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.") .. | 194,289 | 244,447 | 368,785 | 386,185 | 367,125 | 1,560,831 |
| 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 | 194,289 | 244,447 | 368,785 | 386,185 | 367,125 | 1,560,831 |
| 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).. | ||||||
| 6 | Public support. Subtract line 5 from line 4. | 1,560,831 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 194,289 | 244,447 | 368,785 | 386,185 | 367,125 | 1,560,831 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 38,985 | 38,398 | 29,291 | 33,987 | 42,242 | 182,903 |
| 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 | 1,743,734 | |||||
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) |
||||
| 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 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. |
||||
| 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) |
||||
| 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 |
|---|
| Return Reference | Explanation |
|---|---|
| PART II, LINE 10 | NONE 0 |
| SUPPLEMENTAL INFORMATION | SCHEDULE A, PART II, SECTION A, LINE 1. AMOUNTS REPORTED IN PREVIOUS YEARS HAVE BEEN RESTATED TO CONFORM TO PRESENTATIONS ADOPTED IN 2019. |
| 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 | IN MEMORY: TOMI UNGERER (1931-2019). FRAME'S "CURATING A CULTURE OF RESPECT" PROGRAM WAS, SINCE ITS CREATION, UNDER THE PATRONAGE OF MR. TOMI UNGERER, FRENCH ARTISTS, WHO LIVED IN THE UNITED STATES FROM THE MID 1950'S TO THE END OF THE 1960'S AND WHO WAS AN IMPORTANT DONOR TO THE MUSEUMS OF STRASBOURG . TOMI UNGERER WAS A COMMITTED HUMANIST WHO STOOD UP THROUGHOUT HIS LIFE AGAINST HATRED, INJUSTICE, AND FOUGHT, THROUGH HIS ART, FOR TOLERANCE AND RESPECT. THOSE VALUES ARE AT THE HEART OF OUR PROGRAM. FORM 990: PART I, LINE 5. THE ORGANIZATION DOES NOT EMPLOY ANY INDIVIDUALS IN THE UNITES STATES. THE ORGANIZATION EMPLOYS ONE INDIVIDUAL IN FRANCE. |
| FORM 990, PAGE 1, PART I, LINE 6 | THE ORGANIZATION IS THE GRATEFUL RECIPIENT OF SIGNIFICANT SERVICES BY UNPAID VOLUNTEERS WHO HAVE MADE INVALUABLE CONTRIBUTIONS OF THEIR TIME AND TALENT TO AID THE ORGANIZATION IN ITS MISSION. PREDOMINANTLY, VOLUNTEERS PROVIDE SERVICES TO THE ORGANIZATION AS BOARD OR COMMITTEE MEMBERS. AS THE VALUE OF SUCH SERVICES IS NOT SUBJECT TO ACCURATE MEASUREMENT, THE VALUE OF THESE CONTRIBUTED SERVICES IS NOT REFLECTED HEREIN. |
