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.) .... | 33,613,892 | 5,432,104 | 12,540,459 | 27,841,986 | 71,708,501 | 151,136,942 |
| 2 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf....... | 0 | |||||
| 3 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | 0 | |||||
| 4 | Total. Add lines 1 through 3 | 33,613,892 | 5,432,104 | 12,540,459 | 27,841,986 | 71,708,501 | 151,136,942 |
| 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).. | 101,898,372 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 49,238,570 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 33,613,892 | 5,432,104 | 12,540,459 | 27,841,986 | 71,708,501 | 151,136,942 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 18,528 | 13,131 | 2,253 | 1,208 | 34,702 | 69,822 |
| 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.).. | 5,466,284 | 5,459,654 | 7,072,615 | 8,842,049 | 6,743,337 | 33,583,939 |
| 11 | Total support. Add lines 7 through 10. | 184,790,703 | |||||
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) |
||||
| 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): |
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| 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) |
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| 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 |
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| Return Reference | Explanation |
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| 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 |
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| FORM 990, PART III, LINE 4A | The 2015 Drill Hall Season featured five multi-disciplinary commissions in their world or U.S. premieres. The season opened with an electrifying new dance commission staged by visionary director Peter Sellars and flex pioneer Reggie (Regg Roc) Gray. Other new commissions and premieres have included: visual artist Philippe Parrenos largest installation in the US to date, with music performed by Mikhail Rudy; a spectacular collaboration between the Royal Ballets Resident Choreographer Wayne McGregor, visual artist Olafur Eliasson, and Mercury Prize-winning producer and composer Jamie xx inspired by the book Tree of Codes by Jonathan Safron Foer; a new work by innovative performance artist/musician Laurie Anderson examining storytelling and tele-presence on the subject of Guantanamo; and a production of Bachs Goldberg Variations performed by one of the "world's most brilliant young pianists" (The Telegraph) Igor Levit, with staging developed by the "presiding deity of performance art," Marina Abramovic (TIME Magazine). FLEXN: Characterized by pausing, snapping, gliding, bone breaking, hat tricks, animation, and contortion, flex is a form of street dance that has evolved from the Jamaican bruk-up found in dance halls and reggae clubs in Brooklyn. This electrifying phenomenon was showcased in a new project commissioned and produced by the Armory that confronts issues of social injustice, with the dancers exploring personal narratives through their own unique movement vocabulary in post-modern dance. Created in the era of unrest following rulings on Michael Brown in Ferguson, Missouri, and Eric Garner in New York City, this powerful new work was staged by visionary director Peter Sellars and flex pioneer Reggie (Regg Roc) Gray in collaboration with a crew of 21 flex dancers from the very neighborhoods where the movement first took shape. Performing both as individuals and in groups to choreography created by the ensemble itself, the dancers utilize their breathtakingly beautiful movement to tell deeply human and sometimes heart-wrenching stories that address these troubling issues of our time. H{N)Y P N (Y} OSIS: In the past two decades, Philippe Parreno has almost single-handedly reshaped the very notion of what it means to experience art by turning the dynamics of a show into an evolving, situational process, exploring its possibilities as a singular, coherent object rather than as a collection of individual works. In his largest installation in the U.S. to date, Parreno continued his interrogations into the radical redefinition of the exhibition ritual at the Armory, in one of the few spaces in the world in which such an epic experience could occur. The monumental interior of the Wade Thompson Drill Hall was animated with 26 marquee sculptures to form an alle of light and sound, five films, and other collaborative works with artists including Tino Sehgal. This dramatic composition also