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 | |||||
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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.") .. | 463,034 | 782,008 | 716,340 | 652,729 | 548,464 | 3,162,575 |
| 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 | 463,034 | 782,008 | 716,340 | 652,729 | 548,464 | 3,162,575 |
| 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).. | 328,708 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 2,833,867 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 463,034 | 782,008 | 716,340 | 652,729 | 548,464 | 3,162,575 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 230,528 | 302,221 | 393,278 | 497,601 | 785,393 | 2,209,021 |
| 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.).. | 1,103 | 1,205 | 11,085 | 57 | 6,952 | 20,402 |
| 11 | Total support. Add lines 7 through 10 | 5,391,998 | |||||
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): |
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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 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, PROGRAM SERVICE ACCOMPLISHMENTS: | THE DOMESTIC PLANE: NEW PERSPECTIVES ON TABLETOP ART OBJECTS WAS AN EXHIBITION IN FIVE CHAPTERS-ORGANIZED BY FIVE CURATORS WITH 151 INDIVIDUAL WORKS BY 83 ARTISTS-THAT FEATURED TABLETOP OBJECTS FROM THE PAST SIXTY YEARS ACROSS THE FIELDS OF ART AND CRAFT. BESIDES ALDRICH CURATORS RICHARD KLEIN AND AMY SMITH-STEWART, GUEST CURATORS INCLUDED BERLIN-BASED ARTIST DAVID ADAMO, DAKIN HART, CURATOR AT THE NOGUCHI MUSEUM IN NYC, AND ELIZABETH ESSNER, FELLOW AT THE CENTER FOR CRAFT CREATIVITY & DESIGN IN NYC. THE EXHIBITION WAS ACCOMPANIED BY A 182 PAGE HARDCOVER BOOK, CO-PUBLISHED AND DISTRIBUTED BY GREGORY R. MILLER & CO. HELENA HERNMARK: WEAVING IN PROGRESS FEATURED THE WORK OF ONE OF THE MOST IMPORTANT CONTEMPORARY FIGURES IN THE EVOLVING HISTORY OF WOVEN TAPESTRIES, HELENA HERNMARCK. WEAVING IN PROGRESS WAS A UNIQUE EXHIBITION NOT ONLY FOR THE ARTIST, BUT FOR THE ALDRICH. FOR THE THREE MONTHS THE EXHIBITION WAS ON VIEW HERNMARCK MOVED HER PRACTICE TO THE MUSEUM, WITH THE GALLERY SPACE NOT ONLY EXHIBITING A SERIES OF RECENT WORKS, BUT ALSO FUNCTIONING AS A WEAVING STUDIO WHERE A TAPESTRY WAS PRODUCED IN FRONT OF MUSEUM VISITORS. THE ARTIST AND HER ASSISTANT MAE COLBURN WERE ON SITE THREE OR FOUR DAYS A WEEK AND PRODUCED A SIX-FOOT SQUARE TAPESTRY OVER THE COURSE OF THE EXHIBITION. THE FINISHED TAPESTRY WAS PUT ON VIEW AT THE CULMINATION OF THE SHOW IN JANUARY. THE EXHIBITION WAS ACCOMPANIED BY A 24 PAGE ILLUSTRATED CATALOGUE