF-SUPPORT REQUIREMENT. PEABODY ESSEX MUSEUM (SOMETIMES REFERRED TO AS "PEM") SATISFIES THIS REQUIREMENT BECAUSE THE PERCENTAGE OF SUPPORT RECEIVED FROM GOVERNMENTAL UNITS, FROM CONTRIBUTIONS MADE DIRECTLY OR INDIRECTLY BY THE GENERAL PUBLIC, OR FROM A COMBINATION OF THESE SOURCES EXCEEDS 10% OF TOTAL SUPPORT. ATTRACTION OF PUBLIC SUPPORT REQUIREMENT. THE PEABODY ESSEX MUSEUM IS AND HAS ALWAYS BEEN ORGANIZED AND OPERATED IN A MANNER TO ATTRACT NEW AND BROAD-BASED PUBLIC AND GOVERNMENTAL SUPPORT ON A CONTINUOUS BASIS. A STAFF OF SEVENTEEN DEVELOPMENT PROFESSIONALS IS RESPONSIBLE FOR CONDUCTING EXTENSIVE AND VARIED FORMS OF FUNDRAISING DESIGNED TO ATTRACT SUPPORT FROM THE GENERAL PUBLIC, GOVERNMENTAL ENTITIES, CORPORATIONS AND FOUNDATIONS. THE ACTIVITIES CONDUCTED INCLUDE SOLICITATIONS COMMUNICATED THROUGH VARIOUS MEANS EMAIL, MAIL, PHONE AND IN-PERSON. FUNDRAISING EVENTS ARE CONDUCTED TO GENERATE ANNUAL SUPPORT AS WELL AS TO FOSTER RELATIONSHIPS THAT LEAD TO FUTURE GIVING. THE INSTITUTIONAL GIVING STAFF IS RESPONSIBLE FOR SEEKING SUPPORT FOR THE MUSEUM'S MAJOR PROGRAMMATIC EFFORTS BY PRODUCING GRANT PROPOSALS DIRECTED TO BOTH GOVERNMENTAL AND NON-GOVERNMENTAL ENTITIES. ACROSS ALL OF THESE FUNDRAISING AREAS, MORE THAN 50,500 PROSPECTS AND EXISTING DONORS WERE SOLICITED FOR SUPPORT DURING 2013, RESULTING IN MORE THAN 9,200 GIFTS COMING FROM 8,251 DIFFERENT DONORS. OTHER PUBLIC SUPPORT FACTORS 1. PERCENTAGE OF FINANCIAL SUPPORT FACTOR. THE MUSEUM'S PUBLIC SUPPORT PERCENTAGE FOR 2013 IS 29.87%, WHICH IS WELL ABOVE THE 10% TEST THRESHOLD. AS THE MUSEUM IS CURRENTLY IN THE MIDST OF A MAJOR CAPITAL CAMPAIGN, INDIVIDUAL SOLICITATIONS AND GIFTS TEND TO BE LARGER THAN WOULD BE EXPECTED DURING A NON-CAMPAIGN PERIOD WITH THE RESULTING IMPACT OF LOWERING THE PUBLIC SUPPORT PERCENTAGE. 2. SOURCES OF SUPPORT FACTOR. THE COLLECTIONS OF THE PEABODY ESSEX MUSEUM HAVE BEEN PUBLICLY ACCESSIBLE FOR 214 YEARS, WHICH RANKS IT AMONG THE FIRST AMERICAN MUSEUMS TO HAVE SUCH A PUBLIC MANDATE. THE PEABODY ESSEX MUSEUM TRACES ITS ORIGINS TO 1799 WHEN A GROUP OF SALEM-BASED, INTERNATIONAL, SEA-GOING BUSINESS LEADERS WERE AMONG THE FIRST AMERICANS TO DEVELOP TRADING RELATIONSHIPS WITH COUNTRIES IN ASIA, AFRICA, OCEANIA AND BEYOND. THESE EARLY AMERICAN ENTREPRENEURS BROUGHT BACK MAGNIFICENT ART AND ARTIFACTS FROM THE CULTURES THEY ENCOUNTERED AND WERE EAGER TO SHARE WHAT THEY HAD DISCOVERED WITH THE LARGER PUBLIC. ALTHOUGH MORE THAN 200 YEARS HAVE PASSED, THE MUSEUM'S COMMITMENT TO SERVING THE INTERESTS OF THE GENERAL PUBLIC IS AS STRONG AS EVER. THE MUSEUM'S COLLECTIONS ARE AMONG THE FINEST OF THEIR KIND AND ENCOMPASS AN UNRIVALED SPECTRUM OF CULTURES AND GENRE, INCLUDING AMERICAN ART AND ARCHITECTURE, AMERICAN DECORATIVE ART, MARITIME ART, NATIVE AMERICAN ART, ASIAN ART AND ARCHITECTURE, ASIAN EXPORT ART, AFRICAN ART, OCEANIC ART, PHOTOGRAPHY AND CONTEMPORARY ART. IN ADDITION, THE MUSEUM OPERATES THE PHILLIPS LIBRARY, ONE OF THE NATION'S MOST IMPORTANT MUSEUM-BASED COLLECTIONS OF RARE BOOKS AND MANUSCRIPTS. THE BREADTH OF THE MUSEUM'S COLLECTIONS AND OFFERINGS IS UNQUESTIONABLY VARIED, SO THAT IT IS CAPABLE OF APPEALING TO A WIDE VARIETY OF INTERESTS, WHICH IN TURN HELPS TO BUILD ATTENDANCE, COMMUNITY PARTICIPATION, COMMITMENT AND PHILANTHROPIC SUPPORT. IN RECENT YEARS, THE MUSEUM HAS CONTINUED TO EXPAND ITS FIELDS OF INTEREST; FOR EXAMPLE, CONTEMPORARY ART WAS ADDED AS NEW CURATORIAL DEPARTMENT IN 2009. CONTEMPORARY ART, IN PARTICULAR, IS ONE AVENUE FOR ENGAGING YOUNGER PEOPLE, THEREBY HELPING TO DEVELOP THE NEXT GENERATION OF INSTITUTIONAL LEADERS AND SUPPORTERS. BY EXPANDING THE PROGRAMMATIC SCOPE, THE MUSEUM HAS DEMONSTRATED ITS COMMITMENT TO PROVIDING OPPORTUNITIES FOR CONNECTING WITH A LARGER NUMBER OF PEOPLE, RATHER THAN LIMITING ITS APPEAL TO A FEW. AS NOTED PREVIOUSLY, THE MUSEUM RECEIVED SUPPORT FROM 8,251 DIFFERENT DONORS DURING 2013. 