Attach to Form 990 or Form 990-EZ.
Go to
www.irs.gov/Form990 for instructions and the latest information.
| (i) Name of supported organization | (ii) EIN | (iii) Type of organization (described on lines 1- 10 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 |
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Calendar year (or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 1,057,320 | 1,182,210 | 1,581,409 | 832,873 | 1,547,454 | 6,201,266 |
| 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 | 1,057,320 | 1,182,210 | 1,581,409 | 832,873 | 1,547,454 | 6,201,266 |
| 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).. | 945,230 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 5,256,036 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 1,057,320 | 1,182,210 | 1,581,409 | 832,873 | 1,547,454 | 6,201,266 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 17,183 | 5,808 | 71 | 32 | 5,480 | 28,574 |
| 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.).. | 225,000 | 80,467 | 305,467 | |||
| 11 | Total support. Add lines 7 through 10 | 6,535,307 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (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) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (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) |
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| 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 2019 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-2019 |
(iii) Distributable Amount for 2019 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2019 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2019 (reasonable cause required-- explain in Part VI). See instructions. |
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| 3 Excess distributions carryover, if any, to 2019: | ||||
| a From 2014....... | ||||
| b From 2015....... | ||||
| c From 2016....... | ||||
| d From 2017....... | ||||
| e From 2018....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2019 distributable amount | ||||
|
i
Carryover from 2014 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2019 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2019 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2019, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
6
Remaining underdistributions for 2019. Subtract lines 3h and 4b from line 1. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
7 Excess distributions carryover to 2020. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2015..... | ||||
| b Excess from 2016..... | ||||
| c Excess from 2017..... | ||||
| d Excess from 2018..... | ||||
