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 (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) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any unusual grants.) .... | 43,070,420 | 76,862,150 | 35,881,722 | 28,104,417 | 140,249,860 | 324,168,569 |
| 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 | 43,070,420 | 76,862,150 | 35,881,722 | 28,104,417 | 140,249,860 | 324,168,569 |
| 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).. | 236,674,811 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 87,493,758 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 43,070,420 | 76,862,150 | 35,881,722 | 28,104,417 | 140,249,860 | 324,168,569 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 3,620,253 | 3,734,027 | 2,983,129 | 4,446,024 | 3,148,257 | 17,931,690 |
| 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.).. | 81,350 | 67,200 | 32,680 | 87,620 | 89,190 | 358,040 |
| 11 | Total support. Add lines 7 through 10. | 342,472,159 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (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) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (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 | ||||
| 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 2015 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-2015 |
(iii) Distributable Amount for 2015 |
|
|---|---|---|---|---|
|
1
Distributable amount for 2015 from Section C, line 6 |
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|
2
Underdistributions, if any, for years prior to 2015 (reasonable cause required--see instructions) |
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| 3 Excess distributions carryover, if any, to 2015: | ||||
| a | ||||
| b | ||||
| c | ||||
| d From 2013....... | ||||
| e From 2014....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2015 distributable amount | ||||
|
i
Carryover from 2010 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2015 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2015 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2015, 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 2015. Subtract lines 3h and 4b from line 1 (if amount greater than zero, see instructions) |
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|
7 Excess distributions carryover to 2016. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a | ||||
| b | ||||
| c Excess from 2013....... | ||||
| d From 2014....... | ||||
| e From 2015....... | ||||