3. REPRESENTATIVE GOVERNING BODY FACTOR. DURING 2013, 23 INDIVIDUALS SERVED ON PEM'S BOARD OF TRUSTEES. ALL OF THE TRUSTEES ARE INDEPENDENT VOTING MEMBERS AND REPRESENT A BROAD CROSS-SECTION OF VIEWS AND INTERESTS. AMONG THE MUSEUM'S TRUSTEES ARE INDIVIDUALS REPRESENTING DIFFERENT COMMUNITIES, FROM A LOCAL COMMUNITY LEADER IN SALEM TO REPRESENTATIVES OF THE INDIAN COMMUNITIES, BOTH IN THE UNITED STATES AND IN INDIA. PEM'S BOARD INCLUDES INDIVIDUALS WHO ARE THEMSELVES COLLECTORS AND/OR EXPERTS IN DIFFERENT AREAS OF ART, INCLUDING JAPANESE ART, RARE LIBRARY MATERIALS, AND DUTCH AND FLEMISH ART. TWO TRUSTEES HAVE BEEN INVOLVED DIRECTLY IN OPERATING MUSEUMS ONE AS A FORMER CURATOR AND ONE WHO OVERSEES A MUSEUM FOR CONTEMPORARY ART. SEVERAL MEMBERS OF THE MUSEUM'S BOARD HAVE INTERESTS AND EXPERIENCE WITHIN THE FIELD OF EDUCATION, INCLUDING THE CURRENT NATIONAL PRESIDENT OF THE AMERICAN ASSOCIATION OF UNIVERSITY WOMEN, A FORMER UNIVERSITY EDUCATOR, A MUSEUM DOCENT, AND AN INDIVIDUAL RESPONSIBLE FOR ESTABLISHING AND OPERATING A FOUNDATION DEVOTED TO SUPPORTING K-12 EDUCATIONAL INITIATIVES. VARIOUS AREAS OF TECHNICAL EXPERTISE ARE ALSO REPRESENTED BY NUMEROUS BOARD MEMBERS, INCLUDING SPECIALIZED KNOWLEDGE OF REAL ESTATE, BUSINESS, JOURNALISM, LAW, INVESTING, LAND PROTECTION AND PRESERVATION. 4. AVAILABILITY OF PUBLIC FACILITIES OR SERVICES FACTOR. DURING 2013, THE PEABODY ESSEX MUSEUM REPORTED ALMOST 222,000 ON-SITE VISITORS, COMING FROM BOTH THE LOCAL COMMUNITY AND FROM AROUND THE WORLD. THE MAIN MUSEUM GALLERIES ARE OPEN TO THE PUBLIC SIX DAYS PER WEEK, WHICH REPRESENTS ALMOST 2,200 HOURS ANNUALLY DURING WHICH THE PUBLIC HAS ACCESS TO THE VARIOUS COLLECTIONS AND PROGRAMS THAT ARE OFFERED. TO ENCOURAGE ENGAGEMENT WITH THE LOCAL COMMUNITY AND WITH STUDENTS, ADMISSION IS FREE FOR RESIDENTS OF SALEM, MASSACHUSETTS AND FOR YOUTH UNDER THE AGE OF SEVENTEEN. THE MUSEUM'S CAMPUS ALSO INCLUDES NUMEROUS PARKS AND GARDENS, AND 24 HISTORIC PROPERTIES, INCLUDING YIN YU TANG, THE ONLY EXAMPLE OF CHINESE DOMESTIC ARCHITECTURE ON DISPLAY IN THE UNITED STATES. PEM'S PHILLIPS LIBRARY, WHICH IS ONE OF THE OLDEST AND LARGEST RESEARCH LIBRARIES IN NEW ENGLAND, IS ALSO AVAILABLE TO THE GENERAL PUBLIC, SCHOLARS AND RESEARCHERS. ACROSS THE CAMPUS, THERE IS 123,000 SQUARE FEET OF PUBLIC EXHIBITION SPACE FOR USE IN DISPLAYING AND INTERPRETING THE MUSEUM'S VAST COLLECTIONS AND FOR PRESENTING CHANGING EXHIBITIONS, OF WHICH THERE WERE EIGHT OPENED DURING 2013. ANNUALLY, THE MUSEUM'S DEPARTMENT OF EDUCATION AND INTERPRETATION CONDUCTS HUNDREDS OF PROGRAMS DESIGNED TO ADVANCE ARTS LEARNING AND APPRECIATION. ALTHOUGH THESE PROGRAMS ARE DELIVERED IN MANY SPACES THROUGHOUT THE CAMPUS, THE MUSEUM HAS DEDICATED 13,000 SQUARE FEET SPECIFICALLY FOR THESE PURPOSES. THE WIDE ARRAY OF PROGRAMS OFFERED IS DESIGNED TO ATTRACT AND ENGAGE VISITORS OF ALL AGES WITH DIVERSE BACKGROUNDS, KNOWLEDGE, INTERESTS, PREFERENCES AND NEEDS. IN AN EFFORT TO ENSURE THAT A BROAD AUDIENCE IS SERVED, THE MUSEUM FOCUSES ON SEVERAL BROAD AUDIENCE CATEGORIES: K-12 STUDENTS, TEACHERS, FAMILIES AND ADULTS FROM COLLEGE AGE THROUGH SENIOR CITIZENS. |
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Attach to Form 990 or 990-EZ.
