Attach to Form 990 or Form 990-EZ.
Go to
www.irs.gov/Form990 for 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 |
||||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 3,515,016 | 1,711,231 | 2,242,075 | 1,852,492 | 1,348,742 | 10,669,556 |
| 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.. | 60,000 | 60,000 | 60,000 | 60,000 | 60,000 | 300,000 |
| 4 | Total. Add lines 1 through 3 | 3,575,016 | 1,771,231 | 2,302,075 | 1,912,492 | 1,408,742 | 10,969,556 |
| 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).. | 2,347,492 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 8,622,064 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 3,575,016 | 1,771,231 | 2,302,075 | 1,912,492 | 1,408,742 | 10,969,556 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 84,519 | 67,644 | 58,766 | 58,766 | 73,458 | 343,153 |
| 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.).. | ||||||
| 11 | Total support. Add lines 7 through 10 | 11,312,709 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (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) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (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): |
|||||
| 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 2018 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-2018 |
(iii) Distributable Amount for 2018 |
|
|---|---|---|---|---|
|
1
Distributable amount for 2018 from Section C, line 6 |
||||
|
2
Underdistributions, if any, for years prior to 2018 (reasonable cause required-- explain in Part VI). See instructions. |
||||
| 3 Excess distributions carryover, if any, to 2018: | ||||
| a From 2013....... | ||||
| b From 2014....... | ||||
| c From 2015....... | ||||
| d From 2016....... | ||||
| e From 2017....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2018 distributable amount | ||||
|
i
Carryover from 2013 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2018 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2018 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2018, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
||||
|
6
Remaining underdistributions for 2018. Subtract lines 3h and 4b from line 1. If the amount is greater than zero, explain in Part VI. See instructions. |
||||
|
7 Excess distributions carryover to 2019. Add lines 3j and 4c. |
||||
| 8 Breakdown of line 7: | ||||
| a Excess from 2014...... | ||||
| b Excess from 2015..... | ||||
| c Excess from 2016..... | ||||