FEATURING AN ESSAY BY COLBURN. THE EXHIBITION HOW ART CHANGED THE PRISON: THE WORK OF THE CPA PRISON ARTS PROGRAM OPENED ON JANUARY 27TH AND RAN THROUGH MAY 27TH. THE SHOW FEATURED VISUAL ART MADE IN CONNECTICUT'S CORRECTIONAL INSTITUTIONS OVER THE PAST SEVERAL DECADES, BORROWED FROM CURRANT INMATES, FORMER INMATES, PRIVATE COLLECTIONS, AND FROM THE PERMANENT COLLECTION OF THE PRISON ARTS PROGRAM, WHICH IS PART OF COMMUNITY PARTNERS IN ACTION (CPA), A NON-PROFIT AGENCY THAT FOCUSES ON BEHAVIORAL CHANGE OF BOTH CURRENT INMATES AND PAST INMATES OF CONNECTICUT'S PRISON SYSTEM. ORGANIZED BY JEFFREY GREENE, WHO HAS BEEN WITH THE PROGRAM FOR 27 YEARS, THE EXHIBITION INCLUDED THE WORK OF 34 ARTISTS, REPRESENTING SIX OF THE STATE'S FIFTEEN CORRECTIONAL INSTITUTIONS. ORIGINALLY NAMED THE PRISONERS' FRIENDS SOCIETY, CPA WAS FOUNDED IN HARTFORD IN 1875 BY A GROUP OF NOTABLE CITIZENS INTERESTED IN SOCIAL REFORM, INCLUDING SAMUEL CLEMENS. THE CPA PRISON ARTS PROGRAM IS ONE OF THE OLDEST IN THE US, AND THE EXHIBITION AT THE ALDRICH MARKED THE FIRST TIME THE WORK OF THE PROGRAM WAS PRESENTED IN A MUSEUM ENVIRONMENT. THE SHOW WAS ACCOMPANIED BY A 36-PAGE ILLUSTRATED CATALOGUE WITH AN ESSAY AND TEXTS ON EACH ARTIST BY GREENE. THE DISPLAY CASES AND SCULPTURE BASES IN THE EXHIBITION WHERE PRODUCED BY INMATES WORKING IN THE WOODSHOP OF THE CHESHIRE CORRECTIONAL INSTITUTE. WITH INSTALLATION THAT BEGUN ON MAY 10TH AND CONTINUED THROUGH JUNE 14TH, THE ALDRICH BEGAN ITS REVITALIZATION OF ITS SCULPTURE GARDEN WITH THE SITING OF FOUR MAJOR OUTDOOR WORKS THAT ARE SLATED TO REMAIN ON SITE UNTIL APRIL OF 2020. THE FOUR WORKS INCLUDE RADCLIFFE BAILEY'S VESSEL, A 3,000 LB. STEEL SCULPTURE WITH AN INTERIOR CHAMBER ANIMATED BY A SOUNDTRACK CREATED IN COLLABORATION WITH THE MUSICIAN OKORIE JOHNSON. INSTALLED IN FRONT OF THE MUSEUM ADJACENT TO RIDGEFIELD'S MAIN STREET THE WORK ENCOURAGES PEDESTRIANS TO ENTER WHERE THEY ARE ENGULFED IN THE SOUNDTRACK WHILE GAZING AT CONCH SHELL DRAMATICALLY SILHOUETTED AGAINST THE SKY; TOM FRIEDMAN'S HAZMAT LOVE, CAST STAINLESS STEEL SCULPTURE OF TWO FIGURES-DEPENDING ON YOUR POINT OF VIEW-EITHER FIGHTING OR DANCING. THE WORK WAS INSTALLED ON THE FRONT ENTRY TERRACE WHERE IT GREETS ALL MUSEUM VISITORS; TONY TASSET'S DEER, IS A HUGE, HYPER-REALISTIC WORK TWELVE FEET HIGH AND TWENTY FEET LONG THAT DEPICTS A WHITE TAILED DEER. DEER WAS INSTALLED IN A GLADE IN THE REAR OF THE SCULPTURE GARDEN WHERE VISITORS COME UPON IT BY SURPRISE; AND NARI WARD'S APOLLO/POLL, A TWENTY-FOOT TALL REINTERPRETATION OF HARLEM'S ICONIC APOLLO THEATER'S NEON SIGN, MOUNTED ON A TWENTY