Attach to Form 990 or Form 990-EZ.
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 listed in your governing document? | (v) Amount of monetary support (see instructions) | (vi) Amount of other support (see instructions) | |
|---|---|---|---|---|---|---|
| Yes | No | |||||
| Total | ||||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2010 | (b) 2011 | (c) 2012 | (d) 2013 | (e) 2014 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") .... | 87,381,774 | 43,070,420 | 76,862,150 | 35,881,722 | 28,104,417 | 271,300,483 |
| 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 | 87,381,774 | 43,070,420 | 76,862,150 | 35,881,722 | 28,104,417 | 271,300,483 |
| 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).. | 184,238,841 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 87,061,642 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2010 | (b) 2011 | (c) 2012 | (d) 2013 | (e) 2014 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 87,381,774 | 43,070,420 | 76,862,150 | 35,881,722 | 28,104,417 | 271,300,483 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 2,769,911 | 3,620,253 | 3,734,027 | 2,983,129 | 4,458,953 | 17,566,273 |
| 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 VI.).. | 115,395 | 81,350 | 67,200 | 32,680 | 87,620 | 384,245 |
| 11 | Total support Add lines 7 through 10. | 289,265,569 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2010 | (b) 2011 | (c) 2012 | (d) 2013 | (e) 2014 | (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) 2010 | (b) 2011 | (c) 2012 | (d) 2013 | (e) 2014 | (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 VI.) .. | ||||||
| 13 | Total support. (Add lines 9, 10c, 11, and 12.).. | ||||||
| Section A - Adjusted Net Income | (A) Prior Year |
(B) Current Year (optional) |
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| 1 | Net short-term capital gain | 1 | ||||
| 2 | Recoveries of prior-year distributions | 2 | ||||
| 3 | Other gross income (see instructions) | 3 | ||||
| 4 | Add lines 1 through 3 | 4 | ||||
| 5 | Depreciation and depletion | 5 | ||||
| 6 | Portion of operating expenses paid or incurred for production or collection of gross income or for management, conservation, or maintenance of property held for production of income (see instructions) | 6 | ||||
| 7 | Other expenses (see instructions) | 7 | ||||
| 8 | Adjusted Net Income (subtract lines 5, 6 and 7 from line 4) | 8 | ||||
| Section B - Minimum Asset Amount | (A) Prior Year |
(B) Current Year (optional) |
||||
| 1 | Aggregate fair market value of all non-exempt-use assets (see instructions for short tax year or assets held for part of year): | 1 | ||||
| a | Average monthly value of securities | 1a | ||||
| b | Average monthly cash balances | 1b | ||||
| c | Fair market value of other non-exempt-use assets | 1c | ||||
| d | Total (add lines 1a, 1b, and 1c) | 1d | ||||
| e | Discount claimed for blockage or other factors (explain in detail in Part VI): | |||||
| 2 | Acquisition indebtedness applicable to non-exempt use assets | 2 | ||||
| 3 | Subtract line 2 from line 1d | 3 | ||||
| 4 | Cash deemed held for exempt use. Enter 1-1/2% of line 3 (for greater amount, see instructions). | 4 | ||||
| 5 | Net value of non-exempt-use assets (subtract line 4 from line 3) | 5 | ||||
| 6 | Multiply line 5 by .035 | 6 | ||||
| 7 | Recoveries of prior-year distributions | 7 | ||||
| 8 | Minimum Asset Amount (add line 7 to line 6) | 8 | ||||
| Section C - Distributable Amount | Current Year | |||||
| 1 | Adjusted net income for prior year (from Section A, line 8, Column A) | 1 | ||||
| 2 | Enter 85% of line 1 | 2 | ||||
| 3 | Minimum asset amount for prior year (from Section B, line 8, Column A) | 3 | ||||
| 4 | Enter greater of line 2 or line 3 | 4 | ||||
| 5 | Income tax imposed in prior year | 5 | ||||