| d Excess from 2017..... | ||||
| e Excess from 2018..... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|
| 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: | IN 2018, THE TAMPA MUSEUM OF ART RAISED REVENUE AND ALLOCATED ITS RESOURCES TOWARD MANAGEMENT AND PRESENTATION OF COLLECTIONS, COLLECTIONS' CARE AND MANAGEMENT, AND A ROBUST SCHEDULE OF EXHIBITION AND EDUCATION PROGRAMS TO SERVE THE TAMPA BAY COMMUNITY. THE TAMPA MUSEUM OF ART'S 2018 PERMANENT COLLECTION COMPRISED OVER 7,263 OBJECTS. THE MUSEUM PRIMARILY COLLECTS CLASSICAL ANTIQUITIES (665 OBJECTS), 19TH-CENTURY PHOTOGRAPHY AND PRINTS EMPHASIZING WORKS THAT RELATE TO THE CLASSICAL COLLECTION (APPROXIMATELY 1,300 OBJECTS), MODERN AND CONTEMPORARY ART IN A VARIETY OF MEDIA (5,298 OBJECTS), WITH AN EMPHASIS ON PHOTOGRAPHY, ART CREATED AFTER 1970, AND NEW MEDIA. THE MUSEUM COLLECTS WORKS BY NATIONALLY AND INTERNATIONALLY RECOGNIZED ARTISTS IN A RANGE OF TECHNIQUES AND MEDIUMS, MANY OF WHOM HAVE TIES TO FLORIDA AND THE TAMPA BAY REGION. THE MUSEUM RECOGNIZES THAT ITS ACQUISITIONS TODAY ARE SETTING STANDARDS FOR FUTURE COLLECTING ACTIVITY AND BUILDING A FOUNDATION FOR EXHIBITIONS AND EDUCATION PROGRAMMING. IN ADDITION TO SEVERAL SMALLER EXHIBITIONS DRAWN FROM OUR PERMANENT COLLECTION, IN 2018 WE FEATURED SIX IMPORTANT TRAVELING AND IN-HOUSE CURATED EXHIBITIONS FOR THE TAMPA BAY COMMUNITY AND BEYOND, EACH OUTLINED BRIEFLY BELOW. HAVING A BALL: GEORGE SOSNAK'S STRIKING PORTRAITS FROM AMERICA'S PASTIME THROUGH JULY 22. ONE OF THE MOST BELOVED AND BEST-KNOWN FOLK ART PAINTERS OF BASEBALL, GEORGE SOSNAK (1924-1992) WAS A LIFELONG PASSIONATE FAN OF THE GAME. HE PARLAYED HIS ENTHUSIASM FOR THE SPORT INTO TWO CONCURRENT CAREERS: FIRST AS A MINOR LEAGUE UMPIRE, AND EVENTUALLY AS AN ARTIST, METICULOUSLY PAINTING BASEBALLS DECORATED WITH THE IMAGES AND ARCANE STATISTICS SO DEAR TO FANS OF THE GAME. SOSNAK IS THOUGHT TO HAVE BEGUN SOME 3,000 BASEBALLS AND TO HAVE FINISHED ABOUT 800. ORGANIZED BY THE CHRYSLER MUSEUM OF ART, HAVING A BALL INCLUDES 57 SOSNAK ARTWORKS - 47 BASEBALLS AND 10 WORKS ON PAPER. THE PURPOSE OF INTRODUCING THIS EXHIBITION IS TO BETTER CONNECT THE COMMUNITY AND ITS LOVE OF BASEBALL TO FOLK ART AND FINE ART ON VIEW IN THE MUSEUM. INSPIRED BY NATURE: VASES, BIRDS & FLOWERS THROUGH JULY 22. FROM ANTIQUITY THROUGH THE PRESENT DAY, ARTISTS AND ARTISANS HAVE FOUND INSPIRATION IN THE FLORA, FAUNA, AND OTHER FORMS OF THE NATURAL WORLD. FOR MANY ARTISTS, THE VASE IN PARTICULAR HAS LENT ITSELF