| e Excess from 2019..... | ||||
| 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.
Go to www.irs.gov/Form990 for the latest information.
| Return Reference | Explanation |
|---|---|
| FORM 990, PART III, LINE 4A | ARTISTS SPACE'S EXPLICIT HISTORICAL MISSION IS TO BE A PLATFORM FOR ARTISTS - BOTH EMERGING AND ESTABLISHED - AND TO ACTIVELY ENGAGE THEM IN OUR PROGRAMS AS AUDIENCE MEMBERS AND AS PARTICIPANTS. DURING FISCAL YEAR 2018, WE WELCOMED NEARLY 8,000 VISITORS, SUPPORTED MORE THAN 100 ARTISTS, PERFORMERS, FILMMAKERS, WRITERS, MUSICIANS, CURATORS, ART HISTORIANS, AND CULTURAL THEORISTS, AND PROVIDED ART EDUCATION TO OVER 120 AT-RISK MIDDLE SCHOOL YOUTH. ARTISTS SPACE EXHIBITIONS UNHOLDING (NOVEMBER 19 - JANUARY 21, 2017) ARTISTS OF INDIGENOUS HERITAGE HAVE, FOR MANY DECADES IN NEW YORK CITY, DEVELOPED PRACTICES IN SELF-INITIATED CONTEXTS WHILE ENDEAVORING TO EXTEND THE REACH AND VISIBILITY OF THEIR WORK TO BROADER PUBLICS. THE EXHIBITION "UNHOLDING" EXTENDED A LEGACY FIRST INTRODUCED AT ARTISTS SPACE IN THE 1987 EXHIBITION "WE THE PEOPLE". LIKE THE PRIOR EXHIBITION, CURATED BY CRITIC AND WRITER JEAN FISHER AND ARTIST JIMMIE DURHAM, "UNHOLDING" SCRUTINIZED THE HEGEMONIC WHITE AMERICAN GAZE THROUGH RAISING CONCERNS AROUND INCLUSION, FRAMING, CONTAINMENT, AND VIEWERSHIP, AND NOTABLY BROUGHT THIS WORK INTO DIALOGUE WITH INSTITUTIONAL AND ACADEMIC CONTEXTS. "UNHOLDING" INCLUDED 18 ARTWORKS BY FIVE ARTISTS WHO FIRST EXHIBITED AT ARTISTS SPACE IN "WE THE PEOPLE" (PENA BONITA, G. PETER JEMISON, ALAN MICHELSON, JOLENE RICKARD, AND KAY WALKINGSTICK) AND THREE CONTEMPORARY NATIVE ARTISTS OF A YOUNGER GENERATION (ADAM KHALIL, ZACK KHALIL, AND JACKSON POLYS). THIS SELECTION OF WORKS IN THIS EXHIBITION BALANCED COMPLEX ARTICULATIONS OF IDENTITY WHILE TROUBLING THE PRESUMED SOVEREIGNTY OF THE POSTMODERN EXHIBITION SPACE, UTILIZING SERIAL FORMS AND ENGAGING WITH THE DUPLICITY OF COMMERCIAL IMAGE-MAKING TO LINK THE PRESENT-DAY EFFECTS OF LATE CAPITALISM WITH ITS VIOLENT COLONIAL PAST. THE EXHIBITION WAS ONE OF THREE EXHIBITIONS DEDICATED TO NATIVE CONTEMPORARY ART THAT WAS ON VIEW SIMULTANEOUSLY IN NEW YORK CITY, AND WAS ACCOMPANIED BY A FULL SCHEDULE OF DISCUSSIONS, READINGS, PERFORMANCES, AND SCREENINGS, AS WELL AS A PRINT PUBLICATION THAT INCLUDED COMMISSIONED TEXTS BY CANDICE HOPKINS AND CHRISTOPHER GREEN ALONGSIDE A REPRINT OF AN ESSAY BY JEAN FISHER. COOP FUND, AMALLE DUBLON & CONSTANTINA ZAVITSANOS, DEVIN KENNY, JOHN NEFF (FEBRUARY 11 - MARCH 31, 2018) THIS GROUP SHOW WITH COOP FUND, AMALLE DUBLON & CONSTANTINA ZAVITSANOS, DEVIN KENNY, AND JOHN NEFF FOLLOWED A SERIES OF CONVERSATIONS AND WORKSHOPS