Information about Schedule O (Form 990 or 990-EZ) and its instructions is at| Return Reference | Explanation |
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| FORM 990, PART III, LINE 4A, DESCRIPTION OF PROGRAM SERVICE: | 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 APPROXIMATELY 647,000 PEOPLE DURING 2013 - 222,000 ON-SITE VISITORS IN SALEM AND APPROXIMATELY 425,000 PEOPLE WHO ATTENDED PEM-ORGANIZED EXHIBITIONS PRESENTED AT OTHER VENUES. APPROXIMATELY ONE-FIFTH 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 2013 EXHIBITION CALENDAR INCLUDED MANY STYLES AND SOURCES OF ART AND CULTURE. THE MUSEUM OPENED EIGHT NEW SPECIAL EXHIBITIONS IN 2013, TRAVELED TWO EXHIBITIONS TO OTHER VENUES, AND CONTINUED FIVE SHOWS THAT OPENED IN 2012, INCLUDING: - THE MIND'S EYE: 50 YEARS OF PHOTOGRAPHY BY JERRY UELSMANN (PRESENTED AT THE MICHENER ART MUSEUM JANUARY 19, 2013 THROUGH APRIL 28, 2013): JERRY UELSMANN IS WIDELY ACKNOWLEDGED AS ONE OF THE PIONEERS OF EXPERIMENTAL PHOTOGRAPHY AND HAS EVEN BEEN DESCRIBED AS THE "FATHER OF PHOTOSHOP." UELSMANN'S PHOTOGRAPHS HAVE BEEN LIKENED TO DREAMS, BASED ON HIS COMBINATIONS OF NEGATIVES IN THE DARKROOM TO MAKE PHOTOGRAPHS THAT ARE PRODUCTS OF HIS IMAGINATION. THIS FIRST RETROSPECTIVE OF UELSMANN'S WORK IN MORE THAN THIRTY YEARS BROUGHT TOGETHER THE FINEST KNOWN VINTAGE PRINTS FROM THE ARTIST'S STUDIO COLLECTION. THE EXHIBITION WAS PRESENTED AT PEM DURING 2012 AND ALSO TRAVELED TO THE HARN MUSEUM, FLORIDA. - FREEPORT [NO. 005]: MICHAEL LIN (MARCH 22, 2012 THROUGH 2014): TAIWANESE ARTIST MICHAEL LIN IS WELL-KNOWN INTERNATIONALLY FOR PAINTING VAST, BOLD DESIGNS ON SOBER ARCHITECTURAL SETTINGS, INTERVENTIONS THAT INJECTED A VIBRANT SENSE OF PLAY. AT PEM LIN SPOTLIGHTS THE MUSEUM'S RENOWNED COLLECTION OF ASIAN EXPORT ART BY CREATING A SPRAWLING MURAL OF ORIGINAL ARMORIAL AND HERALDIC MOTIFS THAT CLIMB UP THE WALLS OF THE MELLON STAIRCASE AND ALONG THE FLOOR OF THE EXPORT SILVER GALLERIES. TO ANIMATE THE HISTORY OF TRADE BETWEEN CHINA AND THE WEST, LIN ALSO CREATED A LARGE-SCALE INSTALLATION COMPRISED OF HUNDREDS OF REPLICAS OF PEM'S MR. NOBODY, ONE OF THE FIRST REPRESENTATIONS OF A EUROPEAN GENTLEMAN IN CHINESE PORCELAIN. - NATURAL HISTORIES: PHOTOGRAPHS BY BARBARA BOSWORTH (APRIL 14, 2012 THROUGH MARCH 31, 2013): THIS EXHIBITION PRESENTED BOSWORTH'S BLACK-AND-WHITE PHOTOGRAPHS OF HER FAMILY AND HER CHILDHOOD HOME IN NOVELTY, OHIO. FEATURING THE OLDEST AND YOUNGEST MEMBERS OF THE FAMILY, THESE TOUCHING IMAGES EXPLORE THE JOY OF YOUTH AND THE WISTFULNESS OF AGING, THE NATURE OF MEMORY AND THE PASSAGE OF TIME. MOST OF THE PHOTOGRAPHS WERE DISPLAYED FOR THE FIRST TIME IN THIS EXHIBITION DUE TO THEIR PERSONAL NATURE FOR THE ARTIST. ONE OF THE MOST INFLUENTIAL PHOTOGRAPHERS IN THE BOSTON AREA AND INTERNATIONALLY RENOWNED, BOSWORTH IS A VETERAN OF NUMEROUS MONOGRAPHIC EXHIBITIONS; HOWEVER, THIS WAS HER FIRST MAJOR MUSEUM EXHIBITION IN THE BOSTON AREA. - ANSEL ADAMS: AT THE WATER'S EDGE (PRESENTED AT THE NATIONAL MARITIME MUSEUM IN GREENWICH FROM NOVEMBER 19, 2012, THROUGH APRIL 28, 2013; AND AT THE AUSTRALIAN NATIONAL MARITIME MUSEUM FROM JULY 4, 2013 THROUGH DECEMBER 8, 2013): ANSEL ADAMS IS THE MOST POPULAR, AND ARGUABLY THE MOST INFLUENTIAL AMERICAN PHOTOGRAPHER. A LONG-TIME RESIDENT OF CARMEL, CALIFORNIA, ADAMS PHOTOGRAPHED THE CALIFORNIA COASTLINE THROUGHOUT HIS CAREER, CREATING BEAUTIFUL AND EVOCATIVE PHOTOGRAPHS OF THE JUNCTIONS BETWEEN LAND AND WATER. SEVERAL OF THESE, SUCH AS THE FAMOUS "SURF SEQUENCE" SERIES OF 1936-40, ARE WIDELY ACKNOWLEDGED AS MASTERPIECES OF ADAMS'S ART. HOWEVER, BECAUSE THEY ARE SO UNLIKE THE MOUNTAIN LANDSCAPES FOR WHICH HE IS BEST KNOWN, THEY ARE LARGELY OVERLOOKED. THIS EXHIBITION BROUGHT TOGETHER FOR THE FIRST TIME HIS PICTURES OF WATER IN DIVERSE FORMS AT A RANGE OF SITES. THE MUSEUM PUBLISHED AN ILLUSTRATED CATALOGUE TO ACCOMPANY THE EXHIBITION AND DID A SECOND PRINT RUN BECAUSE