TO EMBELLISHMENTS BORROWED FROM NATURE, OFTEN TOGETHER WITH - OR IN THE FORM OF - FLOWERS AND BIRDS. THE EXHIBITION, CURATED BY TMA CHIEF CURATOR AND RICHARD E. PERRY CURATOR OF GREEK AND ROMAN ART, THE EXHIBITION CONTAINS 30 WORKS FROM THE MUSEUM'S PERMANENT COLLECTION, FEATURING BETTY WOODMAN'S CERAMIC MASTERPIECE SENSUOUS TRIPTYCH (2000), A BRIGHTLY PAINTED, FIRED CLAY WORK WITH ELEMENTS OF PAINTING, DRAWING, SCULPTURE. COMPLEMENTING THE MUSEUM'S WORK ON VIEW IS MATTHEW DAY JACKSON'S BEAUTIFUL PORTFOLIO OF ETCHINGS, THERE WILL COME SOFT RAINS. VAPOR AND VIBRATION: THE ART OF LARRY BELL AND JESUS RAFAEL SOTO. MAY 3 - SEPTEMBER 30. CURATED BY MODERN AND CONTEMPORARY ART CURATOR JOANNA ROBOTHAM, THE TMA PRESENTED JESS RAFAEL SOTO - LARRY BELL. THIS EXHIBITION PLACES IN DIALOGUE, FOR THE FIRST TIME, THE WORK OF TWO OF THE 20TH CENTURY'S MOST INNOVATIVE ARTISTS EXPLORING LIGHT AND SPACE. SINCE THE 1960S, SOTO AND BELL HAVE PUSHED THE BOUNDARIES OF TRADITIONAL PAINTING AND SCULPTURE WITH NEW MATERIALS AND FORMS. WHILE THERE HAVE BEEN SEVERAL EXHIBITIONS DEVOTED TO EACH ARTIST, JESS RAFAEL SOTO - LARRY BELL AIMS TO PRESENT THEIR WORKS IN A FRESH CONTEXT NOT YET EXPLORED BY CURATORS AND ART HISTORIANS. SOTO IS KNOWN AS AN OPTICAL AND KINETIC ARTIST, HAVING WORKED ACROSS SEVERAL MEDIA. HIS GEOGRAPHIC PAINTINGS AND IMMERSIVE INSTALLATIONS EXPLORE THE BOUNDARIES OF REALITY AND ILLUSION, AS WELL AS PERCEPTIONS OF POSITIVE AND NEGATIVE SPACE IN VOLUMETRIC FORMS. BELL EXAMINES THE RELATIONSHIP BETWEEN LIGHT AND VOLUME IN GEOMETRIC PAINTINGS AND SCULPTURES. GLASS AND MIRRORS ARE USED IN HIS WORK TO EXPLORE SPACE AND SURFACE. PATRICIA CRONIN RESPONDS TO CLASSICAL ANTIQUITY: CONVERSATIONS WITH THE COLLECTION AUGUST 16, 2018 - JANUARY 6, 2019. PATRICIA CRONIN RESPONDS TO CLASSICAL ANTIQUITY: CONVERSATIONS WITH THE COLLECTION IS THE INAUGURAL EXHIBITION IN A BIENNIAL SERIES EXPLORING SYNERGY BETWEEN COLLECTIONS THAT MAY INITIALLY STRIKE VISITORS AS WHOLLY SEPARATE FROM ONE ANOTHER - NAMELY, CLASSICAL ANTIQUITIES AND MODERN AND CONTEMPORARY ART. PATRICIA CRONIN (AMERICAN, B. 1963) IS AN INTERNATIONALLY RECOGNIZED BROOKLYN-BASED ARTIST UNIQUELY POSITIONED FOR SUCH A VISUAL CONVERSATION. WINNER OF A ROME PRIZE IN VISUAL ART IN 2006-2007, AND PAST TRUSTEE OF THE AMERICAN ACADEMY IN ROME, CRONIN IS DEEPLY INTERESTED IN THE ANCIENT WORLD, WHICH SHE FREQUENTLY REFERENCES IN HER WORK. FOR THE FIRST COMMISSION IN OUR BIENNIAL SERIES, CRONIN HAS CREATED A LARGE OUTDOOR