HELD BETWEEN THE STAFF OF ARTISTS SPACE AND THE FIVE EXHIBITING ARTISTS IN EARLY 2017, AT A TIME WHEN ARTISTS SPACE WAS WITHOUT AN EXECUTIVE DIRECTOR. CALLED AUTHORIZATION SESSIONS, THIS INTERNAL WORK WAS DRIVEN BY THE STAFF'S DESIRE TO INTERROGATE THE INSTITUTION'S ORGANIZATIONAL ARRANGEMENTS, AND TO RE-ORIENT AND INVENT ANEW ITS PRACTICES. WHILE SOME OF THE ARTISTS INDEX THEIR RESPECTIVE CONTRIBUTIONS TO THESE CONVERSATIONS, THIS EXHIBITION WAS ORGANIZED AS A SECOND, DISTINCT PHASE OF WORK. MANY OF THE EXHIBITION'S WORKS BEHAVED AS MODELS: IN THE SENSE OF MATERIAL PROPOSITIONS THAT LITERALIZE THE MECHANISM THAT THEY ILLUSTRATE, AND AS METAPHORICAL OR RHETORICAL EXAMPLES OF HOW ART CAN BREAK BEYOND NORMATIVE DYNAMICS OF AUTHOR AND INTERPRETER, AND OF ARTIST AND VIEWER. THE FOUR NEWLY-COMMISSIONED ART WORKS AND SIX EXISTING ARTWORKS ON VIEW DESTABILIZED CONVENTIONAL APPROACHES TO EDUCATION, ECONOMICS, AND THE LABOR OF ART-MAKING, COLLAPSING RELATIONS OF PRODUCTION AND THE CONDITIONS OF PRESENTATION. A SERIES OF PUBLIC PROGRAMS AND WORKSHOPS PROVIDES AN IMPORTANT COMPONENT TO THE EXHIBITION. THE ARTISTS IN THIS EXHIBITION COLLAPSE RELATIONS OF PRODUCTION AND CONDITIONS OF PRESENTATION, SURFACING THE STRUCTURES THAT FRAME THEIR WORK. EMMA HEDDITCH JOINED WITH LYDIA OKRENT AND ELSA BROWN TO ESTABLISH COOP FUND, USING FUNDS FROM THIS EXHIBITION TO INITIATE A COOPERATIVE FUNDING PLATFORM FOR ARTISTS. JOHN NEFF EXHIBITED A NEW VIDEO, IN PART CO-PRODUCED WITH ARTISTS SPACE STAFF THROUGH A PROCESS OF INQUIRY-BASED LEARNING AND SCENES FROM NEFF'S DAILY LIFE. DISTILLING THEIR ONGOING STUDY INTO FORMS OF CARE AND DEPENDENCY, AMALLE DUBLON & CONSTANTINA ZAVITSANOS STAGED A DEMONSTRATION OF A QUANTUM ERASER EXPERIMENT IN THE GALLERY SPACE ALONGSIDE VIDEO AND AUDIO WORKS. DEVIN KENNY UTILIZED ARTISTS SPACE AS THE SITE FOR A DEDICATED COMPUTER THAT MINES CRYPTOCURRENCY TO BE DONATED TO BAIL FUNDS, AND EXHIBITED WORKS THAT PROBE SOCIAL AND MATERIAL NETWORKS IN RELATION TO BLACKNESS, THE PRISON-INDUSTRIAL COMPLEX, AND IDENTITY FORMATION. MIYOKO ITO HEART OF HEARTS (APRIL 7 - MAY 6, 2018) HEART OF HEARTS COMPRISED A SELECTION OF ENIGMATIC ABSTRACT PAINTINGS BY MIYOKO ITO (1918-1983), WHOSE WORK HAS REMAINED LARGELY UNEXAMINED AND OVERLOOKED OUTSIDE OF CHICAGO. NOT INTENDED AS A DECISIVE SURVEY, THE SELECTION MOSTLY SPANNED THE 1970S UNTIL THE END OF THE ARTIST'S LIFE, AND HIGHLIGHTED ITO'S SEARCHING EXPLORATION OF SELF-PORTRAITURE AND PLACE. MIYOKO ITO WAS BORN IN BERKELEY, CALIFORNIA, TO JAPANESE PARENTS IN 1918. AS A YOUNG GIRL, SHE SPENT SEVERAL YEARS WITH HER MOTHER AND SISTER IN JAPAN, WHERE SHE