| 6 | Distributable Amount. Subtract line 5 from line 4, unless subject to emergency temporary reduction (see instructions) | 6 | ||||
| 7 | Check here if the current year is the organization's first as a non-functionally-integrated Type III supporting organization (see instructions) | |||||
| Section D - Distributions | Current Year | |
|---|---|---|
| 1 Amounts paid to supported organizations to accomplish exempt purposes | ||
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
||
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | ||
| 4 Amounts paid to acquire exempt-use assets | ||
| 5 Qualified set-aside amounts (prior IRS approval required) | ||
| 6 Other distributions (describe in Part VI). See instructions | ||
| 7Total annual distributions. Add lines 1 through 6. | ||
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
||
| 9 Distributable amount for 2014 from Section C, line 6 | ||
| 10 Line 8 amount divided by Line 9 amount | ||
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2014 |
(iii) Distributable Amount for 2014 |
|
|---|---|---|---|---|
|
1
Distributable amount for 2014 from Section C, line 6 |
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|
2
Underdistributions, if any, for years prior to 2014 (reasonable cause required--see instructions) |
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| 3 Excess distributions carryover, if any, to 2014: | ||||
| a From 2009.......X | ||||
| b From 2010.......X | ||||
| c From 2011.......X | ||||
| d From 2012.......X | ||||
| e From 2013....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2014 distributable amount | ||||
|
i
Carryover from 2009 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2014 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2014 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2014, if any. Subtract lines 3g and 4a from line 2 (if amount greater than zero, see instructions) |
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|
6
Remaining underdistributions for 2014. Subtract lines 3h and 4b from line 1 (if amount greater than zero, see instructions) |
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|
7 Excess distributions carryover to 2015. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a From 2010.......X | ||||
| b From 2011.......X | ||||
| c From 2012.......X | ||||
| d From 2013....... | ||||
| e From 2014....... | ||||
| 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 EIGHTEEN 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 30,122 PROSPECTS AND EXISTING DONORS WERE SOLICITED FOR SUPPORT DURING 2014, RESULTING IN 10,535 GIFTS COMING FROM 9,256 DIFFERENT DONORS. OTHER PUBLIC SUPPORT FACTORS 1. PERCENTAGE OF FINANCIAL SUPPORT FACTOR. THE MUSEUM'S PUBLIC SUPPORT PERCENTAGE FOR 2014 IS 30.09%, 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 215 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 GENRES, 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 A 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 9,256 DIFFERENT DONORS DURING 2014. 3. REPRESENTATIVE GOVERNING BODY FACTOR. DURING 2014, 22 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. ONE TRUSTEE HAS BEEN INVOLVED DIRECTLY IN OPERATING 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 2014, THE PEABODY ESSEX MUSEUM REPORTED MORE THAN 267,000 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 TWELVE OPENED DURING 2014. 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. |
| Return Reference | Explanation |
|---|---|
| PART II, SECTION B, LINE 10, OTHER INCOME: | AMOUNTS REPORTED ON SCHEDULE A, PART II, LINE 10 ARE THE QUID PRO QUO PORTION OF FUNDRAISING REVENUE AS REPORTED ON FORM 990, PART VIII, LINE 8A. |
| Software ID: | |
| Software Version: |
Attach to Form 990 or 990-EZ.