fused the spectral presence of sound-recorded, broadcast live from outside the building, and performed live by Mikhail Rudy-to form a landscape of films, objects, and empty spaces where events unfolded. This sensory journey through both remastered existing works and new projects guided the visitor from one event to another, bringing the entire building to life. Tree of Codes: Visual art, electro-pop, and contemporary dance intersected in an illuminating new work directed by award-winning choreographer Wayne McGregor, artist Olafur Eliasson, and producer/composer Jamie xx. Performed by fifteen soloists and dancers from the Paris Opera Ballet and Company Wayne McGregor, this new type of modern dance layered classical and contemporary styles with visual wizardry and sonic imagination in this highly-anticipated U.S. premiere. This new evening-length work commissioned by the Armory took as its starting point Jonathan Safran Foers enigmatic publication, at once a novel and a piece of art created by making incisions into the pages of The Street of Crocodiles by Bruno Schulz. Utilizing Foers merging of genres and sculptural techniques, the piece featured a site-specific environment that reinvented the performance space with a shape-shifting kaleidoscope of light, color, and reflective mirrors that challenged preconceived notions of the role of the viewer from the moment they entered the drill hall. Habeas Corpus: Iconic performance artist Laurie Anderson expanded upon her work fusing storytelling and technology, by creating an installation and performance piece that examined lost identity, memory, and the resiliency of the human body and spirit. Commissioned by the Armory, this gripping new artwork interweaved film, sculpture, music, and video to examine the story of Mohammed el Gharani, one of the youngest detainees at Guantanamo Bay. Open to the public during the day, the evocative environment encouraged visitors to use the drill hall as place to meditate on time, identity, surveillance, and freedom, with sounds derived from audio surveillance and nature. The space was also activated by improvised music performances throughout the day and concluded at night in a celebratory concert and dance party with Syrian singer Omar Souleyman, Merrill Garbus of tUnE-yArDs, multi-instrumentalist Shahzad Ismaily, guitarist Stewart Hurwood, and Anderson herself. The installation also included additional film installations including From the Air, which explores the impact of global events on daily life and resonates with many of the themes explored in el Gharanis story. The result was a groundbreaking new work that spans the worlds of visual art, performance, and experimental music as created by one of Americas most renowned and daring artistic pioneers. Goldberg: Igor Levit, who made his impressive North American recital debut at the Armory in 2014, interpreted Bachs classic composition in an installation created by seminal artist Marina Abramovic. Having redefined what performance art is for nearly 40 years, she re-imagined the concert-going experience by employing her Abramovic Method to explore the relationship between performer and observer, the limits of the body, and the possibilities of the mind. Goldberg invited audiences to become a part of the music and experience the work in an entirely new context. They prepared for Levits performance by dispossessing themselves of the trappings of everyday society by placing their personal belongings-included cell phones, watches, and other technological devices-inside a private locker. Upon entering the drill hall, the crowd sat in silence for an extended period of time, after which Levit performed all 30 variations to heighten the effect of the piece on their mind and body. Programming For The Historic Rooms: In the Board of Officers Room, the Recital Series offers an exquisite, intimate counterpart to the spectacular scale of the Drill Hall season. Since its opening in September 2013, the room has been recognized as a"locus for important chamber-music concerts" (The New Yorker) and "a space for chamber music, which marries excellent acoustics and an austerely elegant Gilded Age interior" (The New York Times). The 2015 Series expanded to encompasss chamber works of classical and contemporary music as well ass the art of spoken word-all utilizing the pristine acoustics of this elegant space. The year opened with Alina Ibragimova, "one of today's oustanding interpreters of the most elemental music in the repertoire" (The Guardian, UK), performing