OF THE VOLUME OF SALES. THE SHOW WAS SLATED TO TRAVEL TO TWO OTHER VENUES IN ENGLAND AND AUSTRALIA IN 2013. - A LEGACY OF CHANGE: SELECTIONS OF NATIVE AMERICAN ART (JUNE 16, 2012 THROUGH JUNE 25, 2013): THIS EXHIBITION EXPLORED HOW NATIVE ARTISTS HAVE BEEN CONTINUALLY INNOVATIVE, REFLECTING ON THEIR PERSONAL AND CULTURAL EXPERIENCES IN ONGOING DIALOGUE WITH NEW IDEAS, MATERIALS, TECHNOLOGIES AND CULTURES. SELECTED FROM PEM'S NATIVE AMERICAN ART COLLECTION ONE OF THE WORLD'S OLDEST AND FINEST COLLECTIONS OF ITS KIND THE WORKS INCLUDED A CROSS-SECTION OF PAINTINGS, SCULPTURE, CERAMICS, JEWELRY AND TEXTILE ARTS CREATED OVER THE LAST 200 YEARS. -GOLDEN LIGHT: SELECTIONS FROM THE VAN OTTERLOO COLLECTION (AUGUST 11, 2012 THROUGH JULY 7, 2013): DUTCH ART AND LIFE IN THE 1600S WAS EXPLORED THROUGH A SELECTION OF PAINTINGS FROM THE INTERNATIONALLY SIGNIFICANT COLLECTION OF ROSE-MARIE AND EIJK VAN OTTERLOO. THE INSTALLATION FEATURED 16 PAINTINGS BY HENDRICK AVERCAMP, FRANS HALS, PIETER CLAESZ, JAN BRUEGHEL THE ELDER AND NOTABLE OTHERS. -HATS: AN ANTHOLOGY BY STEPHEN JONES (SEPTEMBER 8, 2012 THROUGH FEBRUARY 3, 2013): THIS EXHIBITION WAS A COLLABORATION BETWEEN THE VICTORIA AND ALBERT MUSEUM AND ONE OF THE FASHION WORLD'S FOREMOST MILLINERS, STEPHEN JONES. THE EXHIBITION FEATURED OVER 300 HATS FROM AROUND THE WORLD, HIGHLIGHTING THE CULTURAL, HISTORIC AND DECORATIVE PROPERTIES OF THE HAT, DISPLAYED WITH THE WIT AND WHIMSICAL STYLE OF STEPHEN JONES. HATS PRESENTED A REVEALING EXPLORATION OF THE WORLD OF MILLINERY FROM THE EXPERT VIEWPOINT OF A MILLINER. THE DISPLAY DREW ON STEPHEN JONES'S OWN ARCHIVE AND THE V&A'S EXTENSIVE COLLECTION OF HATS, ALONGSIDE ICONIC HEADGEAR FROM AROUND THE WORLD. BASED AROUND THE LIFECYCLE OF A HAT, THE SHOW FOLLOWED THE RICHNESS OF CREATIVITY, CRAFT, STYLE AND TECHNIQUE INHERENT IN EVERY HAT. THESE ASPECTS WERE COVERED BY THE FOUR MAIN THEMES OF THE EXHIBITION-INSPIRATION, CREATION, THE SALON AND THE CLIENT. LINKING OBJECTS AND BRINGING THEM TO LIFE IN A THEMATIC RATHER THAN A CHRONOLOGICAL WAY, IT POSED UNUSUAL JUXTAPOSITIONS OF HATS, RANGING IN STYLE AND PERIOD FROM THE TWELFTH CENTURY TO THE PRESENT DAY. -MIDNIGHT TO THE BOOM: PAINTING IN INDIA AFTER INDEPENDENCE (FEBRUARY 2, 2013 THROUGH APRIL 21, 2013): THIS EXHIBITION EXPLORED INDIA'S POST-INDEPENDENCE ART MOVEMENT. THE ARTISTS' FOREMOST AIM WAS TO DEVELOP THE FORMAL, FIGURAL AND NARRATIVE MEANS OF PROJECTING CONTEMPORARY EXPERIENCE AND REALITY OF A COUNTRY TRANSFORMED FROM COLONY TO SOVEREIGN NATION; FROM IMPERIAL RULE TO POPULAR DEMOCRACY; AND FROM RURAL AGRARIAN TO URBAN INDUSTRIAL. THE ARTISTS' COLLECTIVE ACHIEVEMENT IS CLEAR-THEY DEVELOPED A HYBRID AESTHETIC, FREELY DRAWING ON ART OF VASTLY DIFFERENT TIMES AND PLACES AND TRANSFORMING THESE INTO INDIVIDUAL STYLES OF GREAT EXPRESSIVE POWER. NEW REGISTERS OF INDIVIDUAL SUBJECTIVITY, TENSIONS WITHIN EMERGING CLASS STRUCTURES, AND RADICAL CONTEMPLATIONS ON THE HUMAN CONDITION IN COSMIC CONTEXTS EMERGED AS THE KEY CONCERNS OF THE THREE INFLUENTIAL GENERATIONS OF ARTISTS CALLED OUT BY THE SHOW. APPROXIMATELY 70 WORKS FROM PEM'S INTERNATIONALLY RECOGNIZED HERWITZ COLLECTION WERE FEATURED. - FREEPORT [NO. 006]: NICK CAVE (MARCH 2, 2013 THROUGH MAY 27, 2013): CHAIRMAN OF THE FASHION DEPARTMENT AT THE SCHOOL OF THE ART INSTITUTE OF CHICAGO, NICK CAVE (B. 1959) IS AN ARTIST WORKING BETWEEN SCULPTURE, INSTALLATION, PERFORMANCE, VIDEO, DESIGNED OBJECT AND FASHION. OVER THE PAST DECADE HE HAS BECOME RENOWNED FOR HIS PERFORMANCES AND FOR HIS SOUNDSUITS, WHICH ARE COSTUME/SCULPTURES INTRICATELY CRAFTED FROM FOUND OBJECTS. THE INSTALLATION WILL FEATURE A SMALL GROUP OF THESE SOUNDSUITS AND HIS ACCLAIMED VIDEO DRIVE-BY WHICH IS A SONIC AND VISUAL TOUR DE FORCE AT ONCE PAINTING, DANCING, CHOREOGRAPHY, AND SOUND ENVIRONMENT. - TOSHIO SHIBATA, CONSTRUCTED LANDSCAPES (APRIL 20, 2013 THROUGH SUMMER 2014): THIS SHOW PRESENTS ONE OF JAPAN'S PREEMINENT LANDSCAPE PHOTOGRAPHERS, TOSHIO SHIBATA, WHO IS KNOWN FOR EXPLORING THE DELICATE BALANCE BETWEEN HUMAN-MADE STRUCTURES AND NATURE. PHOTOGRAPHING EROSION CONTROL BARRIERS, WATER CATCHMENTS, ROADS, DAMS AND BRIDGES, HE EXAMINES THE UNIQUE APPEARANCE OF SUCH STRUCTURES IN HIS NATIVE LAND. |