Information about Schedule O (Form 990 or 990-EZ) and its instructions is at| Return Reference | Explanation |
|---|---|
| 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 MORE THAN 288,000 PEOPLE DURING 2014 - 267,000 ON-SITE VISITORS IN SALEM, THE HIGHEST ATTENDANCE IN THE MUSEUM'S HISTORY, AND APPROXIMATELY 21,000 PEOPLE WHO ATTENDED PEM-ORGANIZED EXHIBITIONS PRESENTED AT OTHER VENUES. APPROXIMATELY 15% 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 2014 EXHIBITION CALENDAR INCLUDED MANY STYLES AND SOURCES OF ART AND CULTURE. THE MUSEUM OPENED TWELVE NEW SPECIAL EXHIBITIONS IN 2014, PRESENTED TWO EXHIBITIONS IN OTHER VENUES, AND CONTINUED FIVE SHOWS THAT OPENED IN PRIOR YEARS, INCLUDING: -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. -TOSHIO SHIBATA, CONSTRUCTED LANDSCAPES (APRIL 20, 2013 THROUGH SUMMER 2014): THIS SHOW PRESENTED 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. -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 HIGHLIGHTED OUR EVOLVING RELATIONSHIP WITH AND PERCEPTION OF ANIMALS, BOTH IN THE WILD AND AS COMPANIONS. THE WORKS ALSO EXPRESSED DIVERSE INTERACTIONS BETWEEN HUMANS AND ANIMALS AND RAISED 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 PROT G , 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 CAF, 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. -FRESH TAKE, MAKING CONNECTIONS AT THE PEABODY ESSEX MUSEUM (JANUARY 24, 2014 THROUGH FEBRUARY 2, 2014): PEM WAS SELECTED TO PRESENT THIS LOAN EXHIBITION AT THE 60TH ANNUAL ANTIQUES SHOW IN NEW YORK CITY. THE EXHIBITION, DESIGNED TO RESEMBLE THE ORIGINAL CABINETS THAT HOLD THE MUSEUM'S NASCENT COLLECTION IN EAST INDIA MARINE HALL, FEATURED MORE THAN 50 WORKS CELEBRATING THE UNIVERSAL CREATIVE IMPULSE THAT DEFINES THE HUMAN EXPERIENCE. THE OBJECTS REPRESENTED DIVERSE CULTURES AND TIME PERIODS AND WERE GROUPED TO FORM VISUAL CONVERSATIONS ABOUT IDENTITY, PLACE, NAVIGATING THE WORLD, INSCRIBING MEANING, DESIGNING LIFE, SERVING CULTURE, EMBODYING SPIRIT AND CELEBRATING STYLE. -FREEPORT [NO. 7]: C LESTE BOURSIER-MOUGENOT, FROM HERE TO EAR (JANUARY 18, 2014 THROUGH APRIL 13, 2014): FRENCH ARTIST C LESTE BOURSIER-MOUGENOT (B. 1961) CREATES ARTWORKS THAT DRAW ON THE RHYTHMS OF DAILY LIFE TO PRODUCE SOUND IN UNEXPECTED WAYS. TRAINED AS A MUSICIAN AND COMPOSER, BOURSIER-MOUGENOT CREATED A SONIC INSTALLATION, FROM HERE TO EAR, A CAPTIVATING MUSICAL COLLABORATION BETWEEN ARTIST, LIVE ZEBRA FINCHES, AND VISITORS. WITHIN A WALK-IN AVIARY, THE DAILY ACTIVITIES OF 70 ZEBRA FINCHES WERE AMPLIFIED AND RESONATED THROUGHOUT THE SPACE AS THE BIRDS ATE, NESTED, AND PERCHED ON LES PAUL