FIRST EXPERIMENTED WITH CALLIGRAPHY AND PAINTING. ITO FOLLOWED HER FATHER IN ATTENDING THE UNIVERSITY OF CALIFORNIA, BERKELEY, WHERE SHE STUDIED WATERCOLOR UNDER JOHN HALEY, ERLE LORAN, AND WORTH RYDER. MONTHS BEFORE HER GRADUATION IN 1942, ITO WAS SENT TO TANFORAN, AN INTERNMENT CAMP SOUTH OF SAN FRANCISCO. RELEASED YEARS BEFORE HER NEW HUSBAND, SHE BRIEFLY MATRICULATED AT SMITH COLLEGE BEFORE TRANSFERRING TO THE SCHOOL OF THE ART INSTITUTE OF CHICAGO, WHERE SHE RECEIVED A SCHOLARSHIP BUT NEVER GRADUATED. ALTHOUGH HER EFFORTS WERE HIGHLY SUSCEPTIBLE TO REGIONALIZATION, ITO PARTICIPATED IN THE 1975 WHITNEY BIENNIAL AND WAS HONORED WITH A RETROSPECTIVE EXHIBITION AT THE RENAISSANCE SOCIETY IN 1980. SHE WAS REPRESENTED BY PHYLLIS KIND GALLERY IN CHICAGO AND NEW YORK FROM THE LATE 1960S THROUGH HER DEATH IN 1983. RECENT EXHIBITIONS INCLUDE SOLO PRESENTATIONS AT THE UNIVERSITY OF CALIFORNIA, BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE, 2017; ADAM BAUMGOLD GALLERY, NEW YORK, 2006 AND 2014; VENEKLASEN/WERNER, BERLIN, 2012; AND NO VACANCIES, A GROUP PRESENTATION AT MARIANNE BOESKY GALLERY, NEW YORK, 2015. CURATED BY JORDAN STEIN IN COLLABORATION WITH ARTISTS SPACE, HEART OF HEARTS FOLLOWED MIYOKO ITO / MATRIX 267 AT THE UNIVERSITY OF CALIFORNIA, BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE. JACK SMITH: ART CRUST OF SPIRITUAL OASIS (JUNE 22 - SEPTEMBER 16, 2018) WITH HIS SHADOW LOOMING OVER THE DEVELOPMENT OF AVANT-GARDE FILM, PERFORMANCE, PHOTOGRAPHY, AND CRITICAL DISCOURSE IN NEW YORK BETWEEN THE 1960S AND 1980S, JACK SMITH NONETHELESS REMAINS AN OUTLIER AMONG THE MANY ARTISTIC CONTEXTS WITHIN WHICH HE PLAYED AN IMPORTANT ROLE. SMITH'S VIRTUOSIC OUTPUT IS REVERED FOR ITS CAUSTIC HUMOR, SELF-INVENTION, AND DEBASEMENT OF INSTITUTIONAL AUTHORITY, WHICH INTENSIFIED THROUGHOUT HIS EVER-EVOLVING WORK. YET, SINCE HIS DEATH FROM AIDS-RELATED PNEUMONIA IN 1989, HIS ARTISTIC LEGACY HAS PROVEN TO BE SIMILARLY INCALCITRANT AND RESISTANT TO CLEAN-CUT NARRATIVIZATION. IN HISTORY, AS IN LIFE, SMITH'S COMPREHENSIVE OUEVRE EXISTS IN RENEGADE DEFIANCE OF THE CAPITALIST IMPERATIVES OF COMMODIFICATION AND CONTAINMENT. SMITH'S VISION IS ONE THAT CONSEQUENTLY IMBUES ART INTO LIFE, TO THE POINT OF RENDERING ASSUMED DISTINCTIONS BETWEEN THE TWO AS ABSURD AND ELITIST. ART CRUST OF SPIRITUAL OASIS MARKED THE FIRST TIME THAT MANY OF SMITH'S PERFORMANCES-COMPOSED AND CHRONICLED IN DRAWINGS, SCRIPTS, FILM FRAGMENTS, "BOILED LOBSTER COLOR SLIDESHOWS," AUDIO RECORDINGS, AND COSTUMES-WERE ARTICULATED. INCLUDING MORE THAN 141 WORKS AND OCCUPYING BOTH FLOORS OF 55 WALKER STREET, ART CRUST OF SPIRITUAL OASIS