| FORM 990, PART III, LINE 4A | -IN CONVERSATION: MODERN AFRICAN AMERICAN ART (JUNE 1, 2013 THROUGH SEPTEMBER 2, 2013): THIS EXHIBITION PRESENTED 100 PAINTINGS, SCULPTURE, AND PHOTOGRAPHS BY 43 AFRICAN AMERICAN ARTISTS FROM THE PREMIER COLLECTION OF THE SMITHSONIAN AMERICAN ART MUSEUM. MORE THAN HALF OF THE WORKS WERE BEING SHOWN FOR THE FIRST TIME. THE EXHIBITION FEATURED ARTISTS WHO CAME TO PROMINENCE DURING THE PERIOD BRACKETED BY THE HARLEM RENAISSANCE AND THE CIVIL RIGHTS ERA OF THE 1950S AND 1960S. SOME TRAINED IN THIS COUNTRY'S MOST PRESTIGIOUS ART SCHOOLS, OTHERS IN PARIS. MANY WERE TEACHERS; OTHERS WORKED AT WHATEVER JOBS ALLOWED THEM TIME TO CREATE. ALL PARTICIPATED IN MULTIVALENT DIALOGUES ABOUT ART, BLACK IDENTITY, AND THE RIGHTS OF THE INDIVIDUAL THAT CONTINUE TO ENGAGE AMERICAN SOCIETY. - FABERGE REVEALED: FROM THE COLLECTION OF THE VIRGINIA MUSEUM OF FINE ARTS (JUNE 22, 2013 THROUGH SEPTEMBER 29, 2013): THE NAME FABERGE IS SYNONYMOUS WITH REFINED CRAFTSMANSHIP, JEWELED LUXURY, AND THE LAST DAYS OF THE DOOMED RUSSIAN IMPERIAL FAMILY. THE ARRAY OF LUXURY ENAMELED PICTURE FRAMES AND CLOCKS, GOLD CIGARETTE CASES AND CANE TOPS, HARDSTONE ANIMALS AND FLOWERS IN ROCK CRYSTAL VASES, AND RUBY ENCRUSTED BROOCHES AND BOXES CONTINUE TO FASCINATE VIEWERS AS THEY DID WHEN FIRST DISPLAYED IN THE WINDOWS OF FABERGE'S STORES IN ST. PETERSBURG, MOSCOW, AND LONDON. THIS EXHIBITION WAS ORGANIZED BY THE VIRGINIA MUSEUM OF FINE ARTS, WHICH OWNS THE WORLD'S LEADING COLLECTION OF FABERGE OUTSIDE OF RUSSIA. -BEYOND HUMAN, ARTIST-ANIMAL COLLABORATIONS (OCTOBER 19, 2013 THROUGH SEPTEMBER 7, 2014): ARTISTS HAVE BEEN DEPICTING ANIMALS FOR THOUSANDS OF YEARS, BUT A GROWING NUMBER OF CONTEMPORARY ARTISTS ARE WORKING DIRECTLY WITH ANIMALS TO CREATE ART. IN SOME INSTANCES THE ANIMALS ARE PRESENTED AS CREATIVE "PARTNERS," IN OTHERS, THE ARTISTS TAP AN ANIMAL'S BEHAVIOR(S) TO CREATE THEIR WORK OR SERVE AS DOCUMENTARIANS OF THE CREATIVITY THEY WITNESS IN NON-HUMAN SPECIES. THIS SHOW HIGHLIGHTS OUR EVOLVING RELATIONSHIP WITH AND PERCEPTION OF ANIMALS, BOTH IN THE WILD AND AS COMPANIONS. THE WORKS ALSO EXPRESS DIVERSE INTERACTIONS BETWEEN HUMANS AND ANIMALS AND RAISE IMPORTANT QUESTIONS ABOUT THE NATURE OF CREATIVITY ITSELF AND WHAT TRULY DISTINGUISHES HUMANS FROM OTHER ANIMALS. -FUTURE BEAUTY: AVANT GARDE JAPANESE FASHION (NOVEMBER 16, 2013 THROUGH JANUARY 26, 2014): ORGANIZED BY THE KYOTO COSTUME INSTITUTE, JAPAN, FUTURE BEAUTY WAS THE FIRST EXHIBITION TO COMPREHENSIVELY SURVEY AVANT-GARDE JAPANESE FASHION, FROM THE EARLY 1980S TO THE PRESENT. THE EXHIBITION EXPLORED THE UNIQUE SENSIBILITY OF JAPANESE DESIGN, AS EMBODIED IN CLOTHING. JAPANESE FASHION MADE AN ENORMOUS IMPACT ON THE WORLD FASHION SCENE IN THE LATE 20TH CENTURY AND DESIGNERS SUCH AS ISSEY MIYAKE, REI KAWAKUBO AND YOHJI YAMAMOTO REDEFINED THE VERY BASIS OF FASHION. THEIR WORKS WERE SHOWN ALONGSIDE KAWAKUBO'S PROTEGE, THE TECHNO-COUTURIER JUNYA WATANABE, TOGETHER WITH THE ACCLAIMED JUN TAKAHASHI, AND THE NEW GENERATION OF RADICAL DESIGNERS INCLUDING TAO KURIHARA, FUMITO GANRYU, MATOHU, AKIRA NAKA, MINA PERHONEN AND MINTDESIGNS. - IMPRESSIONISTS ON THE WATER (NOVEMBER 9, 2013 THROUGH FEBRUARY 17, 2014): ORGANIZED BY THE FINE ARTS MUSEUMS OF SAN FRANCISCO, IMPRESSIONISTS ON THE WATER EXPLORED SAILING'S IMPORTANT ROLE IN THE WORK AND LIVES OF THE IMPRESSIONISTS. THE EXHIBITION INVESTIGATED FOR THE FIRST TIME THE PHENOMENON OF IMPRESSIONIST ARTISTS PRACTICING WHAT THEY DEPICTED-SAILING-AS A FORM OF MODERNISM. IT ALSO CONTEXTUALIZED THE THEME IN TERMS OF ITS IMPLICATIONS FOR LATE 19TH-CENTURY ARTISTIC, SOCIAL, AND TECHNOLOGICAL DEVELOPMENTS, ESPECIALLY IN FRANCE. THESE ARTISTS EXPERIENCED SAILING ON THE SEINE BY CHOICE RATHER THAN OUT OF NECESSITY AND AS A PART OF MODERN LIFE JUST AS OTHERS IN THEIR GENERATION EXPERIENCED THE BORDELLO, THE CAFE, AND STREET LIFE OF PARIS. THIS EXHIBITION FEATURED APPROXIMATELY 50 PAINTINGS, 30 WORKS ON PAPER, AND ACTUAL MODEL BOATS BY ARTISTS SUCH AS CAILLEBOTTE, COROT, DAUBIGNY, JONGKIND, AND BOUDIN. |