| FORM 990, PAGE 2, PART III, LINE 4A | IN 2019, THE ORGANIZATION SPONSORED THE FOLLOWING PROGRAMS: "IN PRAISE OF EMOTION AND IN PRAISE OF SENSIBILITY" NANTES ARTS MUSEUM: IN PRAISE OF SENSIBILITY FEBRUARY 15 - MAY 13, 2019 FINE ARTS MUSEUM OF RENNES. IN PRAISE OF EMOTION AND IN PRAISE OF SENSIBILITY IS THE RESULT OF AN EXEMPLARY COOPERATION BETWEEN THE NANTES ARTS MUSEUM AND THE RENNES MUSEUM OF FINE ARTS. THE EXHIBITION IS SET UP AS A DIPTYCH (AN EXHIBITION AT EACH MUSEUM) THAT ESTABLISHES A PERFECT DIALOGUE BETWEEN THE WORKS FROM THESE COMPLEMENTARY COLLECTIONS. MANY OF THESE PAINTINGS ECHO OTHER WORKS HELD WITHIN THE FRAME NETWORK AND SHOW THE UNIVERSAL CULTURAL HERITAGE THAT CONSTITUTES THE COLLECTIONS OF HISTORICAL BRITTANY. THE EXHIBITION'S MAIN PURPOSE IS TO PROVIDE A DISCOVERY OF THE ENTIRE PICTORIAL PRODUCTION IN THE AGE OF ENLIGHTENMENT THROUGH THE PRISM OF EMOTION AND SENSIBILITY. RENNES' EXHIBITION FEATURES GREAT, ANCIENT, RELIGIOUS AND MYTHOLOGICAL HISTORY, WHILE NANTES FEATURES THE DIFFERENT GENRES, FROM GREAT FORMAL PORTRAITS TO DELICATE STILL LIVES. "NAPOLEON: POWER AND SPLENDOR" THE NELSON ATKINS MUSEUM OF ART OCTOBER 26, 2018 - THROUGH MARCH 3, 2019 THE MONTREAL MUSEUM OF FINE ARTS ORGANIZED AND CIRCULATED THIS MAJOR EXHIBITION THAT REVIVES THE SUMPTUOUS ATMOSPHERE OF NAPOLEON'S COURT SINCE HIS CORONATION, IN 1804, UNTIL HIS EXILE IN 1815, WITH THE PARTICIPATION OF THE NELSON ATKINS MUSEUM OF ART, THE MUSE NATIONAL DU CHTEAU DE FONTAINEBLEAU AND THE VIRGINIA MUSEUM OF FINE ARTS. THE EXHIBITION BRINGS TOGETHER MORE THAN 400 WORKS AND OBJECTS OF ART FROM SOME 50 PRESTIGIOUS LENDERS, INCLUDING THE LOUVRE MUSEUM, THE CHTEAU FONTAINEBLEAU, THE MOBILIER NATIONAL DE FRANCE, THE NATIONAL MUSEUM OF CASTLES OF MALMAISON AND BOISPRAU, THE METROPOLITAN MUSEUM OF ART, THE J. PAUL GETTY MUSEUM, THE HOUSTON MUSEUM OF FINE ARTS, AND THE ART INSTITUTE OF CHICAGO. 2019 ANNUAL CONFERENCE, THE NELSON ATKINS MUSEUM OF ART IN KANSAS CITY, MO FRAME'S 20TH ANNUAL CONFERENCE WAS HELD ON OCTOBER 30, 2019 THROUGH NOVEMBER 1, 2019 AT THE NELSON ATKINS MUSEUM OF ART IN KANSAS CITY, MO AND WAS ATTENDED BY 75 MEMBER MUSEUM DIRECTORS, CURATORS, EDUCATORS AND OTHER INTERESTED PARTICIPANTS. WORKSHOPS FOCUSED ON IDEAS FOR POTENTIAL NEW EXHIBITIONS, AND TURNKEY EXHIBITIONS SEEKING PARTNERS, AS WELL AS BEST PRACTICES PRESENTATIONS ON RESTORATION, AND OUTREACH TO TEEN AUDIENCES. SIMULTANEOUS TRANSLATORS FACILITATED THE EXCHANGE OF VIEWS AMONG THE GLOBAL PARTICIPANTS. 20TH ANNIVERSARY IN 2019, FRAME CELEBRATED ITS 20TH ANNIVERSARY BY PRODUCING A AND VIDEO AND A PUBLICATION TO DOCUMENT THE ORGANIZATION'S ACTIVITIES SINCE ITS INCEPTION. FRAME ALSO HOSTED RECEPTIONS IN PARIS AND AT THE NELSON ATKINS MUSEUM OF ART IN KANSAS CITY, MO. |