SCULPTURE OF APHRODITE INSPIRED BY A FRAGMENTARY 1ST-CENTURY AD MARBLE TORSO OF APHRODITE IN THE MUSEUM'S COLLECTION. ENTITLED APHRODITE REIMAGINED, CRONIN'S SCULPTURE RE-ENVISIONS THE MUSEUM'S APHRODITE FRAGMENT AS A MONUMENTAL "COMPLETE" SCULPTURE WITH A STONE TORSO AND TRANSLUCENT HEAD, ARMS, AND LEGS. THE SCULPTURE INVITES VIEWERS TO RECONSIDER THE NARRATIVE OF AN ANCIENT WORK HEAVILY RESTORED AFTER ITS REDISCOVERY, AND ACTS AS A METAPHOR FOR SHIFTING CERTAINTIES ABOUT HUMAN HISTORY. CRONIN AND MUSEUM CURATORS WILL ALSO PAIR AN ETRUSCAN CINERARY URN FROM THE MUSEUM'S COLLECTION WITH MULTIPLE ITERATIONS OF CRONIN'S 2002 SCULPTURE MEMORIAL TO A MARRIAGE, A POWERFUL ARTWORK THAT REFERENCES ANCIENT AND NEOCLASSICAL FUNERARY MONUMENTS AS WELL AS CONTEMPORARY ISSUES OF SOCIAL JUSTICE. THE FINAL GALLERY OF THE EXHIBITION COMPRISED A VISUAL DIALOGUE BETWEEN FIGURAL WORKS BY CRONIN AND SEVERAL ANTIQUITIES FROM THE MUSEUM'S PERMANENT COLLECTION. YAYOI KUSAMA: LOVE IS CALLING: FROM THE COLLECTION OF THE VINIK FAMILY FOUNDATION SEPTEMBER 26, 2018 - JANUARY 2019 THE TAMPA MUSEUM OF ART WAS PLEASED TO PRESENT YAYOI KUSAMA'S LOVE IS CALLING, ONE OF THE ARTIST'S ICONIC INFINITY ROOMS, ON LOAN FROM THE COLLECTION OF THE VINIK FAMILY FOUNDATION. AN IMMERSIVE, EXPERIENTIAL WORK OF ART, LOVE IS CALLING INVITES VISITORS TO ENTER A MIRRORED ROOM WITH TENTACLE-LIKE SOFT SCULPTURES HANGING FROM THE CEILING AND POSITIONED ON THE FLOOR. THESE FORMS GLOW WITH BRIGHT, CHANGING COLORS, AND FEATURE KUSAMA'S SIGNATURE POLKA DOTS. VISITORS HEAR AUDIO OF THE ARTIST RECITING A LOVE POEM IN JAPANESE AS THEY WALK THROUGHOUT THE INSTALLATION. THE POEM, TITLED RESIDING IN A CASTLE OF SHED TEARS, REFLECTS KUSAMA'S MUSINGS ON LOVE, LIFE, AND DEATH, RECURRING THEMES IN THE ARTIST'S WORK. YAYOI KUSAMA (JAPANESE, B. 1929) IS ONE OF TODAY'S MOST RECOGNIZED AND CELEBRATED ARTISTS. IN ADDITION TO HER WIDELY POPULAR INFINITY ROOMS, SUCH AS LOVE IS CALLING, KUSAMA CREATES VIBRANT PAINTINGS, WORKS ON PAPER, AND SCULPTURE WITH ABSTRACT IMAGERY. HER ARTWORK HAS BEEN SHOWN AND COLLECTED BY LEADING INSTITUTIONS ACROSS THE GLOBE, AND SHE IS CONSIDERED "THE WORLD'S MOST POPULAR ARTIST." A COMPREHENSIVE RETROSPECTIVE, ORGANIZED BY THE HIRSHHORN MUSEUM AND SCULPTURE GARDEN IN WASHINGTON, DC, IS CURRENTLY TRAVELLING AROUND THE US AND CANADA. IN OCTOBER 2017, THE YAYOI KUSAMA MUSEUM OPENED IN TOKYO. THE ARTIST LIVES AND WORKS IN TOKYO. ROBERT INDIANA: A SCULPTURE RETROSPECTIVE OCTOBER 24, 2018 - MARCH 