| 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 COLLECTION, INCLUDING PAINTINGS, SCULPTURES, WORKS ON PAPER, DECORATIVE ART, FOLK ART, FASHION, AND COSTUMES, 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. |
| FORM 990, PART III, LINE 4B | - 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 SEVENTEENTH 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 AS WELL AS MODERN AND CONTEMPORARY EXAMPLES, 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. ACQUISITIONS: IN 2013, OVER 928 SIGNIFICANT AND BEAUTIFUL OBJECTS WERE ACQUIRED BY THE MUSEUM THROUGH PURCHASE OR GIFT. THE OBJECTS SPANNED MOST OF THE MUSEUM'S MAJOR COLLECTING AREAS AND INCLUDED: - ONE HUNDRED SIX AMERICAN ART OBJECTS, INCLUDING 59 PIECES OF DESIGNER AND FASHION-RELATED CLOTHING FROM THE COLLECTION OF FASHION ICON IRIS APFEL. - SIXTY-TWO IMPORTANT PIECES FOR THE ASIAN EXPORT ART COLLECTION, MOST NOTABLY A PAIR OF REVERSE PAINTINGS ON GLASS FEATURING PORTRAITS OF CAPTAIN JOHN HUDDART AND HIS SON, JOHNSTON HUDDART; FOUR BOTANICAL GOUACHE ON WATERCOLOR PAPER PAINTINGS; AND A JAPANESE EXPORT VANITY SET, CA. 1878. - FOUR HUNDRED SIXTY-FIVE CHINESE OBJECTS INCLUDING A COLLECTION OF 344 PRINTED QUILT COVERS WITH TRADITIONAL CHINESE PATTERNS AND CONTEMPORARY POLITICAL CAMPAIGN MESSAGES. - TWO 20TH CENTURY JAPANESE SCROLLS. - TWO HUNDRED THREE OBJECTS FOR THE MARITIME ART COLLECTION INCLUDING 200 PIECES OF RMS QUEEN MARY ARCHITECTURAL DRAWINGS, BLUE PRINTS, EPHEMERA, A DINING BELL AND PHOTOGRAPHS. - FIVE WORKS FOR THE NATIVE AMERICAN ART COLLECTION, INCLUDING NANA'S BANDOLIER, BY ARTIST NELDA SCHRUPP; AND TWO WORKS BY T.C. CANNON A COLOR WOODBLOCK PRINT AND A WATERCOLOR, BOMBS AND CIRCLES. - SEVENTY-NINE OBJECTS FOR THE PHOTOGRAPHY COLLECTION, INCLUDING LITTLE RED BOOK #142 BY ANDY WARHOL CONTAINING TWENTY POLAROID TYPE 108 PHOTOGRAPHS WITH PEN AND INK ALTERATIONS; TEN INKJET PRINTS FROM ROBERT WEINGARTEN'S 6:30 AM SERIES; AND SIX GELATIN SILVER PHOTOGRAPHS BY MARK RUWEDEL FROM THE ICE AGE SERIES. - SIX ACQUISITIONS FOR THE SOUTH ASIAN AND KOREAN ART COLLECTION INCLUDING FIVE SUMI-E (INK ON PAPER) PAINTINGS BY NANDALAL BOSE. IN ADDITION TO THE MUSEUM'S MANY EXCITING NEW ADDITIONS, THE PHILLIPS LIBRARY CONTINUED TO ACQUIRE IMPORTANT RARE BOOKS, PAPERS, PRINTS, AND PHOTOGRAPHS - MORE THAN 177 NEW ITEMS IN ALL DURING 2013. |
| 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 FROM COLLEGE AGE THROUGH SENIOR CITIZENS. 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 2013, 14,816 STUDENTS, TEACHERS AND CHAPERONES FROM 273 SCHOOLS PARTICIPATED IN SINGLE VISIT SCHOOL PROGRAMS. FORMAL MUSEUM-SCHOOL PARTNERSHIPS ARE MANAGED THROUGH THE CREATIVE COLLABORATIONS 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 3,668 TOTAL VISITS DURING 2013. AT THE END OF THE ACADEMIC YEAR, OVER 341 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. PERIODICALLY, SUMMATIVE EVALUATIONS OF THE PROGRAM ARE CONDUCTED TO ASSESS ITS IMPACT. 