| FORM 990, PAGE 2, PART III, LINE 4B | FRAME FACILITATES EDUCATIONAL INITIATIVES BY MAKING THEIR RESOURCES AVAILABLE TO THE PUBLIC ON BOTH SIDES OF THE ATLANTIC. THE BI-LINGUAL FRAME INITIATIVES ARE INFORMED BY THE PERMANENT COLLECTIONS AT EACH OF THE MEMBER MUSEUMS. EDUCATIONAL PROGRAMS IN 2019, A TOTAL OF FOUR REGULAR EDUCATIONAL PROGRAMS WERE DEVELOPED BETWEEN FRAME MUSEUMS: CURATING A CULTURE OF RESPECT: A PROGRAM DEVELOPED SINCE 2014 WHOSE GOAL IS TO RAISE AWARENESS AND EVEN PREVENT VIOLENCE WHILE CONTRIBUTING TO BUILD RESPONSIBLE HUMAN BEHAVIOURS. THE MUSEUMS WHICH CONTRIBUTED TO THIS PROGRAM IN 2019 WERE: THE WADSWORTH ATHENEUM MUSEUM OF ART, HARTFORD; THE PALAIS DES BEAUX-ARTS OF LILLE; THE MUSE FABRE IN MONTPELLIER; THE MUSEUMS OF STRASBOURG; THE STERLING AND FRANCINE CLARK ART INSTITUTE, WILLIAMSTOWN. THE ART OF INCLUSION: A PROGRAM DEVELOPED SINCE 2016 WHOSE GOAL IS TO PROMOTE SOCIAL COHESION AND HELP TO DEVELOP SELF-CONFIDENCE AMONG PARTICIPANTS. THE MUSEUMS WHICH CONTRIBUTED TO THIS PROGRAM IN 2019 WERE: THE MUSE DES BEAUX-ARTS OF LYON; THE MUSE DES AUGUSTINS IN TOULOUSE. BRIDGES ACROSS BORDERS: A PROGRAM DEVELOPED SINCE 2015 THROUGH THE DISCOVERY AND KNOWLEDGE OF ART AND HERITAGE, THIS LANGUAGE PROGRAM GIVES THOUGHT TO GEOGRAPHICAL OR PSYCHOLOGICAL BORDERS BETWEEN COUNTRIES AND PEOPLE. THE MUSEUMS WHICH CONTRIBUTED TO THIS PROGRAM IN 2019 WERE: THE MUSE DES BEAUX-ARTS OF BORDEAUX; THE VIRGINIA MUSEUM OF FINE ARTS, RICHMOND; THE MUSE DES BEAUX-ARTS OF TOURS. PLEASE TOUCH: A TOURING TACTILE GALLERY DEVELOPED IN 2017 BY THE MUSE FABRE IN MONTPELLIER AND ADAPTED IN 2019 TO OTHER FRENCH FRAME MUSEUMS. A MAJOR GOAL OF THIS EDUCATIONAL EXHIBITION IS TO FOSTER SOCIAL TIES FOR BLIND PEOPLE AND EXPERIMENT NEW WAYS OF APPROACHING COLLECTIONS, ESPECIALLY SCULPTURE, BASED ON THE EXPERIENCE OF VISUAL IMPAIRED PEOPLE. THIS EXPERIENCE WAS PRESENTED AT THE MUSE DES BEAUX-ARTS OF LYON FROM APRIL 13 TO SEPTEMBER 22, 2019. THE OTHER FRAME MUSEUMS WHICH COOPERATED WITH LYON TO BUILD EDUCATIONAL DEVICES FOR THE SHOW WERE: THE MUSE DES BEAUX-ARTS OF BORDEAUX; THE PALAIS DES BEAUX-ARTS OF LILLE; THE MUSE D'ARTS IN NANTES; THE MUSEUMS OF ROUEN. IN ADDITION IN 2019, THE DALLAS MUSEUM OF ART, THE MONTREAL MUSEUM OF FINE ARTS AND THE PALAIS DES BEAUX-ARTS OF LILLE PARTNERED AND STARTED TO ELABORATE AN AUTISM SPECTRUM DISORDER PROTOCOL FOR MUSEUMS TO HOST THESE AUDIENCES IN THE BEST WAY. FRAME EDUCATION CONFERENCE IN MONTPELLIER FRAME'S ANNUAL EDUCATORS CONFERENCE WAS HELD ON JUNE 30, 2019 THROUGH JULY 3, 2019 AT THE MUSE FABRE IN MONTPELLIER AND WAS ATTENDED BY 29 MEMBER MUSEUM EDUCATORS FROM FRANCE AND THE UNITED STATES AND OTHER INTERESTED PARTICIPANTS. THE CONFERENCE PROMOTED CONVERSATIONS AND BEST PRACTICES EXCHANGES BETWEEN FRENCH AND AMERICAN EDUCATORS. WORKSHOPS WERE ORGANIZED TO