17, 2019. ON THE OCCASION OF THE AMERICAN ARTIST ROBERT INDIANA'S NINETIETH BIRTHDAY AND IN RECOGNITION OF HIS BROAD AND ENDURING ACHIEVEMENT IN SCULPTURE, THE ALBRIGHT-KNOX ART GALLERY MOUNTED ROBERT INDIANA: A SCULPTURE RETROSPECTIVE IN SUMMER 2018. THE EXHIBITION THEN TRAVELED TO THE TAMPA MUSEUM OF ART, ITS ONLY OTHER VENUE. HAVING GAINED INTERNATIONAL PROMINENCE IN THE EARLY 1960S, INDIANA (B. ROBERT CLARK IN 1928) CREATED SOME OF THE WORLD'S MOST RECOGNIZED WORKS OF ART. POPULATED WITH INTENSELY PERSONAL COMBINATIONS OF UNIVERSAL SYMBOLS-LETTERS AND NUMBERS, STARS AND WHEELS-HIS ARTWORK IS CLOSELY ASSOCIATED WITH THE POP ART MOVEMENT. INDIANA'S WORK IN SCULPTURE OFFERS A UNIQUE OPPORTUNITY TO CONSIDER THE PARADOXES INHERENT IN HIS PRACTICE OF CREATING OBJECTS OF SIGNIFICANCE AND PERMANENCE FROM UNIVERSAL EMOTIONS AND MATERIAL. MUCH OF INDIANA'S SCULPTURE HAD NEVER BEEN PUBLICLY EXHIBITED IN THE UNITED STATES, AND SOME OF THE MOST EXTRAORDINARY EXAMPLES OF HIS CAREER-DEFINING AND ICONIC LOVE SCULPTURE HAVE NEVER BEEN SHOWN ANYWHERE. ROBERT INDIANA: A SCULPTURE RETROSPECTIVE OFFERS A THOROUGH SURVEY OF THE ARTIST'S WORK IN SCULPTURE, FROM HIS EARLIEST ASSEMBLAGES FROM THE LATE 1950S TO HIS MOST RECENT SERIES OF REMARKABLE PAINTED BRONZES. THIS EXHIBITION WAS ORGANIZED BY THE ALBRIGHT-KNOX ART GALLERY, BUFFALO, NY. |
| FORM 990, PART III, LINE 4A, CONTINUED: | THE MUSEUM WAS ALSO PROUD TO HAVE PRESENTED A WIDE RANGE OF EDUCATION OPPORTUNITIES TO THE PUBLIC. WITH A STRONG EMPHASIS ON EDUCATING THE PUBLIC ABOUT MODERN, CONTEMPORARY AND ANCIENT ART, 2018 PROGRAMS AT THE MUSEUM INCLUDED TWO EXHIBITIONS DEDICATED TO ANCIENT GREEK AND ROMAN ART AND ELEVEN MODERN AND CONTEMPORARY CURATED EXHIBITIONS INFORMING CONTENT OF A DOZEN MONTHLY EDUCATION PROGRAM OFFERINGS, TOGETHER REPRESENTING CLOSE TO 200 INDIVIDUAL EDUCATION OPPORTUNITIES DURING THE COURSE OF THE YEAR. TO ENHANCE THE VOICE OF THE STAFF, 25% OF THE EXHIBITIONS WERE LEASED FROM AND CURATED BY NATIONALLY RECOGNIZED INSTITUTIONS AND THEIR STAFF, 20 PROFESSIONAL TEACHING ARTISTS WERE EMPLOYED TO INSTRUCT STUDIO ART CLASSES, AND AROUND 20 GUEST SCHOLARS, ARTISTS, AND COLLECTORS WERE ENGAGED TO SHARE SPECIALIZED INSTRUCTION AND INFORMATION IN FORMAL AND INFORMAL PUBLIC PRESENTATIONS. IN CARRYING OUT OUR MISSION, REACHING OUR OBJECTIVES AND PROVIDING ACTIVITIES TO THE COMMUNITY, THE MUSEUM PARTNERS WITH ARTS AGENCIES AND COMMUNITY NON-PROFITS ORGANIZATIONS. IN 2018, THE MUSEUM ENJOYED PARTNERSHIPS