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, HISTORY AND SOCIAL SCIENCE, SCIENCE, TECHNOLOGY AND MATHEMATICS. FOR 2013, 413 EDUCATORS PARTICIPATED IN TEACHER PROGRAMS. DURING THE 2012-2013 SCHOOL YEAR, THE MUSEUM CONTINUED TO PARTNER WITH SCHOOL DISTRICTS TO OFFER GRADE-LEVEL FOCUSED DISTRICT-WIDE TRAINING IN ARTS INTEGRATION STRATEGIES. IN TOTAL, 15 PROFESSIONAL DEVELOPMENT WORKSHOPS WERE HELD IN COORDINATION WITH LOCAL SCHOOL ADMINISTRATORS IN THE MOST RECENT ACADEMIC YEAR. THE MUSEUM ALSO PROVIDES SPECIAL LEARNING OPPORTUNITIES FOR HIGH SCHOOL AND COLLEGE AGED STUDENTS. IN 2013 OVER 50 STUDENTS WERE OFFERED INTERNSHIPS ACROSS DIFFERENT DEPARTMENTS OF THE MUSEUM, PROVIDING THEM WITH VALUABLE PROFESSIONAL WORK EXPERIENCE AND A CHANCE TO CONNECT WITH THE MUSEUM'S 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. THE SUMMER BRIDGE PROGRAM DEVELOPED WITH SALEM STATE UNIVERSITY BROUGHT 154 STUDENTS AND FACULTY TO THE MUSEUM FOR A SERIES OF INTENSIVE LEARNING VISITS DURING A FIVE-WEEK SUMMER TRANSITION PROGRAM PROVIDING ACADEMIC SUPPORT LEADING TO COLLEGE ADMISSION. 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 2013, THE MUSEUM OFFERED NEARLY 407 FAMILY PROGRAMS FOR A COMBINED TOTAL ATTENDANCE OF 33,943 FAMILY VISITORS. ONE MAJOR FAMILY PROGRAM HIGHLIGHT IS THE 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 16,694 IN 2013, WEEKEND FESTIVALS INCORPORATE ARTIST DEMONSTRATIONS, DANCE AND MUSIC PERFORMANCES, GALLERY TALKS, FILMS, LECTURES, AND HANDS-ON ART ACTIVITIES. WEEKEND FESTIVALS ARE 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 7,157. 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 WEEKEND FESTIVALS, 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. IN OCTOBER 2013, FOLLOWING AN EXTENSIVE YEARLONG RENOVATION, THE NEWLY REDESIGNED ANC REOPENED TO THE PUBLIC. THIS DYNAMIC, FUN AND INVITING SPACE OFFERS GUESTS EVEN MORE OPPORTUNITIES TO EXPLORE HOW HUMANS ARE INTRICATELY CONNECTED TO THE ENVIRONMENT. THE IMPROVEMENTS ALSO INCLUDED A NEW 3,000 SQUARE FOOT DESIGNATED SPACE FOR CHANGING EXHIBITIONS. ALL TOGETHER 60,000 PEOPLE PARTICIPATED IN ANC EXHIBITION PROGRAMMING IN 2013. ADULTS ARE SERVED BY THE MUSEUM IN A VARIETY OF WAYS TARGETED TOWARD THEIR INTERESTS, LIFE STAGES, GROUP PARTICIPATION, AND PREFERENCES. THE PUBLIC AND GROUP TOUR PROGRAMS PROVIDE DOCENT-LED EXPERIENCES IN MUSEUM COLLECTIONS AND EXHIBITIONS, FACILITATING MEANINGFUL AND STIMULATING CONNECTIONS WITH ART. INFORMATION AND DIALOGUE ENRICH VISITORS' UNDERSTANDINGS OF MUSEUM OBJECTS AND THEIR LINKS TO THE WIDER WORLD. A TOTAL OF 11,385 VISITORS PARTICIPATED IN TOURS OF COLLECTION HIGHLIGHTS, SPECIAL EXHIBITIONS, OR HISTORIC HOUSES IN 2013. SPECIALIZED TOURS FOR RESIDENTS OF ASSISTED LIVING FACILITIES AND SENIOR CENTERS, AS WELL AS FOR VISITORS WITH ALZHEIMER'S DISEASE AND THEIR CAREGIVERS, PROVIDED RICH VISUAL EXPERIENCES THAT STIMULATE MEMORY AND IMPROVE MODE WHILE PROMPTING THE SHARING OF PERSONAL STORIES. SPECIALLY TRAINED DOCENTS CAREFULLY PLANNED AND LED THESE SMALL-GROUP, HIGHLY FACILITATED ARTS EXPERIENCES. |
| FORM 990, PART III, LINE 4C | PUBLIC PROGRAMS ARE OFFERED TO GENERAL PUBLIC VISITORS THROUGHOUT THE YEAR IN ORDER TO ENGAGE THEM IN VISUAL AND INTELLECTUAL INQUIRY THAT SPARKS CURIOSITY, CREATIVITY, AND CROSS-CULTURAL UNDERSTANDING, CONTRIBUTING 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. PUBLIC PROGRAMS FOR 2013 ALSO INCLUDED PEM/PM, AN EVENING PROGRAM SERIES FEATURING ART DEMONSTRATIONS AND ART-MAKING COMBINED WITH LIVE MUSIC, FILM, AND SOCIAL EVENTS. PROGRAMS FOR THE OPENING DAYS OF SIGNIFICANT EXHIBITIONS WERE ALSO MORE RICHLY DEVELOPED, PROVIDING OPPORTUNITY FOR DEEPER DISCUSSION, ARTISTIC EXPLORATION, AND CELEBRATION OF THE GROUNDBREAKING STATEMENTS, BOLD IDEAS AND THOUGHT-PROVOKING INSTALLATIONS PRESENTED BY NEW EXHIBITIONS. FILMS SELECT CONTEMPORARY DOCUMENTARY AND ART FILMS ARE SHOWN DURING CULTURAL FESTIVALS AND AT EXHIBITION OPENING DAYS, AS WELL AS DURING TWO ANNUAL FILM SERIES, THE INTERNATIONAL HUMAN RIGHTS FILM FESTIVAL AND THE SALEM FILM FEST. FILMS CHOSEN OFFER DIRECT THEMATIC CONNECTIONS TO THE MUSEUM'S ARTS, CULTURE, AND EXHIBITIONS. IN 2013, A TOTAL OF 8 CURATED FILMS WERE SHOWN TO 1,543 ADULTS. CONCERTS IN 2013, PEM PRESENTED 8 CONCERTS TO A TOTAL AUDIENCE OF 939 PEOPLE. THIS PROGRAM INCLUDED TRACING A LINE, A SPECIAL PRODUCTION THAT INCORPORATED ELEMENTS OF THEATER, ARCHITECTURE, VISUAL ART AND INSTRUMENTAL AND VOCAL MUSIC AND