SIX FOOT TALL STEEL TOWER. THE WORK, ILLUMINATED FROM 9:00 IN THE MORNING TO 8:00 AT NIGHT, ALTERNATELY FLASHES THE WORDS APOLLO AND POLL, REFERENCING BOTH THE THEATER AND THE HISTORY OF AFRICAN-AMERICAN VOTING RIGHTS. THE EXHIBITIONS HARMONY HAMMOND: MATERIAL WITNESS, FIVE DECADES OF ART AND N. DASH, BOTH OPENED ON MARCH 3RD AND RAN THROUGH SEPTEMBER 15TH. HARMONY HAMMOND: MATERIAL WITNESS, FIVE DECADES OF ART WAS THE FIRST MUSEUM SURVEY EXHIBITION OF THE WORK OF THE TRAILBLAZING ARTIST, FEMINIST AND LESBIAN SCHOLAR, CURATOR, ACTIVIST AND AUTHOR HARMONY HAMMOND. SPANNING ALMOST FIFTY YEARS, 1971 TO 2018, THE EXHIBITION BROUGHT TOGETHER HER EARLIEST PAINTED SCULPTURES AND SCULPTED PAINTINGS, MIXED- MEDIA AND MONUMENTAL "INSTALLATIONAL" PAINTINGS OF THE 1980S AND 1990S, AND RECENT THICKLY PAINTED NEAR MONOCHROMES, AS WELL AS WORKS ON PAPER, EPHEMERA, AND PUBLICATIONS. FILLING APPROXIMATELY 4,000 SQ. FT. OF THE MUSEUM'S GALLERY SPACE, THE EXHIBITION INCLUDED 33 INDIVIDUAL WORKS, WITH LOANS COMING FROM THE WHITNEY MUSEUM OF AMERICAN ART AND THE EVERSON MUSEUM OF AMERICAN ART. THE EXHIBITION WAS ACCOMPANIED BY A 138-PAGE BOOK, CO-PUBLISHED WITH GREGORY MILLER AND CO. AND DISTRIBUTED BY D.A.P. THE SHOW IS TRAVELING IN MARCH OF 2020 TO THE SARASOTA ART MUSEUM IN FLORIDA. N. DASH WAS THE FIRST SOLO MUSEUM EXHIBITION ON THE EAST COAST OF THIS NEW YORK-BASED ARTIST WHO MAKES HYBRID WORKS THAT SPAN PAINTING, SCULPTURE, DRAWING AND PHOTOGRAPHY. THE EXHIBITION INCLUDED ALL NEW WORK BY THE ARTIST AND WAS DIRECTLY SUPPORTED BY PRODUCTION FUNDING PROVIDED BY THE ALDRICH. DASH'S WORK EMPLOYS BOTH NATURAL AND MANMADE MATERIALS, INCLUDING PIGMENTS, ADOBE/MUD, JUTE, GRAPHITE, FABRIC, STRING, STYROFOAM, AND FOUND OBJECTS. THE EXHIBITION WAS PRESENTED IN THE MUSEUM'S LEIR GALLERY AND INCLUDED ELEVEN WORKS. AN EXPANDED VERSION OF THE SHOW WAS PRESENTED AT MUSEUM OF CONTEMPORARY ART, SANTA BARBARA IN NOVEMBER, 2019. THE EXHIBITION SARA CWYNAR: GILDED AGE OPENED ON JUNE 9TH AND RAN THROUGH NOVEMBER 10TH, 2019. FILLING THE MUSEUM'S OPATRNY AND SOUND GALLERIES, IT FEATURED TWENTY OF THE ARTIST'S LARGE-SCALE PHOTOGRAPHS, FOUR OF THE ARTIST'S VIDEO WORKS, AN INSTALLATION OF THE ARTIST'S CUSTOM-PRODUCED WALLPAPER, AND AN ARTIST'S BOOK. WITH A BACKGROUND IN VISUAL DESIGN AND COMMERCIAL PHOTOGRAPHY, CWYNAR PRACTICE IS CENTERED ON THE POWER DYNAMICS DWELLING INSIDE DESIGNED IMAGES. APPROPRIATING IMAGERY THAT RANGES FROM ART HISTORY TO ADVERTISING, THE ARTIST'S WORK EXISTS AT THE INTERSECTION OF MARKETING, BEAUTY AND DESIRE. GILDED AGE WAS THE FIRST SOLO MUSEUM EXHIBITION OF THE