| 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 25,000 PROSPECTS AND EXISTING DONORS WERE SOLICITED FOR SUPPORT DURING 2015, RESULTING IN 10,299 GIFTS COMING FROM 8,677 DIFFERENT DONORS. OTHER PUBLIC SUPPORT FACTORS 1. PERCENTAGE OF FINANCIAL SUPPORT FACTOR. THE MUSEUM'S PUBLIC SUPPORT PERCENTAGE FOR 2015 IS 25.55%, 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 216 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, AND AMERICAN ART WAS ADDED AS A NEW CURATORIAL DEPARTMENT IN 2013. 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 8,677 DIFFERENT DONORS DURING 2015. 3. REPRESENTATIVE GOVERNING BODY FACTOR. DURING 2015, 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. 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 2015, THE PEABODY ESSEX MUSEUM REPORTED MORE THAN 224,000 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 2015. 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 723,000 PEOPLE DURING 2015- 223,522 ON-SITE VISITORS IN SALEM, AND APPROXIMATELY 500,000 PEOPLE WHO ATTENDED PEM-ORGANIZED EXHIBITIONS PRESENTED AT OTHER VENUES. APPROXIMATELY 23% 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 2015 EXHIBITION CALENDAR INCLUDED MANY STYLES AND SOURCES OF ART AND CULTURE. IN 2015, THE MUSEUM OPENED EIGHT NEW SPECIAL EXHIBITIONS, PRESENTED TWO EXHIBITIONS IN OTHER VENUES, AND CONTINUED TEN SHOWS THAT OPENED IN PRIOR YEARS, INCLUDING: -AUDACIOUS: THE FINE ART OF WOOD FROM THE MONTALTO BOHLEN COLLECTION (FEBRUARY 21, 2015 THROUGH JUNE 21, 2015): WOOD HAS LONG ENJOYED PROMINENCE AS A MEDIUM FOR FUNCTIONAL AND ARTISTIC EXPRESSION IN MANY CULTURES. THE COLLECTORS HAVE BEEN INSTRUMENTAL IN FOCUSING ATTENTION ON CONTEMPORARY WOOD OBJECTS AS SCULPTURE AND ART, AND HAVE ASSEMBLED ONE OF THE WORLD'S PREMIER PRIVATE COLLECTIONS OF CONTEMPORARY WOOD ART. -STORYTELLER: THE PHOTOGRAPHS OF DUANE MICHALS (MARCH 14, 2015 THROUGH JUNE 21, 2015): A KEY FIGURE IN THE HISTORY OF 20TH-CENTURY PHOTOGRAPHY, DUANE MICHALS HAS CHALLENGED DOMINANT PHOTOGRAPHIC STYLES. MICHALS STAGES FICTIONAL NARRATIVES THAT ADDRESS IDEAS AND EXPERIENCES, DREAMS, DESIRE, AGING, AND DEATH. -PATRICK DOUGHERTY: STICKWORKS (MAY 2015 THROUGH MAY 2017): PATRICK DOUGHERTY BENDS, WEAVES AND FLEXES SAPLINGS INTO ARCHITECTURAL SCULPTURES THAT DYNAMICALLY RELATE TO THE LANDSCAPE AND BUILT AN ENVIRONMENT AROUND THEM. CONSTRUCTED FROM SAPLINGS COLLECTED BY AREA VOLUNTEERS, THE NATURAL STRUCTURE WILL PROVIDE DRAMATIC COUNTERPOINT TO THE HIGHLY FINISHED WOOD-FRAME CROWNINSHIELD-BENTLEY HOUSE THAT DATES TO THE EARLY 18TH CENTURY. THIS IS THE FIRST TIME PEM HAS COMMISSIONED AN OUTDOOR SCULPTURAL INSTALLATION. -AMERICAN EPICS: THOMAS HART BENTON AND HOLLYWOOD (JUNE 6, 2015 - SEPTEMBER 7, 2015): THE FIRST MAJOR TRAVELING BENTON EXHIBITION IN OVER 25 YEARS, THOMAS HART BENTON AND HOLLYWOOD TOOK AN UNPRECEDENTED THEMATIC APPROACH TO HIS ART AS VISUAL STORYTELLING. BENTON ASPIRED TO AN ART WITH SUCH MASS APPEAL: HE DEVELOPED A SINGULAR, CINEMATIC STYLE OF NARRATIVE PAINTING AND CAST ORDINARY AMERICANS IN PAINTINGS INTERPRETING AMERICAN SOCIAL AND HISTORICAL THEMES ACCOMPANIED BY A MAJOR PUBLICATION. -STRANDBEEST: THE DREAM MACHINES OF THEO JANSEN (SEPTEMBER 19, 2015 - JANUARY 3, 