WITH THE TAMPA BAY FOUNDATION FOR MENTAL HEALTH AND THE UNIVERSITY OF SOUTH FLORIDA HONORS COLLEGE FOR CONNECTIONS, A FREE MENTAL HEALTHCARE COMMUNITY ART ENGAGEMENT PROGRAM. THAT PROGRAM GREW FROM 84 PARTICIPANTS AND 7 STUDENT FACILITATORS TO 535 PARTICIPANTS REPRESENTING THE COMMUNITY AND 16 NON-PROFIT AND FOR PROFIT COMMUNITY PARTNERS. IN ADDITION, CONNECTIONS BECAME A CREDITED CAPSTONE COURSE IN THE HONORS COLLEGE OF USF AND IN 2018 THE MUSEUM TRAINED 40 STUDENT FACILITATORS TO DELIVER GALLERY PROGRAMS TO COMMUNITY PARTICIPANTS, AND USF INVESTED IN A HALF-TIME TWENTY-HOUR A WEEK INTERN TO WORK AT THE MUSEUM TO ADMINISTER THE CONNECTIONS PROGRAM. INTERNSHIPS WERE ALSO ONGOING AS A RESULT OF A RELATIONSHIP WITH THE UNIVERSITY OF TAMPA (UT). IN 2018, THE UNIVERSITY OF TAMPA GENEROUSLY FUNDED A HALF-TIME SOCIAL MEDIA INTERNSHIP FOR A STUDENT TO WORK IN THE MUSEUM'S MARKETING AND COMMUNICATIONS DIVISION. IN ADDITION, ART THERAPY STUDENTS AT UT ASSISTED THE MUSEUM IN PROVIDING ART SPACE, AN ART EDUCATION OUTREACH PROGRAM FOR THOSE ECONOMICALLY IF NOT ENVIRONMENTALLY DISADVANTAGED, WE WORKED WITH THE SPRING, WHICH PROVIDES SUPPORT FOR VICTIMS OF DOMESTIC VIOLENCE; REDEFINING REFUGE, WHICH PROVIDES SUPPORT FOR VICTIMS OF HUMAN TRAFFICKING; AND PORTICO, A BRANCH OF THE HYDE PARK METHODIST CHURCH PROVIDING SERVICES TO THE HOMELESS IN DOWNTOWN TAMPA. THE MUSEUM ALSO CONTINUED THEIR PARTNERSHIP WITH THE LIGHTNING FOUNDATION AND THE VINIK FAMILY FOUNDATION IN OUR YOUTH COUNCIL AND THE COMMUNITY HEROES PROGRAM, WHICH PROVIDED TEENAGERS WORK EXPERIENCE IN TEACHING OTHER TEENS HOW TO DEVELOP, MANAGE, AND MARKET MUSEUM PROGRAMS FOR TEENAGERS. MONDAY MEDITATION TOOK PLACE AT THE MUSEUM IN PARTNERSHIP WITH THE PARBAWATIYA KADAMPA BUDDHIST CENTER. THE STUDIO ART PROGRAM AT THE MUSEUM IN 2018 CONTINUED ITS PARTNERSHIP WITH THE CITY OF TAMPA AND HILLSBOROUGH COUNTY AND THE JEWISH COMMUNITY CENTER TO OFFER OFFSITE CLASSES AT THE JCC FOR YOUTH AND ADULTS. IN 2018 THE OFF-SITE STUDIO ART PROGRAMS EXPANDED TO WINTHROP ARTS FACTORY IN RIVERVIEW, FIREHOUSE CULTURAL CENTER IN RUSKIN, AND COUNTY RECREATION CENTERS IN THONOTOSASSA, WEST CHASE AND KEYSTONE. THESE WERE BUT A FEW OF THE ANNUAL PARTNERSHIPS IN PLACE IN 2018. THE MUSEUM OFFERED FREE, DOCENT-LED TOURS OF MUSEUM EXHIBITIONS TO ALL HILLSBOROUGH COUNTY SCHOOLS, ADULTS AND SENIORS. TEACHER PREVIEWS WERE HELD TWICE IN 2018 AND TEACHERS FROM ALL OVER THE COUNTY WERE INVITED INTO THE MUSEUM FOR FREE, TO SEE HOW