an impressive program of Bach violin partitas. Spoken word was introduced with Charlotte Rampling's "transfixing" performances of the poetry of Sylvia Plath, interspersed with cello suites performed by sellist Sonia Wieder-Atherton. In this mesmerizing collaboration, "...music and poetry mingle with equal force...in an ideally intimate space, the beautifully resotred wood-paneled Board of Officers Room" (The New York Times). The spring series also features a sold-out performance by the widely admired tenor Ian Bostridge in a captivating program of Songs of World War I, including works by Mahler, Rudi Stephan, Butterworth, Weill, and Britten. Bostridge's exceptional voice and style were ideally suited to the program and the military grandeur of the room. The Fall program included: David Fray, named "Newcomer of the Year 2008" by BBC Music Magazine, performing an all-Shubert, solo piano program; the New York premiere of Michael Gordon's Rushes, a new work for seven bassoons; and Christian Gerhaher, who returning to the Armory to perform a new program of songs by Beethoven, Schonberg, Hayden, and Berg. The New York premiere of Michael Gordons Rushes, a new work for seven bassoons; and Christian Gerhaher, who returning to the Armory to perform a new program of songs by Beethoven, Schonberg, Hayden, and Berg. a new program of songs by Beethoven, Schonberg, Hayden, and Berg. returning to the Armory to perform a new program of songs by Beethoven, Schonberg, Hayden, and Berg. |
| FORM 990, PART III, LINE 4A CONTINUED | Artists in Residence and Under Construction: Arists-in-residence and workshops find a natural home at the Armory, and create a collaboration that benefits the artists and the Armory. The program gives artists space and inspiration to work on their projects. They become part of the Armory community, and every day underscore the commitment to the out-of-the-box creativity that is a basic tenet of this institution. The Under Construction series features artists-in-residence sharing works-in-progress at intimate events in the Armorys jewel-like period rooms. The Under Construction Series continued in 2014, offering audiences an inside look into the creative process of the Armorys artists-in-residence, who set up studios and offer intimate public previews of works-in-progress in the disciplines of dance, theater, music, and visual art. The Armorys period rooms provide a unique backdrop for these workshops, serving as both inspiration and as a collaborator in the development of their works. Education at the Armory: Utilizing our magnificent historic building and the unique visual and performing arts programming that takes place within it, Park Avenue Armorys arts education program gives underserved New York City public school students from all five boroughs the opportunity to be immersed in the creative process of exceptional artists. The program has three major components: Production-Based Programming, Partnership Schools, and the Youth Corps internship program. In 2015, Production-based Programming reached over 4,000 students from approximately 50 underserved NYC public schools and Out-of-School-Time Sites. For the first time, every single performing arts production included a dedicated student-only matinee, increasing attendance and offering 121 workshops throughout the season. Students witnessed a wide array of programmatic offerings that took place in the Wade Thompson Drill Hall, including student-only matinees of FLEXN and of Tree of Codes, student-only viewing hours to explore Philippe Parrenos H {N)Y P N(Y} OSIS and Laurie Andersons HABEAS CORPUS, and a student matinee of Goldberg complete with a lesson in the Abramovic Method led by Marina Abramovic herself. In addition to these large scale works, students were also exposed to intimate engagements with artists in the Armorys period rooms, attending open rehearsals and participating in Q&A sessions with four of the seasons recitalists, as well as engaging with artists-in-residence 600 Highwaymen and Imani Uzuri. The Armorys Partner Schools receive in-depth residencies that engage students with the Armorys mission and provide a deeper understanding of programmatic offerings. In 2015, classes from partner schools explored the art of installation inspired by Philippe Parreno, wrote and performed a non-linear staged reading about social justice inspired by FLEXN, drew connections between music and visual art inspired by the recitals in the Board of Officers Room, and created three-dimensional, sculptural