WAS THE MOST COMPREHENSIVE GATHERING OF SMITH'S WORK SINCE THE 1997 EXHIBITION AT MOMA PS1 AND FOCUSED PARTICULARLY ON THE PERIOD MARKED BY THE ARTIST'S EVICTION FROM HIS LEGENDARY SOHO LOFT, THE PLASTER FOUNDATION OF ATLANTIS IN 1971 AND, CONSEQUENTLY, BY A MOVEMENT TOWARDS PERFORMANCES STAGED IN AD-HOC THEATER SPACES, CLUBS, AND NOTABLY IN THE LITERAL OUTSIDE OF A MORPHING URBAN ENVIRONMENT, AS THE ARTIST FOUND HIMSELF AT THE MARGINS OF A PROFESSIONALIZING ART WORLD, WITH THE CITY OF NEW YORK TRANSFORMED BY A BULLISH REAL ESTATE MARKET. ARTISTS SPACE PUBLIC PROGRAMS DEDICATED TO THE EXCHANGE OF IDEAS AND CRITICAL REFLECTION ON CONTEMPORARY CULTURE, ARTISTS SPACE PUBLIC PROGRAMS FUNCTION AS A FORUM FOR DISCUSSION AND DEBATE WHERE THE ROLE OF CONTEMPORARY ART IS ACTIVELY CONTEXTUALIZED AND MADE LEGIBLE AS PART OF SOCIETY AS A WHOLE. OVER THE PAST YEAR THIS TAKEN SHAPE THROUGH A COMBINATION OF PUBLIC PROGRAMS, SMALLER-SCALE MEETINGS AND SEMINARS BY LOCAL GROUPS AS WELL AS PARTNERSHIPS WITH LIKE-MINDED ORGANIZATIONS, AS WELL AS A SECONDARY EXHIBITION SITE. |
| FORM 990, PART III, LINE 4A | OTHER NOTABLE EVENTS FROM THE YEAR INCLUDE: A BOOK LAUNCH AND SCREENINGS OF RARELY-SEEN FILMS OF THE RECORDED PERFORMANCES STAGED BY FRENCH-BORN SCULPTURE AND TEXT-BASED ARTIST GUY DE COINTET; A CONVERSATION AND BOOK LAUNCH WITH PAINTER MARTIN BECK, CURATOR, ART HISTORIAN AND AUTHOR JAMES VOORHIES, AND ARCHITECT KELLER EASTERLING; 7 NEWLY COMMISSIONED PERFORMANCES INCLUDING THE IMMERSIVE MULTIMEDIA PERFORMANCE "INQUIRY & INVESTIGATION" WITH MUSICIAN LOLINA AND COSTUME DESIGNER JOHANNA ULFSAK; A NEWLY COMMISSIONED PERFORMANCE TITLED "WHAT ARE OUR QUESTIONS?" WITH WRITER AND PERFORMER JUSTIN ALLEN, ARTIST TROIZEL CARR, AND MULTIMEDIA ARTIST BLEUE LIVERPOOL; A FORUM ON THE WORK OF POET AND ARTIST DAVID ANTIN WITH ELEANOR ANTIN, CHARLES, BERNSTEIN, JULIEN BISMUTH, AND ELLEN ZWEIG; SCREENINGS AND PERFORMANCES WITH INDIGENOUS FILMMAKERS ADAM KHALIL, ZACK KHALIL, JACKSON POLYS, ACTOR JIM FLETCHER, AND PERFORMANCE ARTIST KITE; A BOOK LAUNCH AND DISCUSSION OF ART HISTORIAN ISABELLE GRAW'S BOOK "THE LOVE OF PAINTING" WITH THE AUTHOR, ART HISTORIAN AND PROFESSOR DAVID JOSELIT, AND THE PAINTER AVERY SINGER; AND A NEW ITERATION OF THE ARTISTS SPACE DIALOGUES, FEATURING A CONVERSATION BETWEEN FORMER ARTFORUM EDITOR-IN-CHIEF MICHELLE KUO AND ART HISTORIAN HUEY COPELAND. THE VENUE WAS ALSO MADE AVAILABLE FOR MEETINGS AND A PERFORMANCE SERIES BY ARTIST-INITIATED LOCAL GROUPS INCLUDING THE READING GROUP "NO-TOTAL", AS WELL AS WORKING ARTISTS AND THE GREATER ECONOMY (W.A.G.E.). EXPANDED ART IDEAS: IN 2018 EXPANDED ART IDEAS BROUGHT 6 PRACTICING, AWARD-WINNING ARTISTS TO 3 NYC PUBLIC SCHOOLS, PROVIDING ART EDUCATION TO AT-RISK YOUTH IN 6TH, 7TH AND 8TH GRADES. AT PS140 ON THE LES, EAI ADMINISTERED 178 CLASSES TOTALING 276 TEACHING HOURS TO 114 STUDENTS. AT MS324 IN WASHINGTON HEIGHTS EAI ADMINISTERED 34 CLASSES TOTALING 71 TEACHING HOURS TO 36 STUDENTS. 