THE ART CAN BE INCORPORATED INTO THEIR CLASSROOM EXPERIENCE; THESE PROGRAMS WERE DESIGNED TO BE CROSS-CURRICULAR LINKED TO FLORIDA STANDARDS. A NEW MUSEUM FUNDED RESOURCE, ART LINE OFFERED FREE BUS TRIPS TO AND FROM THE TAMPA MUSEUM OF ART FOR K-12 SCHOOL GROUPS PARTICIPATING IN OUR FREE SCHOOL TOURS PROGRAM, EACH SUBSIDIZED AND SPONSORED BY INDIVIDUALS AND CORPORATIONS. THE MUSEUM OFFERED EVENING LECTURES AND PANEL DISCUSSIONS RELATED TO EXHIBITIONS ON DISPLAY AND THE MUSEUM HOSTED INFORMAL "THIRTY ON THURSDAY" PROGRAMS, WHICH HIGHLIGHT CURRENT EXHIBITIONS AND ARTISTS. YOUTH COUNCIL AND EVENTS LAUNCHED IN THE WINTER AND RAN THROUGH THE FALL OF 2018; THIS UNIQUE PROGRAM ESTABLISHED IN 2016 FOR TEENS IN HILLSBOROUGH COUNTY FOCUSES ON LEADERSHIP, CREATIVITY AND THE ARTS AND CULTURE INDUSTRY. YOUTH EVENTS WERE DIVERSE IN OFFERING, DESIGNED AND COORDINATED IN CONSULTATION WITH THE YOUTH COUNCIL, A GROUP OF 12 HIGH SCHOOL STUDENTS SELECTED THROUGH AN APPLICATION PROCESS. IN THE SPRING OF 2018, THE YOUTH COUNCIL JURIED AND HOSTED ITS SECOND ANNUAL TEEN JURIED FILM FESTIVAL, FEATURING 20 SELECTED FILMS BY OVER 200 OF OUR REGION'S TEEN SUBMISSIONS, A TEEN JURIED ART EXHIBITION, A POETRY SLAM AND INFORMAL TEEN NIGHTS AT THE MUSEUM. ART ON THE HOUSE CONTINUED TO BE HELD EVERY THURSDAY, WHEN THE MUSEUM OFFERED PAY-AS-YOU-WILL ADMISSION TO ALL VISITORS FROM 4 TO 8 P.M. ON THE LAST FRIDAY OF EACH MONTH, THE MUSEUM ALSO PARTICIPATED IN DOWNTOWN TAMPA'S "FOURTH FRIDAY" PROGRAM, IN WHICH VISITORS ATTENDED DOWNTOWN ARTS AND CULTURAL VENUES THAT EXTENDED THEIR HOURS AND OFFER FREE OR SPECIAL ADMISSIONS. ART SPOT, A SATURDAY MORNING FREE DROP-IN PROGRAM OFFERED CHILDREN AND THEIR FAMILIES THE OPPORTUNITY TO EXPLORE THEIR OWN CREATIVITY BY VISITING THE GALLERIES AND CREATING ART RELATED TO THE EXHIBITION. ART SPOT WAS ALWAYS TIED DIRECTLY TO THE EXHIBITIONS ON VIEW. THREE FAMILY FREE DAYS SCHEDULED SATURDAYS DURING THE YEAR OFFERED FAMILY ACTIVITIES AND DOCENT-LED TOURS, LIVE ENTERTAINMENT, AND PAY-AS-YOU-WILL ADMISSION (BY INDIVIDUAL DONATION OR FREE) TO FAMILIES IN ORDER FOR THEM TO ENJOY A MEANINGFUL ART EXPERIENCE TOGETHER. STUDIO ART AND SUMMER ART CAMPS TRANSFORMED OUR CLASSROOMS INTO A LAB FOR STUDENTS TO LEARN ABOUT AND EXPERIMENT WITH DIFFERENT ART TECHNIQUES IN 17 HALF-DAY PROGRAMS. SOME OF THE SUMMER ART CAMPS WERE SPECIFICALLY TIED DIRECTLY TO EXHIBITIONS ON VIEW TO INSPIRE TECHNIQUE, CONTENT, OR THEME. ART SPACE, FOR OVER ELEVEN YEARS IS A PARTNERSHIP