ELECTRIC GUITARS. DISPLAYED FOR THE FIRST TIME IN THE UNITED STATES IN OVER A DECADE, THE ARTIST'S LATEST ITERATION OF THE WORK INVITED VISITORS TO RECONSIDER THE WAYS THEY PERCEIVE, CREATE, AND INTERACT WITH MUSIC. -6:30 A.M., ROBERT WEINGARTEN (MARCH 20, 2014 THROUGH 2015): IN JANUARY 2003, AT 6:30 A.M., ROBERT WEINGARTEN LAUNCHED HIS PHOTOGRAPHIC ODYSSEY. OVER THE COURSE OF THE YEAR, HE MADE DAILY EXPOSURES AT PRECISELY 6:30 A.M., MAINTAINING AN IDENTICAL COMBINATION OF CAMERA, 350-MILLIMETER LENS, SLOW-SPEED FILM AND VIEWPOINT OVERLOOKING SANTA MONICA BAY. WEINGARTEN'S PHOTOGRAPHS ENGAGE A LONG TRADITION OF PHOTOGRAPHING IN SEQUENCE, CHRONICLING THE WAY A SCENE CHANGES FROM MOMENT TO MOMENT, AND DAY TO DAY. THE BOLD, IMMERSIVE COLORS ALSO CALL TO MIND WORKS OF AMERICAN EXPRESSIONIST ARTISTS, ESPECIALLY MARK ROTHKO, WHOSE COLOR FIELD PAINTINGS HAVE INFLUENCED GENERATIONS OF ARTISTS. WEINGARTEN REMINDS US THAT IT IS NOT ALWAYS NECESSARY TO TRAVEL TO MAKE GREAT PHOTOGRAPHS, AND THAT SOMETIMES THE BEST ART IS MADE CLOSE TO HOME. -CALIFORNIA DESIGN, 1930-1965: "LIVING IN A MODERN WAY" (MARCH 29, 2014 THROUGH JULY 6, 2014): THIS EXHIBITION, ORGANIZED BY THE LOS ANGELES COUNTY MUSEUM OF ART, WAS THE FIRST MAJOR STUDY OF CALIFORNIA MID-CENTURY MODERN DESIGN. WITH OVER 200 OBJECTS, THE EXHIBITION EXAMINED THE STATE'S KEY ROLE IN SHAPING THE MATERIAL CULTURE OF THE UNITED STATES. THE SHOW WAS ORGANIZED ACCORDING TO FOUR THEMES. "SHAPING CALIFORNIA MODERN" EXAMINED THE WAY THAT ARCHITECTS, GRAPHIC ARTISTS, AND CRAFTSMEN (AND THEIR ORIGINS) INFLUENCED CALIFORNIA DESIGN AND HOW THE NEW ENVIRONMENT SHAPED THEM AND TRANSFORMED THEIR WORK. "MAKING CALIFORNIA MODERN" HIGHLIGHTED THE CONTRIBUTIONS OF LESSER KNOWN BUT CRITICALLY IMPORTANT DESIGNERS WHO WORKED IN NEW MATERIALS. "LIVING CALIFORNIA MODERN" FOCUSED ON THE FURNISHING OF THE CALIFORNIA MODERN INTERIOR, FAMOUSLY CHARACTERIZED BY OPEN PLANS AND INDOOR/OUTDOOR LIVING. "SELLING CALIFORNIA MODERN" SHOWCASED WHAT BECAME A "BRAND" SIGNIFYING BOTH INNOVATION AND A CAREFREE SPIRIT. -RAVEN'S MANY GIFTS: NATIVE ART OF THE NORTHWEST COAST (APRIL 5, 2014 THROUGH 2015): THIS EXHIBITION EXPLORES THE DYNAMIC RELATIONSHIPS AMONG LIVING HUMANS, ANIMALS, ANCESTORS AND SUPERNATURAL BEINGS THROUGH WORKS OF NATIVE ART FROM THE PACIFIC NORTHWEST COAST CREATED DURING THE PAST 200 YEARS. CEREMONIAL REGALIA, TRADE GOODS AND ART SOLD IN GALLERIES TODAY REVEAL CREATIVE EXPRESSIONS OF FAMILY, HERITAGE, POLITICS AND COMMERCE IN A CHANGING WORLD. RAVEN'S MANY GIFTS PRESENTS ARTWORKS THAT CONVEY BROADLY SHARED AESTHETIC AND CULTURAL TRADITIONS WHILE EMPHASIZING