2016): IN THE SPIRIT OF LEONARDO DA VINCI, 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, THE STRANDBEESTS HAVE SELF-CONTAINED SYSTEMS FOR WALKING AND MOVING USING WIND "STOMACHS" OF PLASTIC BOTTLES. -SIZING IT UP: SCALE IN NATURE AND ART (OCTOBER 10, 2015 - SEPTEMBER 23, 2016): SIZING IT UP: SCALE IN NATURE AND ART WILL EXPLORE THE CONCEPT OF VISUAL SCALE - RANGING FROM THE SUBATOMIC TO THE GALACTIC. FEATURED ARTWORKS WILL HIGHLIGHT OR CHALLENGE OUR PERCEPTION OF SCALE, INCLUDING REFERENCES TO PERSPECTIVE AND RELATIVE SIZE. -NATIVE FASHION NOW (NOVEMBER 21, 2015 - MARCH 6, 2016): DESIGNERS FROM ALL PARTS OF NATIVE AMERICA ARE GENERATING COMPELLING FASHION THAT CELEBRATES NATIVE DESIGN, IDENTITY, AND POLITICS, AND IS RECEIVING INCREASING ATTENTION IN THE GLOBAL WORLD OF FASHION. THIS EXHIBITION EXPLORES NEW DIMENSIONS IN NATIVE AMERICAN FASHION. -ROPES MANSION REOPENING (MAY 23, 2015 - ONGOING): THE ROPES MANSION LOCATED AT 318 ESSEX STREET IN THE MCINTIRE HISTORIC DISTRICT IN SALEM, WAS BUILT ABOUT 1727. IT WAS ACQUIRED BY JUDGE NATHANIEL ROPES II IN 1768 AND HIS DESCENDANTS OCCUPIED THE HOUSE UNTIL 1907. PEM COMPLETED A MAJOR RESTORATION OF THE BUILDING IN 2015 TO TELL THE STORY OF THE ROPES FAMILY AND SHOWCASE THE EXTRAORDINARY COLLECTION OF FURNISHINGS ACQUIRED BY FOUR SUCCESSIVE GENERATIONS. -RAVEN'S MANY GIFTS: NATIVE ART OF THE NORTHWEST COAST (APRIL 5, 2014 THROUGH 2015): THIS EXHIBITION EXPLORED 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. IT FEATURED 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. -FIGURING THE ABSTRACT IN INDIAN ART (APRIL 5, 2014 THROUGH 2015): THIS INSTALLATION OF 20TH-CENTURY PAINTINGS AND 15TH- TO 19TH-CENTURY SCULPTURES EXPLORED THE CONCEPT OF ABSTRACTION AS A VEHICLE FOR EMBODYING FORM AND MEANING. MOVING BEYOND CULTURE AND ACROSS TIME, THESE WORKS CONSIDERED STYLE, STRUCTURE AND COLOR, AS WELL AS THE FIGURATIVE, METAPHORICAL AND IDEALIZED AS KEY FACETS OF THE ABSTRACT. -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 INFLUENTIAL "MOBILES" ARE KINETIC SCULPTURES IN WHICH BALANCED COMPONENTS MOVE, SOME DRIVEN BY MOTOR AND OTHERS IMPELLED BY AIR CURRENTS. THIS PRESENTATION EXPLORED CALDER'S COMMITMENT TO ABSTRACTION FROM THE 1930S TO THE LATE 1960S. 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): IN THE MUSEUM'S ART AND NATURE CENTER, TREES AS ART EXPLORES HOW CONTEMPORARY ARTISTS ARE CREATING WORKS FROM TREES, BOTH AS A CREATIVE MEDIUM AND TO CONSIDER OUR RELATIONSHIP WITH THIS VITAL LIFE FORCE. 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): 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. -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. THE MUSEUM PUBLISHED THE FIRST MAJOR BOOK ON GOULD IN CONJUNCTION WITH THE EXHIBITION. |