ARTIST'S WORK ON THE EAST COAST AND WAS ACCOMPANIED BY A 22-PAGE ILLUSTRATED CATALOGUE THAT FEATURED AN INTERVIEW WITH THE ARTIST. THE EXHIBITIONS EVA LEWITT: UNTITLED (MESH A -J) AND WEATHER REPORT BOTH OPENED ON OCTOBER 6TH, 2019 AND WILL RUN THROUGH APRIL OF 2020. EVA LEWITT: UNTITLED (MESH A - J) WAS THE ARTIST'S FIRST SOLO MUSEUM EXHIBITION, AS WELL AS HER LARGEST SITE-SPECIFIC INSTALLATION DONE TO DATE. SPANNING THE FOUR WALLS OF THE MUSEUM'S LEIR GALLERY, LEWITT'S INSTALLATION TRANSFORMED THE SPACE VIA NINE CUMULATIVE HANGING LAYERS OF COLORED INDUSTRIAL MESH, ENVELOPING THE VIEWER IN A SYMMETRICAL, NAVE-LIKE ENVIRONMENT THAT PULSED WITH MOIR EFFECTS DUE TO THE OVERLAPPING LAYERS OF SEMI-TRANSPARENT MATERIAL. SUPPORTED BY PRODUCTION FUNDS PROVIDED BY THE MUSEUM, THE INSTALLATION WAS PARTICULARLY COMPLEX, INVOLVING BOTH A TEAM THAT WORKS WITH THE ARTIST AND THE ALDRICH'S PREPATORY STAFF. UNTITLED (MESH A-J) WAS ACCOMPANIED BY THE ARTIST'S FIRST PUBLICATION, A TWENTY-PAGE ILLUSTRATED CATALOGUE WITH AN ESSAY BY THE MUSEUM'S CHIEF CURATOR, AMY SMITH-STEWART. WEATHER REPORT WAS A LARGE GROUP EXHIBITION THAT PRESENTED THE WORK OF TWENTY-ONE DIVERSE, INTERNATIONAL ARTISTS AND THREE RESEARCHERS THAT EXPLORED THE WAY CONTEMPORARY ARTISTS REFERENCE WEATHER AND THE EARTH'S ATMOSPHERE THROUGH SCULPTURE, PAINTING, DRAWING, INSTALLATION, AND VIDEO. WORKS INCLUDED IN THE EXHIBITION MANIFESTED PHENOMENON SUCH AS CLOUDS, WIND, RAIN, SNOW, TEMPERATURE EXTREMES, STORMS, AND SEASONALITY, WHILE OTHERS APPROACHED SUBJECTS THAT INCLUDED THE EMOTIONAL EFFECTS OF WEATHER, WEATHER AS A METAPHOR FOR TURMOIL AND CHANGE, GLOBAL WARMING, WEATHER'S IMPACT ON HISTORY AND POLITICS, WEATHER FORECASTING, AND THE RELATIONSHIP BETWEEN THE ATMOSPHERE AND BIOLOGICAL PROCESSES. COLLABORATIVE PARTNERS INCLUDED THE METEOROLOGY DEPARTMENT AT WESTERN CONNECTICUT STATE UNIVERSITY, DANBURY, AMANDA BUNCE, A RESEARCHER AT THE STORMWISE GROUP AT THE UNIVERSITY OF CONNECTICUT, AND UCONN'S DIGITAL EXPERIENCE LAB. A 40-PAGE ILLUSTRATED CATALOGUE ACCOMPANIED THE EXHIBITION. |
| FORM 990, PART III, LINE 4A, PROGRAM SERVICE ACCOMPLISHMENTS CONT: | THE EXHIBITION ZOE SHEEHAN SALDANA: THERE MUST BE SOME WAY OUT OF HERE OPENED ON NOVEMBER 24TH OF 2019 AND RAN THROUGH MAY 24TH OF 2020. GUEST CURATED BY CRAFT SCHOLAR, CURATOR, AND WRITER GLENN ADAMSON, THERE MUST BE SOME WAY OUT OF HERE WAS THE FIRST SOLO MUSEUM EXHIBITION OF THIS NEW YORK-BASED ARTIST WHOSE WORK IS AN EXTENDED MEDITATION ON THE ANXIOUS, SOMETIMES HYSTERICAL TENOR OF CONTEMPORARY LIFE. EITHER BY TEACHING HERSELF, OR BY COLLABORATING WITH