THE DISTINCTIVENESS OF VARIOUS INDIGENOUS COMMUNITIES AND THEIR ARTISTS. THE THEMES - LIVING STORIES, FAMILY CONNECTIONS AND MARKET INNOVATIONS - FEATURE OBJECTS FROM PEM'S RENOWNED COLLECTION OF NATIVE AMERICAN ART FROM THE NORTHWEST COAST. DOUBLE HAPPINESS: CELEBRATION IN CHINESE ART (APRIL 5, 2014 THROUGH 2015): WITH MORE THAN 30 HIGHLIGHTS FROM THE MUSEUM'S WIDE-RANGING CHINESE COLLECTION SPANNING 3,000 YEARS, THIS EXHIBITION CELEBRATES CHINA'S ARTISTIC ACHIEVEMENTS EXPRESSED IN SEASONAL FESTIVALS, RELIGIOUS CEREMONIES AND CELEBRATIONS. DISCOVER PLANTS AND ANIMALS, MYTHS AND |
| FORM 990, PART III, LINE 4A | -FIGURING THE ABSTRACT IN INDIAN ART (APRIL 5, 2014 THROUGH 2015): THIS INSTALLATION OF 20TH-CENTURY PAINTINGS AND 15TH- TO 19TH-CENTURY SCULPTURES EXPLORES THE CONCEPT OF ABSTRACTION AS A VEHICLE FOR EMBODYING FORM AND MEANING. MOVING BEYOND CULTURE AND ACROSS TIME, THESE WORKS CONSIDER STYLE, STRUCTURE AND COLOR, AS WELL AS THE FIGURATIVE, METAPHORICAL AND IDEALIZED AS KEY FACETS OF THE ABSTRACT. THE WORKS ON VIEW ARE DRAWN FROM PEM'S CHESTER AND DAVIDA HERWITZ COLLECTION, THE MOST IMPORTANT HOLDING OF 20TH-CENTURY CONTEMPORARY ART FROM INDIA IN THIS COUNTRY, FROM PEM'S DR. LEO FIGIEL COLLECTION OF BRONZE SCULPTURE, AND FROM ONE OF INDIA'S LEADING PRIVATE COLLECTIONS. -TURNER AND THE SEA (MAY 31, 2014 THROUGH SEPTEMBER 1, 2014): J.M.W. TURNER PROVIDED THE INSPIRATION AND PRIMARY ARTISTIC FOCUS FOR THIS MAJOR EXHIBITION OF NINETEENTH-CENTURY MARINE PAINTING, WHICH WAS ORGANIZED BY THE NATIONAL MARITIME MUSEUM, GREENWHICH WITH TATE BRITAIN. THE SEA PREOCCUPIED TURNER THROUGHOUT HIS LONG CAREER, WITH MARINE SUBJECTS ACCOUNTING FOR MORE THAN HALF OF HIS LIFE'S WORK. "TURNER AND THE ART OF THE SEA" WAS THE FIRST MAJOR EXHIBITION TO FOREGROUND THE ARTIST'S LIFELONG OBSESSION WITH THE SEA: FROM HIS ROYAL ACADEMY DEBUT IN 1796 TO HIS ICONIC MARITIME SUBJECTS OF THE 1830S AND 1840S. ORGANIZED THEMATICALLY AND CHRONOLOGICALLY, THE SHOW EXAMINED HOW TURNER AND A NEW GENERATION OF MARINE ARTISTS ESTABLISHED THEIR CREDENTIALS ALONGSIDE AND AGAINST A RICH TRADITION OF PAINTING THE SEA - EXEMPLIFIED DURING THE PREVIOUS TWO CENTURIES. SUBSEQUENT THEMES INTERROGATED TURNER'S PLACE WITHIN THE HIGHLY COMPETITIVE FIELD OF MARINE PAINTING, BEFORE EXPLORING THE ARTIST'S INTERNATIONAL AND OFTEN SURPRISING LEGACY FOR THE ART OF THE SEA. -CALDER AND ABSTRACTION: FROM AVANT-GARDE TO ICONIC ABSTRACTION (SEPTEMBER 6, 2014 THROUGH JANUARY 4, 2015): WIDELY CONSIDERED ONE OF THE MOST IMPORTANT ARTISTS OF THE TWENTIETH CENTURY, ALEXANDER CALDER REVOLUTIONIZED MODERN SCULPTURE. HIS MOST ICONIC AND