| FORM 990, PART III, LINE 4B, DESCRIPTION OF PROGRAM SERVICE: | CURATORIAL AND COLLECTIONS: NATIONALLY AND INTERNATIONALLY RECOGNIZED THOUGHT LEADERS IN THEIR RESPECTIVE FIELDS, 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, 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'S COLLECTION ENCOMPASSES APPROXIMATELY 1.8 MILLION WORKS REPRESENTING ART AND CULTURE GLOBALLY. SEVERAL OF THE PRINCIPAL COLLECTING AREAS BEGAN WITH THE MUSEUM'S FOUNDING IN 1799 AND ARE THE FIRST OF SUCH MATERIAL AMONG AMERICAN MUSEUMS. OTHER AREAS OF THE COLLECTION ARE THE BEST OR LARGEST AMONG AMERICAN OR INTERNATIONAL MUSEUM COLLECTIONS. THE MUSEUM CONTINUES TO COLLECT SELECTIVELY IN ALMOST ALL AREAS OF THE COLLECTION THROUGH GIFT, PURCHASE, AND BEQUEST. -THE AFRICAN COLLECTION INCLUDES EARLY AND SIGNIFICANT WORKS FROM COASTAL EAST AND WEST AFRICA AND AN IMPORTANT BODY OF ZULU OBJECTS. THE MUSEUM ALSO HOUSES ONE OF THE WORLD'S FINEST COLLECTIONS OF ETHIOPIAN CHRISTIAN ART, ESPECIALLY 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. 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. IT ENCOMPASSES PAINTINGS, FURNITURE, SILVER, PORCELAINS, WORKS ON PAPER, AND A WIDE RANGE OF OBJECTS FROM 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 INDIAN COLLECTION FEATURES MODERN AND CONTEMPORARY ART THAT EXPRESSES THE DYNAMIC PUBLIC AND PRIVATE CHARACTER OF POST-INDEPENDENCE INDIA. OLDER EXAMPLES, ESPECIALLY FROM THE NINETEENTH CENTURY, INCLUDE IMPORTANT SCULPTURE, TEXTILES, CERAMICS, AND METALWORK. -CONTRIBUTIONS FROM MANY OF AMERICA'S MOST IMPORTANT NINETEENTH- AND TWENTIETH- CENTURY COLLECTORS OF JAPANESE ART HAVE CREATED A MAJOR COLLECTION OF THE ART AND CULTURE OF JAPAN. MANY WORKS ARE 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. ITS BROAD SPECTRUM OF ART OF THE LATE JOSEON DYNASTY IS CONSIDERED THE BEST IN THE UNITED STATES AND IS THE ONLY FOREIGN COLLECTION TO BE EXHIBITED AT THE NATIONAL MUSEUM IN SEOUL. -THE MARITIME COLLECTION IS THE FINEST IN AMERICA AND IS INTERNATIONALLY RENOWNED FOR ITS APPROXIMATELY 30,000 PAINTINGS, DRAWINGS, AND PRINTS, AS WELL AS ITS 20,000 MARITIME OBJECTS 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. -THE OCEANIC COLLECTION IS INTERNATIONALLY RECOGNIZED FOR THE EARLY ORIGINS AND PROVENANCE OF ITS OBJECTS AS WELL AS ITS SIZE AND BREADTH. IT INCLUDES MORE THAN 20,000 OBJECTS FROM MORE THAN THIRTY-SIX ISLAND GROUPS IN POLYNESIA, MELANESIA, AND MICRONESIA. |
| FORM 990, PART III, LINE 4B | -THE PHOTOGRAPHY COLLECTION COMPRISES THOUSANDS OF 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. -THE ARCHITECTURE COLLECTION INCLUDES TWENTY-FOUR 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 PHILLIPS LIBRARY IS ONE OF NEW ENGLAND'S MOST IMPORTANT AND HISTORIC RESEARCH LIBRARIES. IT IS A MAJOR RESOURCE FOR PUBLICATIONS AND ARCHIVAL MATERIALS RELATED TO ART AND CULTURE, ESPECIALLY FOR MARITIME AND NEW ENGLAND TOPICS, AND DOCUMENTS RELATING TO THE MUSEUM'S DIVERSE COLLECTIONS. |