TAKE STOCK TOGETHER ABOUT ACTIVITIES WHICH HAD BEEN DEVELOPED IN EACH FRAME EDUCATION PROGRAMS AND TO DEFINE DIRECTION TO TAKE IN THE FUTURE. THE CONFERENCE WAS HELD AT THE SAME MOMENT AS AN EDUCATION SYMPOSIUM ORGANIZED BY THE FRENCH MINISTRY OF CULTURE. ON THIS OCCASION, TWO AMERICAN COLLEAGUES FROM THE CLARK ART INSTITUTE, WILLIAMSTOWN AND FROM NEWFIELDS, INDIANAPOLIS MUSEUM OF ART TOOK PART IN A ROUND TABLE ABOUT "MUSEUMS AS THIRD PLACES". GIVERNY FRAME'S ANNUAL GIVERNY CONFERENCE PROMOTED SCHOLARLY CONVERSATIONS, OPEN DISCUSSIONS AND INCREASED KNOWLEDGE OF MEMBER MUSEUMS' PROGRAMS AND COLLECTIONS AND WAS HELD MAY 21-23, 2019. A GROUP OF APPROXIMATELY 30 PARTICIPANTS ATTENDED THE CONFERENCE. THE GROUP PARTICIPATED IN A VARIETY OF BREAKOUT SESSIONS ABOUT FRAME EXHIBITIONS UNDER DEVELOPMENT AND NEW IDEAS FOR EXHIBITIONS. |
| FORM 990, PAGE 2, PART III, LINE 4C | THE MUSEUMS OF THE CITY OF MARSEILLE WAS AWARDED 12,000 IN GRANT FUNDS FOR TRAVEL AND RESEARCH FUNDING FOR "SURREALISM IN AMERICAN ART," A MAJOR EXHIBITION SLATED FOR JUNE 2020 AT THE CENTRE DE LA VIEILLE CHARIT. CURATOR OF THE PROJECT: ERIC DE CHASSEY (PHD), PROFESSOR OF ART HISTORY, DIRECTOR OF THE FRENCH NATIONAL INSTITUTE OF ART HISTORY (INHA). THE EXHIBITION WILL OPEN IN MARSEILLE IN THE SUMMER OF 2020 IN COPRODUCTION WITH REUNION DES MUSEES NATIONAUX - GRAND PALAIS (RMN-GP). THE FOCUS OF THE EXHIBITION IS THE STORY OF HOW NEW YORK WAS INSPIRED BY THE MODERN ART OF PARIS. IN 1941-1942, MANY SUREALISTS HAD TO FLEE OUT OF EUROPE TO EVADE WWII. A GROUP OF EUROPEAN SURREALIST ARTISTS (MAX ERNST, WIFREDO LAM, ANDRE MASSON, ETC) ARRIVED FROM MARSEILLE AND PARTICIPATED IN THIS NEW ADVENTURE OF THE MIND. AMERICAN ART WAS PROVINCIAL UNTIL THE ARRIVAL OF EUROPEAN ARTISTS, IN PARTICULAR SURREALISTS. IMMIGRATING TO THE UNITED STATES, THEY FOSTERED THE EMERGENCE OF A NEW GENERATION OF LOCAL ARTISTS WHO BECAME THE FIRST REAL INTERNATIONAL AMERICAN ARTISTS, THE ABSTRACT EXPRESSIONISTS, AND THE FIRST GENERATION OF ABSTRACT EXPRESSIONISM WAS SUPERSEDED BY SUCCESSIVE MOVEMENTS - POP ART, MINIMAL ART, POST-MINIMAL ART AND CONCEPTUAL ART. THE EXHIBITION AIMS AT PROPOSING AN ALTERNATIVE HISTORY OF POSTWAR AMERICAN ART BY SHOWING HOW AMERICAN EXILE APPEARS MORE LIKE A NEW BEGINNING THAN THE END OF SURREALISM AND HOW SURREALISM CONTINUES TO EVOLVE THROUGH AMERICAN ABSTRACT WORKS. THIS JOINT PROJECT BETWEEN FRENCH AND AMERICAN MUSEUMS HIGHLIGHTS THE RICH HOLDINGS OF SURREALISM IN AMERICAN ART IN THESE MUSEUMS. THE EXHIBITION INVOLVED KEY LOANS FROM FRAME MEMBER MUSEUMS AND OTHER INSTITUTIONS, ALLOWING FOR VISUAL CONVERSATIONS BETWEEN IMPORTANT WORK FROM ACROSS THE US AND