books of bedtime stories that drew upon the originating materials behind Tree of Codes and Goldberg. Armory partner schools were also invited to participate in a masterclass with FLEXN choreographer Reggie "Regg Roc" Gray and attend additional on-site workshops before the Tree of Codes student matinee. Partner schools in 2015, celebrated at the annual Evening of the Arts, were Williamsburg High School for Architecture and Design in Brooklyn, Bronx Envision Academy in the Bronx, MS 244 The New School for Leadership and the Arts in the Bronx, PS 106 The Parkchester School in the Bronx, and the Fresh Creek School in Brooklyn. The Youth Corps is a group of New York City public high school students who are immersed in the art and creative processes of the Armorys artists through paid, project-oriented internships that provide job and career training, leadership development, and essential communication and life skills. Interns engaged directly with Armory artists, exposing them to all levels of the artistic process through workshops, conversations, and presentations with director Peter Sellars, dancer/choreographer Reggie (Regg Roc) Gray, theater company 600 Highwaymen, artist and performer Laurie Anderson, vocalist and composer Imani Uzuri, vocalist and performance artist Helga Davis, performance artist Marina Abramovic, and pianist Igor Levit. These experiences enabled students to engage directly with the artistic process, including the level of skill and imagination, dedication, and discipline required to complete projects in all art forms. Youth Corps members applied these experiences by developing workshops and educational experiences for their peers, in collaboration with Armory artists, staff, and Teaching Artists. As part of this new opportunity, 17 Youth Corps Advisory Board members spent over 850 paid hours (50 hours each) working with Armory staff, teaching artists, and artists Peter Sellars, Reggie (Regg Roc) Gray, and Laurie Anderson to prepare over 1,500 students to visit the Armory for production-based programming around two major productions. Design and Construction: Throughout 2015, the Armory completed the restoration and revitalization of the Veterans Room, one of the only surviving interiors by Louis C. Tiffany and Co., Associated Artists, in the world and one of the most beautiful historic rooms in America. The room is now exquisitely restored to the grandeur imbued by its original visionary designers: the multi-hued ceilings will regain their redwood, gold, and pewter color, with oriental style decoration; the re-papered walls will shimmer under the glow of restored historic lighting; the pristine Tiffany glasswork in the windows and on the mantle will sparkle; and the repaired oak woodwork will glow showing the intricate carvings and the original finish. The 1880 room was a masterwork and, finally, after decades of decay, dirt, and damage, we are able to fully appreciate its stunning, Gilded Age artistry. The restoration also enables new opportunities for artistic programming through the rooms new use as an intimate space for multi-disciplinary performance. |
| FORM 990, PART VI, LINE 10 - POLICIES | A DRAFT FORM 990, PREPARED BY EISNERAMPER LLP BASED ON INFORMATION PROVIDED BY MANAGEMENT, IS SUBMITTED TO THE CFO AND CEO/PRESIDENT FOR REVIEW. UPON APPROVAL, THE DRAFT FORM 990 IS PROVIDED TO THE AUDIT COMMITTEE OF THE BOARD FOR REVIEW, COMMENT AND APPROVAL FOR FILING WITH THE INTERNAL REVENUE SERVICE. UPON THE AUDIT COMMITTEE'S APPROVAL, THE FORM 990 IS PROVIDED TO THE FULL BOARD, PRIOR TO ITS FILING. |
| FORM 990, PART VI, LINE 12 - POLICIES | ALL BOARD MEMBERS AND KEY EMPLOYEES ARE REQUIRED ON AN ANNUAL BASIS TO COMPLETE A CONFLICT OF INTEREST DISCLOSURE FORM. ANY PONTENTIAL CONFLICT REPORTED IN THE DISCLOSURE FORMS ARE REVIEWED BY THE FINANCE/AUDIT COMMITTEE OF THE BOARD. ANY CONFLICT THAT BECOMES KNOWN DURING THE YEAR SHALL BE REPORTED TO THE FINANCE/AUDIT COMMITTEE. THE EVALUATION AND RESOLUTION POLICIES OUTLINED IN THE CONFLICT OF INTEREST POLICY SHALL BE APPLIED. |
| FORM 990, PART VI, LINE 15 - POLICIES | COMPENSATION OF THE CEO/PRESIDENT IS SUBJECT TO REVIEW AND APPROVAL BY THE EXECUTIVE COMMITTEE OF THE BOARD. THE CO-CHAIRMEN OBTAIN COMPENSATION INFORMATION FROM INDEPENDENT SOURCES WHICH SERVES AS THE BASIS FOR COMPENSATION OFFERED TO THE EXECUTIVE POSITION IDENTIFIED ABOVE. OTHER SENIOR EMPLOYEE COMPENSATION IS REVIEWED AND APPROVED BY THE PRESIDENT/EXECUTIVE PRODUCER. |
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