| 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 2015, 11,441 STUDENTS, TEACHERS AND CHAPERONES FROM 208 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. IN 2015, 2,545 STUDENTS FROM 14 SCHOOLS PARTICIPATED IN THE CREATIVE COLLABORATIONS PROGRAM. AT THE END OF THE ACADEMIC YEAR, OVER 274 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 2015, 358 EDUCATORS PARTICIPATED IN TEACHER PROGRAMS. DURING THE 2014-2015 SCHOOL YEAR, THE MUSEUM CONTINUED TO PARTNER WITH SCHOOL DISTRICTS TO OFFER GRADE-LEVEL FOCUSED DISTRICT-WIDE TRAINING IN ARTS INTEGRATION STRATEGIES. IN TOTAL, 14 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 2015, 28 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 523 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 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 2015, THE MUSEUM OFFERED 213 FAMILY PROGRAMS FOR A COMBINED TOTAL ATTENDANCE OF 15,564 FAMILY VISITORS. ONE MAJOR FAMILY PROGRAM HIGHLIGHT ARE PEM'S FESTIVALS WHICH OFFER DYNAMIC, INTERGENERATIONAL PROGRAMMING FOCUSED ON A PARTICULAR CULTURE OR THEME. TAKING PLACE THREE TIMES IN 2015 AND WITH A TOTAL ANNUAL ATTENDANCE OF 3,994, FESTIVALS INCORPORATE PARTICIPATORY ART-MAKING, DEMONSTRATIONS, PERFORMANCES, GALLERY EXPERIENCES AND MUCH MORE, PROVIDING FAMILIES OPPORTUNITIES TO INTERACT WITH AND EXPLORE ART, CULTURE, AND THE WORLD AROUND THEM IN NEW WAYS. DROP-IN ART ACTIVITIES, PROVIDING HANDS-ON ART PROJECTS DESIGNED TO ENGAGE ALL AGES, ARE ANOTHER POPULAR EXAMPLE OF FAMILY PROGRAMMING AND HAD A COMBINED ANNUAL ATTENDANCE OF 3,233. THROUGH PEM'S GALLERY HANGOUTS AND STUDIO DISCOVERIES PROGRAMS, FAMILIES ARE INVITED TO CONNECT WITH ART AND IDEAS AND ENCOURAGED WORK TOGETHER ON ACTIVITIES RELATED TO THE PERMANENT COLLECTIONS AND SPECIAL EXHIBITIONS AT THE MUSEUM. WHEN THESE PROGRAMS ARE HELD IN CONJUNCTION WITH 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 DYNAMIC, FUN AND INVITING SPACE OFFERS GUESTS EVEN MORE OPPORTUNITIES TO EXPLORE HOW HUMANS ARE INTRICATELY CONNECTED TO THE ENVIRONMENT. ALL TOGETHER MORE THAN 118,416 PEOPLE PARTICIPATED IN ANC EXHIBITION PROGRAMMING IN 2015. ADULTS ARE SERVED BY THE MUSEUM IN A VARIETY OF WAYS TARGETED TOWARD THEIR INTERESTS, LIFE STAGES, GROUP PARTICIPATION, AND PREFERENCES. GUIDE-LED PUBLIC AND GROUP TOUR EXPERIENCES SUPPORT THE MUSEUM'S MISSION BY LEADING PARTICIPANTS IN CONVERSATIONAL, INTERACTIVE EXPLORATIONS OF PEM'S EXHIBITIONS, COLLECTION, AND CREATIVE SPACES. GUIDES HELP AUDIENCES DELVE DEEPER INTO SPECIAL EXHIBITIONS, HISTORIC HOUSES AND GARDENS, COLLECTION HIGHLIGHTS, AND SPECIAL TOPICS, ENRICHING VISITORS' UNDERSTANDINGS OF MUSEUM OBJECTS AND THEIR LINKS TO THE WIDER WORLD. A TOTAL OF 18,923 VISITORS PARTICIPATED IN GUIDE-LED TOURS IN 2015. 