INFLUENTIAL WORKS, COINED BY MARCEL DUCHAMP AS "MOBILES," ARE KINETIC SCULPTURES IN WHICH BALANCED COMPONENTS MOVE, SOME DRIVEN BY MOTOR AND OTHERS IMPELLED BY AIR CURRENTS. EITHER SUSPENDED OR FREESTANDING, THESE OFTEN MASSIVE CONSTRUCTIONS CONSIST OF FLAT PIECES OF PAINTED METAL CONNECTED BY WIRE VEINS AND STEMS. THE ELEGANT MOVEMENTS OF FLOATING SHAPES CREATE COMPELLING RELATIONSHIPS THAT REVEAL THE HARMONIOUS BUT UNPREDICTABLE ACTIVITY OF NATURE. THIS PRESENTATION EXPLORED CALDER'S COMMITMENT TO ABSTRACTION FROM THE 1930S TO THE LATE 1960S. BORROWING FROM US PUBLIC AND PRIVATE COLLECTIONS, THIS EXHIBITION FEATURED APPROXIMATELY FIFTY SCULPTURES. PEM WAS THE ONLY EAST COAST VENUE FOR THIS EXHIBITION ORGANIZED BY THE LOS ANGELES COUNTY MUSEUM OF ART. -TREES AS ART (SEPTEMBER 27, 2014 THROUGH SUMMER, 2015): TREES AS ART EXPLORES UNEXPECTED AND EXCITING WAYS IN WHICH CONTEMPORARY ARTISTS ARE CREATING WORKS FROM TREES, BOTH AS A CREATIVE MEDIUM AND IN AN EFFORT TO CONSIDER OUR RELATIONSHIP WITH THIS VITAL LIFE FORCE. THE VARIED WORKS IN THE EXHIBITION ARE INSPIRED BY TREES AND/OR MADE FROM THEIR PARTS: BARK, WOOD, ROOTS AND/OR LEAVES. THROUGH A MULTITUDE OF DIFFERENT APPROACHES TO THE SUBJECT, IN MEDIUMS AND THEMES, VISITORS EXPERIENCE TREES IN A NEW LIGHT. RELATED INTERACTIVES OFFER VISITORS SELF-DIRECTED OPPORTUNITIES TO ENGAGE WITH THE ART AND SCIENCE OF TREES. -FREEPORT [NO. 8]: CANDICE BREITZ (OCTOBER 11, 2014 THROUGH MARCH, 2015): SINCE 1999, CANDICE BREITZ HAS BEEN FEATURED IN MAJOR EXHIBITIONS AND BIENNIALS AND IS REPRESENTED IN THE COLLECTIONS OF MANY OF THE WORLD'S LEADING MUSEUMS. PEM, ALONG WITH THE AUSTRALIAN CENTER FOR THE MOVING IMAGE, COMMISSIONED THE WOODS, A TRILOGY OF MULTI-SCREEN INSTALLATIONS, WHICH EXPLORES THE REPRESENTATION OF CHILDREN AND THE CULTURE OF CHILD ACTORS IN THE WORLD'S THREE LARGEST FILM INDUSTRIES: HOLLYWOOD (USA), BOLLYWOOD (INDIA) AND NOLLYWOOD (NIGERIA). -SOMEONE ELSE'S COUNTRY: PHOTOGRAPHY BY JO RACTLIFFE (OCTOBER 11, 2014 THROUGH MARCH 15, 2015): PRE-EMINENT SOUTH AFRICAN PHOTOGRAPHER JO RACTLIFFE (B. 1961) IS DRAWN TO BORDERLANDS, FRONTIERS AND COMMUNITIES LIVING ON THE FRINGE. SELECTED FROM RACTLIFFE'S "BORDER TRILOGY," THIS EXHIBITION FEATURED NEARLY 30 BLACK-AND-WHITE PHOTOGRAPHS TAKEN IN THE MOST REMOTE REACHES OF ANGOLA AND SOUTH AFRICA. THE ARTIST UNDERWENT EXTENSIVE SURVIVAL SKILLS TRAINING, INCLUDING LAND MINE DETECTION CLASSES, BEFORE TRAVELING TO SETTLEMENTS SO FAR OFF GRID AS TO NOT BE FOUND ON A MAP. RACTLIFFE'S RESULTING IMAGES - OF BARREN LANDSCAPES, ABANDONED MILITARY POSTS AND ASBESTOS FACTORIES - SIMULTANEOUSLY DOCUMENT AND