FEATURED AN ORIGINAL ORCHESTRA PIECE COMPOSED BY PEM'S NEWLY APPOINTED COMPOSER IN RESIDENCE, MATTHEW AUCOIN. PRESENTATIONS LECTURES, TALKS, AND MULTIMEDIA PRESENTATIONS ARE FEATURED DURING OPENING DAYS, FESTIVALS, AND AS STANDALONE EVENTS. THESE PROGRAMS OFFER ADULT AUDIENCES THE OPPORTUNITY TO EXPLORE SOPHISTICATED, IN-DEPTH IDEAS WITH RENOWNED SPECIALISTS IN CONTEMPORARY ART, ART HISTORY AND CULTURE, ART-NATURE THEMES, ARCHITECTURE, AND OTHER RELATED FIELDS, WHO PRESENT MULTIPLE PERSPECTIVES AND STIMULATE NEW THINKING ABOUT THE MUSEUM'S COLLECTIONS AND CHANGING EXHIBITIONS. IN 2013, 8 PRESENTATIONS WERE ATTENDED BY 947 ADULTS. AMONG THESE WERE: - BEYOND HUMAN ARTIST ALEX MELAMID, CO-FOUNDER OF THE ASIAN ELEPHANT ART & CONSERVATION PROJECT, JOINED PROGRAM DIRECTOR DAVID FERRIS TO DISCUSS THEIR GROUNDBREAKING WORK WITH ASIAN ELEPHANTS IN SOUTHEAST ASIA. THEY SHARED WHAT THEY HAVE LEARNED ABOUT ELEPHANT CREATIVITY AND WHAT HUMANS CAN LEARN ABOUT ELEPHANTS FROM THEIR ART. - IN A PRESENTATION ENTITLED BLACK LENS: AFRICAN AMERICAN LIFE AND PHOTOGRAPHY, PHOTOGRAPHER MARILYN NANCE, WIDELY CELEBRATED FOR HER VISUALLY ARRESTING AND INTIMATE PHOTOGRAPHS OF SPIRITUAL CULTURE OF THE AFRICAN DIASPORA, DISCUSSED HER WORK. - IN CONJUNCTION WITH THE EXHIBITION IN CONVERSATION: MODERN AFRICAN AMERICAN ART, PEM CHIEF CURATOR, LYNDA HARTIGAN, WAS JOINED BY RICHARD POWELL, ART HISTORY PROFESSOR AT DUKE UNIVERSITY, AND ARTIST KEITH MORRISON IN A CONVERSATION TO HIGHLIGHT THE DEVELOPMENT OF THE EXHIBITION AND TO FRAME THE CONTRIBUTIONS OF MODERN AFRICAN AMERICAN ARTISTS TOWARD A LARGER AMERICAN IDENTITY SOCIAL, POLITICAL AND CULTURAL. - FABERGE: FROM ROYAL CULTURE TO POP CULTURE WAS A PRESENTATION WHICH EXPLORED THE MANY CONNOTATIONS OF THE NAME FABERGE: IMPERIAL JEWELER TO THE DOOMED RUSSIAN ROYAL FAMILY; DIME-STORE DEODORANTS AND CHEAP AFTERSHAVE; FABULOUS ONE-OF-A-KIND BEJEWELED EGGS. YAO-FEN YOU, ASSISTANT CURATOR OF EUROPEAN SCULPTURE AND DECORATIVE ARTS AT THE DETROIT INSTITUTE OF ART, OFFERED THIS LIVELY PRESENTATION ON THE FABERGE OF TODAY. WORKSHOPS AND DEMONSTRATIONS ARTIST-LED WORKSHOPS AND ART DEMONSTRATIONS OFFER ADULTS THE CHANCE TO DEVELOP A CLOSER UNDERSTANDING OF ARTISTIC THINKING, PROCESS, MATERIALS AND METHODS. IN 2013, 30 ADULT ART WORKSHOPS AND ARTIST DEMONSTRATIONS WERE HELD, REACHING AN AUDIENCE OF 6,930 ADULTS. - FOOD EXPERT SHRUTI MEHTA SHARED HER TIPS FOR USING SPICES IN INDIAN COOKING AND DEMONSTRATED THE ART OF MAKING PAAN AND CHAI. THIS PRESENTATION HIGHLIGHTED HOW SPICES HAVE BEEN AN INTRINSIC PART OF INDIAN COOKING FOR MANY CENTURIES AND THAT MANY POSSESS THERAPEUTIC AND HEALING PROPERTIES. - ZOE SHI, AND UP-AND-COMING FASHION DESIGNER AND RHODE ISLAND SCHOOL OF DESIGN STUDENT, DEMONSTRATED THE PROCESS OF SCULPTING A GARMENT FROM FABRIC. SHI'S WORK SHARES THE AESTHETICS OF VOLUME AND SHAPE PRESENTED IN THE FUTURE BEAUTY EXHIBITION. - INTERNATIONALLY ACCLAIMED ARTIST, EDUCATOR AND AUTHOR VICTORIA LANSFORD IS KNOWN FOR HER ONE-OF-A-KIND WEARABLE PIECES OF ART AND ART OBJECTS THAT EVOKE THE SPLENDOR OF ANCIENT MASTERS, YET ARE INFUSED WITH HER OWN PROVOCATIVE VISION. IN CONJUNCTION WITH THE EXHIBITION, FABERGE REVEALED, SHE LED THIS DEMONSTRATION OF OLD-WORLD TECHNIQUES, INCLUDING RUSSIAN FILIGREE. IN TOTAL, 1,498 ADULT PROGRAMS AND TOURS WERE OFFERED IN 2013 FOR A COMBINED ATTENDANCE OF 24,532. |
| 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 PRIOR TO FILING. |
| FORM 990, PART VI, SECTION B, LINE 12C | ON AN ANNUAL BASIS, EACH OFFICER, DIRECTOR AND KEY EMPLOYEE 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. PERIODICALLY, THE SERVICES OF AN INDEPENDENT COMPENSATION CONSULTANT ARE UTILIZED TO PROVIDE AN OPINION ON THE REASONABLENESS OF 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. |
| FORM 990, PART XI, LINE 9: | CHANGE IN VALUE OF SPLIT INTEREST AGREEMENTS 634,922. |
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