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 PUBLIC AUDIENCES THROUGHOUT THE YEAR IN ORDER TO ENGAGE PARTICIPANTS IN VISUAL AND INTELLECTUAL INQUIRY THAT SPARKS CURIOSITY, CREATIVITY, AND CROSS-CULTURAL UNDERSTANDING, CONTRIBUTING TO LIFE-LONG LEARNING. PROGRAMS RANGE FROM ARTIST DEMONSTRATIONS TO LECTURES AND SYMPOSIA, CONCERTS, FILM FESTIVALS, AND STUDIO WORKSHOPS RELATED TO THE ART AND CULTURES REPRESENTED IN THE MUSEUM'S COLLECTIONS OR EXHIBITIONS. PROGRAMS FOR OPENING DAYS OF SIGNIFICANT EXHIBITIONS PROVIDE OPPORTUNITY FOR DEEPER DISCUSSION, ARTISTIC EXPLORATION, AND CELEBRATION OF THE GROUNDBREAKING STATEMENTS, BOLD IDEAS AND THOUGHT-PROVOKING INSTALLATIONS. |
| FORM 990, PART III, LINE 4C | A CENTERPIECE OF PUBLIC PROGRAMS, PEM/PM IS A MONTHLY SERIES OF CREATIVE, LIVELY EVENINGS IN THE MUSEUM WITH A PARTY ATMOSPHERE FEATURING A DISTINCTIVE BLEND OF PERFORMANCES, PARTICIPATORY EXPERIENCES, AND SOCIAL OPPORTUNITIES. IN 2015, PEM/PM DREW IN AN AUDIENCE OF 6,106 PEOPLE. ARTIST-LED WORKSHOPS OFFER ADULTS THE CHANCE TO DEVELOP A CLOSER UNDERSTANDING OF ARTISTIC THINKING, PROCESS, MATERIALS AND METHODS. PARTICIPANTS LEARN FROM ACTIVE CONTEMPORARY TEACHING ARTISTS WHOSE INNOVATIVE PROCESSES AND USE OF EVOLVING TECHNOLOGIES ARE NOT USUALLY ENCOUNTERED IN ART MUSEUM WORKSHOPS, AND DEVELOP AN INCREASED SENSE OF COMPETENCE AND CONFIDENCE USING ART AS AN EXPRESSIVE TOOL. IN 2015, 15 WORKSHOPS WERE HELD, REACHING AN AUDIENCE OF 218 ADULTS. IN 2015 PEM OFFERED TWO COMPOSER-IN-RESIDENCE CONCERTS ENGAGING AN AUDIENCE OF 490 PEOPLE. THIS PROGRAM FEATURES IMAGINATIVE PRODUCTIONS THAT EXPLORE THE BOUNDARIES OF CLASSICAL MUSIC WITH ORIGINAL ORCHESTRA PIECES COMPOSED BY MATTHEW AUCOIN. A HIGHLIGHT INCLUDED A MAJOR THEATRICAL EVENT TITLED SONG CYCLE, WHICH TOOK PLACE ACROSS FOUR OF PEM'S GALLERIES AND INVOLVED ELABORATE SET DESIGN AND EXPERIENTIAL ELEMENTS. PROGRAMS ARE ALSO OFFERED THROUGH ONGOING COMMUNITY PARTNERSHIPS WITH SELECT REGIONAL ARTS ORGANIZATIONS THAT ACHIEVE MORE IMPRESSIVE OUTCOMES IN BOTH AUDIENCE ATTENDANCE AND PRESENTATION, AND CONTRIBUTE TO THE REGION'S WIDER ARTS AND CULTURE SECTOR. PARTNERSHIPS INCLUDE THE SALEM FILM FESTIVAL, AN ALL-NONFICTION FILM FESTIVAL WITH A STRONG REPUTATION AS ONE OF THE WORLD'S MOST SIGNIFICANT DOCUMENTARY FILM FESTIVALS; MASS POETRY, ORGANIZERS OF THE MA POETRY FESTIVAL THAT CONNECTS AUDIENCES WITH MAJOR HEADLINERS IN THE LITERARY WORLD; AND SALEM LITERARY FESTIVAL (SLF) WHICH PRESENTS A STORYTELLING PROGRAM IN THE STYLE OF NPR'S THE MOTH AND FEATURED PULITZER-PRIZE WINNING AUTHOR STACY SCHIFF IN 2015. COMMUNITY PARTNERSHIPS PROGRAMMING ENGAGED 4,080 PEOPLE IN 2015. IN TOTAL, 1,600 ADULT PROGRAMS AND TOURS WERE OFFERED IN 2015 FOR A COMBINED ATTENDANCE OF 33,908. |
| 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 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 -501,050. |
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