FIND STARK BEAUTY IN THESE WAR TORN, DISPOSSESSED AND FORGOTTEN REGIONS. -IN PLAIN SIGHT: REVEALING THE FURNITURE OF NATHANIEL GOULD (NOVEMBER 15, 2014 THROUGH MARCH 1, 2015): THIS WAS THE FIRST COMPREHENSIVE PRESENTATION OF NATHANIEL GOULD'S WORK AND DREW UPON THE WEALTH OF INFORMATION REVEALED IN GOULD'S LEDGERS RECENTLY DISCOVERED IN THE MASSACHUSETTS HISTORICAL SOCIETY. GOULD (1734-1781), NOW RECOGNIZED AS ONE OF THE PREMIER 18TH-CENTURY AMERICAN CABINETMAKERS, IS RESPONSIBLE FOR SOME OF THE MOST CELEBRATED PIECES OF CHIPPENDALE STYLE FURNITURE, INCLUDING OUTSTANDING EXAMPLES OF THE BOMB AND BLOCK-FRONT FORMS. HIS MASTERPIECE, A DESK AND BOOKCASE IN THE COLLECTION OF THE METROPOLITAN MUSEUM, HAS LONG BEEN ADMIRED AS ONE OF THE SUPREME ACHIEVEMENTS IN AMERICAN FURNITURE DESIGN. THE MUSEUM PUBLISHED THE FIRST MAJOR BOOK ON GOULD IN CONJUNCTION WITH THE EXHIBITION. -THEO JANSEN, STRANDBEEST AT ART BASEL MIAMI BEACH (DECEMBER 2, 2014 THROUGH DECEMBER 7, 2014): THEO JANSEN HAS APPLIED HIS BACKGROUND IN ART AND ENGINEERING TO THE CREATION OF EXTRAORDINARY SELF-PROPELLED CREATURES CALLED STRANDBEESTS (BEACH ANIMALS). MADE FROM SIMPLE MATERIALS SUCH AS PVC TUBING AND PLASTIC BOTTLES, THESE STRANDBEESTS HAVE SELF-CONTAINED SYSTEMS FOR WALKING AND MOVING USING WIND "STOMACHS" OF PLASTIC BOTTLES. IN SEPTEMBER 2015, PEM WILL PRESENT IN SALEM THE FIRST MAJOR AMERICAN EXHIBITION OF THE STRANDBEESTS; HOWEVER, A PREVIEW OF THIS SHOW WAS FEATURED AT ART BASEL MIAMI BEACH, THE COUNTRY'S LARGEST AND MOST PRESTIGIOUS ART FAIR. |
| 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. -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. |
| FORM 990, PART III, LINE 4B | -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. |
| 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 2014, 16,829 STUDENTS, TEACHERS AND CHAPERONES FROM 226 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 3,498 TOTAL VISITS DURING 2014. AT THE END OF THE ACADEMIC YEAR, OVER 239 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 2014, 454 EDUCATORS PARTICIPATED IN TEACHER PROGRAMS. DURING THE 2013-2014 SCHOOL YEAR, THE MUSEUM CONTINUED TO PARTNER WITH SCHOOL DISTRICTS TO OFFER GRADE-LEVEL FOCUSED DISTRICT-WIDE TRAINING IN ARTS INTEGRATION STRATEGIES. IN TOTAL, 11 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 2014 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 152 STUDENTS AND FACULTY TO THE MUSEUM FOR A SERIES OF INTENSIVE LEARNING VISITS DURING A FOUR-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 2014, THE MUSEUM OFFERED 233 FAMILY PROGRAMS FOR A COMBINED TOTAL ATTENDANCE OF 21,930 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 8,769 IN 2014, 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 9,334. 