PROGRAM WITH COMMUNITY ORGANIZATIONS TO PROVIDE QUALITY ENGAGEMENT WITH THE VISUAL ARTS TO ECONOMICALLY AND ENVIRONMENTALLY DISADVANTAGED POPULATIONS. IN 2018, ART SPACE WAS HELD 46 TIMES FOR STUDENTS AND THEIR FAMILIES. FINALLY, WITH CONNECTIONS, THE MUSEUM WELCOMED THOSE STRUGGLING WITH MENTAL HEALTH ISSUES SUCH AS ANXIETY, DEPRESSION, ALZHEIMER'S AND DEMENTIA TO VISIT THE MUSEUM WITH THEIR FAMILY FOR FREE DURING DESIGNATED DATES AND TIMES THROUGHOUT THE YEAR. GUESTS PARTOOK IN SPECIALIZED GALLERY TOURS AND ENGAGED IN CONVERSATIONS ABOUT ART FACILITATED BY MUSEUM STAFF TRAINED STUDENT-DOCENTS FROM UNIVERSITY OF SOUTH FLORIDA'S HONORS COLLEGE. ALL 56 SESSIONS HELD IN 2018 FEATURED DISCUSSIONS IN THE GALLERY DEVELOPED FROM EXHIBITION CONTENT. NEW IN 2018 WAS THE PROGRAM MUSIC AT THE MUSEUM, A PARTNERSHIP WITH THE UNIVERSITY OF TAMPA'S MUSIC DEPARTMENT. EVERY FIRST WEDNESDAY OF THE MONTH, PERFORMING ARTISTS, OPERA, JAZZ, THEATRE AND MUSIC STUDENTS PERFORMED AT THE MUSEUM BETWEEN SEPTEMBER AND MAY. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE FINANCE COMMITTEE OF THE BOARD OF TRUSTEES APPROVES THE FORM 990 BEFORE IT IS FILED. |
| FORM 990, PART VI, SECTION B, LINE 12C | ANNUALLY, THE MUSEUM SENDS THE CONFLICT OF INTEREST POLICY TO EACH BOARD MEMBER, WITH THE REQUIREMENT THAT IT MUST BE SIGNED AND RETURNED TO THE ORGANIZATION WITHIN 30 DAYS OF THE BOARD MEMBER'S RECEIPT OF POLICY. SERVICE ON THE BOARD IS CONTINGENT UPON THE COMPLETION OF THE FORM. |
| FORM 990, PART VI, SECTION B, LINE 15 | THE EXECUTIVE COMMITTEE OF THE BOARD OF TRUSTEES ANNUALLY EVALUATES THE PERFORMANCE OF THE EXECUTIVE DIRECTOR IN PERSON AND PROVIDES THEM WITH FEEDBACK FROM THE EXECUTIVE COMMITTEE AND THE ENTIRE BOARD OF TRUSTEES RECEIVED DURING THE COURSE OF THE YEAR. COMPENSATION IS DETERMINED BY THE EXECUTIVE COMMITTEE AND IS BASED ON PERFORMANCE AND AN ANALYSIS OF COMPENSATION PAID FOR SIMILAR POSITIONS IN SIMILAR ORGANIZATIONS AS DETERMINED BY THE EXECUTIVE COMMITTEE. |
| FORM 990, PART VI, SECTION C, LINE 18 | THE MUSEUM MAKES ITS FORM 990 AVAILABLE TO THE PUBLIC UPON REQUEST AND ON THEIR WEBSITE. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE MUSEUM ALLOWS THE PUBLIC TO VIEW ITS FORM 990 AND FINANCIAL STATEMENTS ON THEIR WEBSITE. |
| FORM 990, PART XII, 2C, FINANCIAL STATEMENTS AND REPORTING: | THE PROCESS FOR OVERSIGHT OF THE AUDIT AND SELECTION OF AN INDEPENDENT ACCOUNTANT HAS NOT CHANGED FROM THE PRIOR YEAR. |
| Software ID: | |
| Software Version: |