EXPERTS, SHEEHAN SALDANA MAKES COMMON, INDUSTRIAL PRODUCED ITEMS FROM SCRATCH, INCLUDING "STRIKE ANYWHERE" MATCHES, STRAIGHT PINS, COTTON HAND TOWELS, LIFE PRESERVERS, INTERIOR WALL PAINT, AND HAND SANITIZER, BLURRING THE BOUNDARIES BETWEEN ART, CRAFT, AND COMMERCIAL MANUFACTURING. THE EXHIBITION INCLUDED 30 WORKS BY THE ARTIST, DATING FROM 2007 TO THE PRESENT, AND WAS SUPPORTED BY FUNDS PROVIDED BY THE MUSEUM FOR PRODUCTION OF SEVERAL NEW WORKS. A 40-PAGE ILLUSTRATED CATALOGUE WITH AN ESSAY BY GLENN ADAMSON ACCOMPANIED THE EXHIBITION. |
| FORM 990, PART III, LINE 4C, PROGRAM SERVICE ACCOMPLISHMENTS: | HOW ART CHANGED THE PRISON WITH JEFFREY GREEN-A PANEL DISCUSSION WITH CPA PROGRAM MANAGER AND EXHIBITION CURATOR JEFFREY GREENE, SISTER JERILYN HUNIHAN, APOSTLE OF THE SACRED HEART OF JESUS AND PRISON CHAPLAIN FOR THE CT DEPARTMENT OF CORRECTION, JUDGE MAUREEN PRICE-BORELAND, CONNECTICUT SUPERIOR COURT JUDGE AND FORMER EXECUTIVE DIRECTOR OF COMMUNITY PARTNERS IN ACTION [CPA] AND FORMERLY-INCARCERATED EXHIBITING ARTISTS ROSS VONWEINGARTEN AND DANNY KILLION. THE DISCUSSION INTRODUCED THE IMPACT OF THE VISUAL ARTS FOR THOSE IN CONNECTICUT STATE CORRECTIONAL FACILITIES. MATERIAL OUTLAW, A CONVERSATION BETWEEN HARMONY HAMMOND AND JULIA BRYAN-WILSON-A CONVERSATION BETWEEN ARTIST HARMONY HAMMOND AND JULIA BRYAN-WILSON, AN AWARD-WINNING AUTHOR AND DISTINGUISHED ART HISTORIAN, DISCUSSING HAMMOND'S FIFTY-YEAR BODY OF WORK, HER INTENTION AND INSPIRATION, AND SPECIFIC PIECES WITHIN THE EXHIBITION. MATERIAL WITNESS PANEL- A CONVERSATION BETWEEN ARTIST HARMONY HAMMOND, ARTIST INDIRA ALLEGRA, AND ART HISTORIAN AND PROFESSOR TIRZA TRUE LATIMER AND MODERATED BY ELISSA AUTHOR, ASSOCIATE PROFESSOR AND WINDGATE RESEARCH AND COLLECTIONS CURATOR AT THE MUSEUM OF ARTS AND DESIGN. THE CONVERSATION WAS CENTERED AROUND MEANING IN ABSTRACT AND CONCEPTUAL ART AND HAMMOND'S MATERIAL-BASED PRACTICES. ARTISTS TALK ON COLOR - A CONVERSATION BETWEEN ARTISTS AND FORMALLY TRAINED DESIGNERS SARA CWYNAR AND SILAS MUNRO FOCUSED ON COLOR AND HOW IT IS LEVERAGED TO INFLUENCE US THROUGH MEDIA AND MARKETING AS A PERCEPTION STEEPED IN BIAS AND CO-OPTED BY INDUSTRIES. WEATHER REPORT: A SYMPOSIUM ON ART AND WEATHER - A CROSS-DISCIPLINARY SYMPOSIUM INVESTIGATING THE INTERSECTION OF ART AND WEATHER FEATURING PRESENTATIONS FROM RICHARD KLEIN (EXHIBITIONS DIRECTOR AT THE ALDRICH CONTEMPORARY ART MUSEUM), AMANDA BUNCE (FOREST MANAGEMENT RESEARCHER FROM UNIVERSITY OF CONNECTICUT), TODD FORREST (ARTHUR ROSS VICE PRESIDENT OF HORTICULTURE AND LIVING COLLECTIONS AT NEW YORK BOTANICAL GARDEN), KIM KEEVER (ARTIST IN WEATHER REPORT), COLIN MCMULLAN (ARTIST IN WEATHER REPORT), AND PAT PICKETT (ARTIST IN WEATHER REPORT). THE SYMPOSIUM INCLUDED CRAIG ALLEN, WCBS 880 RADIO METEOROLOGIST AS THE MASTER OF CEREMONIES AND WAS PRODUCED IN COLLABORATION WITH THE METEOROLOGY CLUB AT WESTERN CONNECTICUT STATE UNIVERSITY (WCSU), THE WCSU'S MACRICOSTAS SCHOOL OF ARTS & SCIENCES METEOROLOGY PROGRAM, AND THE NEW YORK CITY/LONG ISLAND CHAPTER OF THE AMERICAN METEOROLOGICAL SOCIETY. THIRD SATURDAYS - ON THE THIRD SATURDAY OF EACH MONTH, ADMISSION TO THE MUSEUM IS FREE. THE ALDRICH DEVELOPS COMMUNITY PROGRAMS FOR THIS DAY THAT EMPOWER VISITORS OF ALL AGES TO SEE AND THINK IN NEW WAYS. MUSEUM EDUCATORS DEVELOP FAMILY-FRIENDLY ART-MAKING ACTIVITIES, LEAD EXHIBITION TOURS, AND OFFER SPECIAL PERFORMANCES, ALL IN RESPONSE TO THE WORK ON VIEW. VISITORS OF ALL AGES EXPLORE IDEAS AND DEVELOP MEANING AROUND CONTEMPORARY ART AND CULTURE THROUGH THE DROP IN DISCUSSIONS, INTERDISCIPLINARY PROGRAMMING, PERFORMANCES, AND HANDS-ON WORKSHOPS WITH ARTISTS AND EDUCATORS. ATTENDANCE ON THIRD SATURDAYS RANGES BETWEEN 150 AND 250 VISITORS PER DAY FOR A TOTAL OF APPROXIMATELY 2,000 PEOPLE ANNUALLY. PUBLIC TOURS - THE ALDRICH HAS DEVELOPED CONSISTENT AND WELL ATTENDED PUBLIC TOURS RANGING FROM GENERAL EXHIBITION TOURS LED BY HIGHLY TRAINED EDUCATORS TO THEMATIC TOURS INTER-CONNECTING LITERARY, SCIENCE, ART THERAPY, AND OTHER INTERDISCIPLINARY EXPLORATION TO CURATOR LED TOURS. OUR CURATOR TOURS INCLUDE A GUIDED TOUR AND CONVERSATION WITH CURATOR, WRITER, AND HISTORIAN GLENN ADAMSON THROUGH THE EXHIBITION ZO SHEEHAN SALDAA: THERE MUST BE SOME WAY OUT OF HERE, AND AN IN DEPTH LOOK AT THE GROUP SHOW WEATHER REPORT WITH EXHIBITIONS DIRECTOR RICHARD KLEIN. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE 990 RETURN IS DISTRIBUTED (VIA EMAIL) TO THE FULL BOARD FOR REVIEW PRIOR TO FILING. |
| FORM 990, PART VI, SECTION B, LINE 12C | CONFLICT OF INTEREST POLICIES ARE SIGNED ANNUALLY BY ALL BOARD OF DIRECTOR MEMBERS AND ALL TRANSACTIONS ARE THROUGHLY REVIEWED FOR POTENTIAL ISSUES. |
| FORM 990, PART VI, SECTION B, LINE 15 | THE BOARD OF DIRECTORS HAS THE RESPONSIBILITY TO ANNUALLY REVIEW AND APPROVE THE EXECUTIVE DIRECTOR, OFFICERS AND KEY EMPLOYEES COMPENSATION, AND APPROVAL IS DOCUMENTED. THE BOARD REVIEWS COMPARABLE COMPENSATION FROM SIMILAR AREA NOT-FOR-PROFIT ORGANIZATIONS. |
| FORM 990, PART VI, SECTION C, LINE 19 | ALL GOVERNING DOCUMENTS, POLICIES, AND FINANCIAL STATEMENTS ARE AVAILABLE TO THE PUBLIC IMMEDIATELY AND AT NO COST UPON REQUEST. |
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