101 OF THESE SESSIONS WERE TAUGHT IN PORTFOLIO DEVELOPMENT, WHICH FOCUSES ON BUILDING STUDENTS' PORTFOLIOS AND ASSISTING WITH APPLICATIONS TO SPECIALIZED ART HIGH SCHOOLS AT PS140 AND MS324; 60 SOUND & MEDIA ART SESSIONS WITH 21 SPECIAL NEEDS STUDENTS IN GRADES 6-8; 20 ARTS AND LITERACY SESSIONS WITH ALL 60 GRADE 8 STUDENTS AND 10 SESSIONS OF THE PHOTO CLUB RESIDENCY AT PS140; THE 1-WEEK INTENSIVE THREADS OF HISTORY OF 6 SESSIONS SERVING 26 GRADE 7 STUDENTS AT MS 324, THIS YEAR FOCUSED ON SUSTAINABLE CULTURE: ART AND RECYCLING; AND 12 3-HOUR PHOTO CLUB SESSIONS WITH HIGH SCHOOL STUDENTS AT OUR NEW PARTNER, CITY-AS-SCHOOL IN GREENWICH VILLAGE. IN 2018, SOUND & MEDIA ART STUDENTS HOSTED A COMMUNITY LISTENING EVENT WHERE FRIENDS AND FAMILY CAME TOGETHER TO EXPLORE THE SOUNDS OF THEIR NEIGHBORHOOD. PORTFOLIO STUDENTS VISITED THE ARTISTS SPACE EXHIBITION MIYOKO ITO: HEART OF HEARTS WITH CURATOR JAMIE STEVENS; WE BROUGHT ARTISTS ADJUA GREAVES AND NIA NOTTAGE TO VISIT POETRY STUDENTS AT PS 140; AND MS 324 STUDENTS VISITED WORD-UP COMMUNITY BOOKSTORE TO SEE THE EXHIBITION STILL LIVES. THE YEAR ENDED WITH OUR ANNUAL CELEBRATION OF STUDENT WORK YOUNG ARTISTS PERFORM WITH WAS ATTENDED BY MORE THAN 300. 5 STUDENTS RECEIVED SCHOLASTIC AWARDS, AND 4 STUDENTS WERE PLACED INTO COMPETITIVE INTO ARTS HIGH SCHOOLS. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE BOARD PRESIDENTS AND TREASURER REVIEW THE 990 BEFORE SUBMITTING TO THE GOVERNMENT. |
| FORM 990, PART VI, SECTION B, LINE 12C | THE ORGANIZATION CONFIRMS WITH THE OFFICERS AND DIRECTORS ON ANY CONFLICTS OF INTEREST TRANSACTIONS, IF ANY, DURING THE ANNUAL BOARD MEETINGS. |
| FORM 990, PART VI, SECTION B, LINE 15 | COMPENSATION FOR THE EXECUTIVE DIRECTOR IS DISCUSSED AND PROPOSED BY THE BOARD INVESTMENT COMMITTEE IN ADVANCE OF HIS HIRE. THIS FIGURE IS THEN APPROVED BY THE BOARD OF DIRECTORS AS ARE ALL OTHER SALARIES AS PART OF THE ANNUAL BUDGET APPROVAL PROCESS. ANNUAL SALARY INCREASES FOR ALL EMPLOYEES ARE PRESENTED BY THE BOARD EXECUTIVE COMMITTEE AND APPROVED BY THE FULL BOARD OF DIRECTORS AS PART OF THE ANNUAL BUDGET PROCESS. |
| FORM 990, PART VI, SECTION C, LINE 19 | THESE DOCUMENTS ARE AVAILABLE ON REQUEST. |
| FORM 990, PART XI, LINE 9: | BAD DEBT EXPENSE -3,089. |
| Software ID: | |
| Software Version: |