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. THIS WAS THE FIRST FULL YEAR OF OPERATION FOR THE NEWLY REDESIGNED ANC, WHICH REOPENED TO THE PUBLIC IN OCTOBER 2013 FOLLOWING AN EXTENSIVE YEARLONG RENOVATION. 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 MORE THAN 106,000 PEOPLE PARTICIPATED IN ANC EXHIBITION PROGRAMMING IN 2014. 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 14,704 VISITORS PARTICIPATED IN TOURS OF COLLECTION HIGHLIGHTS, SPECIAL EXHIBITIONS, OR HISTORIC HOUSES IN 2014. 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. 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 2014 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 O |
| FORM 990, PART III, LINE 4C | -IN CONJUNCTION WITH THE SENSATIONAL INDIA FESTIVAL, RAMA VAIDYANATHAN, ONE OF THE LEADING EXPONENTS OF BHARATANATYAM, A POPULAR CLASSICAL DANCE, PRESENTED A SPECIALLY COMMISSIONED REPERTORY TO HIGHLIGHT THE THEME OF DESIGN IN INDIAN CLASSICAL DANCE. -IN A PANEL DISCUSSION ENTITLED ON REDEFINING SCULPTURE, PEM'S JAMES B. AND MARY LOU HAWKES CHIEF CURATOR, LYNDA ROSCOE HARTIGAN, HOSTED A PANEL DISCUSSION WITH STEPHANIE BARRON, CURATOR OF THE CALDER AND ABSTRACTION EXHIBITION, AND JED PERL, ART CRITIC FOR THE NEW REPUBLIC AND AUTHOR OF A FORTHCOMING BIOGRAPHY ABOUT ALEXANDER CALDER. THE CONVERSATION TOUCHED ON THE DEFINING ASPECTS OF CALDER'S WORK, AS WELL AS HIS IMPACT ON MODERN ART. -IN CONJUNCTION WITH THE EXHIBITION IN PLAIN SIGHT: REVEALING THE FURNITURE OF NATHANIEL GOULD, PETER KORN, FOUNDER OF THE CENTER FOR FURNITURE CRAFTMANSHIP, DISCUSSED THE REWARDS OF HIS WORK, THE REASONS HUMANS MAKE THINGS AND WHY IT MATTERS. 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 2014, 45 ADULT ART WORKSHOPS AND ARTIST DEMONSTRATIONS WERE HELD, REACHING AN AUDIENCE OF 9,799 ADULTS. -PROFESSIONAL ICE CARVER, DON CHAPELLE, DEMONSTRATED THE ART OF SCULPTING USING CHAINSAWS AND CHISELS. PARTICIPANTS WERE INVITED TO CREATE THEIR OWN ICE PIECES AND TO ADD TO A COLLABORATIVE SCULPTURE. -BONSAI EXPERTS FROM NEW ENGLAND BONSAI GARDENS DEMONSTRATED TOOLS AND TECHNIQUES USED TO CREATE LIVING WORKS OF ART. -MASTER FURNITURE MAKER, PHILIP C. LOWE, DEMONSTRATED THE ART OF CARVING FURNITURE USING THE SAME METHODS AND TOOLS AVAILABLE IN THE 18TH CENTURY. IN TOTAL, 1,666 ADULT PROGRAMS AND TOURS WERE OFFERED IN 2014 FOR A COMBINED ATTENDANCE OF 29,514. |
| 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 66,996. |
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