FRANCE. THE DENVER ART MUSEUM WAS AWARDED 10,630 TO SUPPORT ITS EXHIBITION "AMERICAN RESPONSES TO FRENCH ART: 1850 - 1920," TO BE PRESENTED OCTOBER 2021 TO FEBRUARY 2022. CURATOR: DR. TIMOTHY J. STANDRING, GATES FAMILY FOUNDATION CURATOR OF PAINTING & SCULPTURE. THE EXHIBITION EXPLORES THE MANNER IN WHICH AMERICAN ARTISTS COLLECTIVELY REACTED TO, ABSORBED, AND REJECTED FRENCH ARTISTIC APPROACHES WHILE LIVING AND WORKING IN FRANCE BETWEEN 1850 AND 1920. THIS SURVEY FOSTERS A THOROUGH INVESTIGATION OF THE RESPONSES THESE ARTISTS DEVELOPED FIRSTHAND IN A NOVEL SOCIAL AND CULTURAL MILIEU. BECAUSE OF IMPROVED TRANSPORTATION AND A DECLINE IN PROVINCIALISM IN THE U.S. AFTER THE AMERICAN CIVIL WAR, ARTISTS FLOCKED TO PARIS FOR THE CITY'S ANNUAL EXHIBITION OPPORTUNITIES, TO BE NOTICED BY CRITICS AND COLLECTORS, AND TO BENEFIT FROM THE OPPORTUNITY TO TRAIN AT THE ECOLE DES BEAUX-ARTS. MOREOVER, THE RENEWED APPRECIATION FOR SALON PAINTINGS SPREAD TO AMERICAN PATRONS WHO SOUGHT WORKS FROM AMERICAN MASTERS WHO EMULATED THEIR FRENCH CONTEMPORARIES. THE EXHIBITION FEATURES WORKS BY WHISTLER, SARGENT, AND CASSATT-ALL HIGHLY REGARDED BY THE FRENCH CRITICAL PRESS-AS WELL AS ARTISTS JOHN TWACHTMAN THEODORE ROBINSON, WILLARD LEROY METCALF, CHARLES SPRAGUE PEARCE, HENRY OSSAWA TANNER, AND THOMAS HOVENDEN - ALL OF WHOM FREGUENTED GIVERNY, PONT- AVEN, AND CONCARNEAU; AS WELL AS ROBERT VONNOH, AMONG OTHERS, WHO HELD FORTH AT GREZ-SUR-LOING. AMERICAN FEMALE ARTISTS ELIZABETH JANE GARDNER, CECILIA BEAUX, HELEN CORSON, AND ELIZABETH NOURSE-ALL OF WHOM WORKED SIDE BY SIDE WITH THEIR MALE CONTEMPORARIES-OFFER YET ANOTHER STRAND IN THIS BRAIDED NARRATIVE OF AMERICANS' RESPONSE TO FRENCH ART. THESE ARTISTS APPROPRIATED TO VARYING DEGREES ASPECTS OF RURAL NATURALISM, REALISM, IMPRESSIONISM, AND TONALISM FOR THEIR PORTRAITS AND LANDSCAPES, AND THEIR PICTURES OF GENRE AND HISTORY SUBJECTS OVER THIS SEVEN-DECADE PERIOD. THIS PROJECT CONVENES CURATORIAL, EXHIBITION, AND INTERPRETIVE TEAMS AND FOSTERS PARTNERSHIP AMONG FRAME MEMBER MUSEUMS TO DEVELOP A MAJOR EXHIBITION. THE STERLING AND FRANCINE CLARK ART INSTITUTE WAS AWARDED 13,500 IN SUPPORT OF "FREE FORM," A PROGRAM DESIGNED FOR THE PRISON POPULATION. FREE FORM IS A CULTURAL EXCHANGE BETWEEN MUSEUM PROFESSIONALS, ARTISTS AND PEOPLE IN PRISON. FREE FORM IS AN INNOVATIVE PROGRAM MODEL ENGAGING NEW AUDIENCES IN THE ARTS ("DE-ELITIZING" OF THE ARTS) THAT DEMONSTRATES THE POWER OF THE ARTS TO IMPROVE LIVES FOR INDIVIDUALS AND COMMUNITIES. PROJECT LEADERS: RONNA TULGAN OSTHEIMER - THE CLARK MUSEUM AND SOPHIE ONIMUS-CARRIAS - THE MUSE DES BEAUX-ARTS IN LYON, THERE THE TRANSLATION OF THIS SHARED PROGRAM IS "RVES DE LIBERT". THE GRANT WAS FOR FUNDING TRAVELS FOR PROJECTS LEADERS AND THEIR PARTNERS BOTH IN LYON (FIRST) AND WILLIAMSTOWN (SECOND) TO FOSTER INSPIRATION BETWEEN EACH OTHER ABOUT THIS PROGRAM. THROUGH ENGAGING WITH THE ARTS, PARTICIPANTS WILL EXPAND THEIR SENSE OF SELF (AND OTHER) AWARENESS AND SELF (AND OTHER) UNDERSTANDING, LEADING TO GREATER SELF-ESTEEM AND AN INCREASED ABILITY FOR SELF-DETERMINATION AND CONSTRUCTIVE INTERACTION WITH THE WORLD. MUSEUM EDUCATORS AND CONTRACTED ARTISTS WILL WORK WITH A GROUP OF PEOPLE FROM A LOCAL PRISON TO INTRODUCE THE ARTS AS A WAY TO CONTEMPLATE AND EXPLORE WHAT IT MEANS TO BE A HUMAN BEING AND THE CHOICES WE CAN MAKE IN OUR OWN LIVES. CONCEPTS WILL BE DEVELOPED THROUGH ENGAGING WITH IMAGES OF VISUAL ART FROM THE MUSEUM COLLECTIONS AT THE BEGINNING OF THE PROGRAM. DURING THE PROGRAM, PARTICIPANTS WILL IMAGINE AND EXPRESS THEIR STORIES AND DREAMS BY EXPERIMENTING WITH SPOKEN WORD POETRY, COLLAGE AND DANCE, DEVELOPING A CULMINATING PERFORMANCE AND BOOKLET. IT IS INTENDED THAT THE PERFORMANCE WILL BE PRESENTED AT BOTH THE PRISON AND AT THE INVOLVED MUSEUM AND THE BOOKLET WOULD BE DISTRIBUTED AT BOTH LOCATIONS. TIMELINE: PROGRAM DEVELOPMENT - SPRING 2019 THROUGH WINTER, 2020; PILOT PROGRAM PLANNED FOR APRIL OR MAY 2020. THE MUSEE D'ARTS DE NANTES WAS AWARDED 13,000 , IN SUPPORT OF THE EXHIBITION, "UNITED STATES OF PARIS, AMERICAN ARTISTS IN FRANCE, 1946-1964 (WORKING TITLE)." FOR CENTURIES, FRANCE, AND IN PARTICULAR PARIS, HAS SERVED AS A MECCA FOR ARTISTS-AND BY THE 19TH CENTURY IT FUNCTIONED AS THE WORLD'S ARTISTIC CAPITAL. NOT UNTIL THE RISE OF ABSTRACT EXPRESSIONISM IN THE MID-20TH CENTURY DID NEW YORK CHALLENGE PARIS'S STATUS. WITH ARTISTS SUCH AS JACKSON POLLOCK AND WILLEM DE KOONING AT THE CORE, THE ESTABLISHED NARRATIVE OF POST-WORLD WAR II AMERICAN ART STILL PIVOTS ON THE NEW YORK SCHOOL'S FORMATION. PROPOSING AN ALTERNATIVE READING OF THE MIDCENTURY INTERNATIONAL ART SCENE, THE EXHIBITION WILL FEATURE WORKS BY ARTISTS WHO REJECTED THE INTENSE NATIONALISM THAT EMERGED AROUND THE NEW YORK SCHOOL. THE EXHIBITION WILL FEATURE SCULPTURE, PHOTOGRAPHY, AND INSTALLATION-BASED WORK IN ADDITION TO PAINTINGS -A REFRESHING COUNTERPOINT TO THE PRESTIGE ALLOTTED TO THE LATTER BY ABSTRACT EXPRESSIONISM. THIS EXHIBITION TAKES PART IN AN AMERICAN SEASON IN FRANCE WHICH INCLUDES THE EXHIBITION PREPARED BY THE MUSEUMS OF MARSEILLE ABOUT SURREALISM IN AMERICAN ART, AS WELL. |
| FORM 990, PAGE 2, PART III, LINE 4D | FRAME'S WEBSITE IS THE PRIMARY TOOL FOR THE PRESENTATION OF ITS EXHIBITIONS, PUBLICATIONS, AND EDUCATION PROGRAMS. |
| FORM 990, PART V, LINE 4B | FRANCE |
| FORM 990, PAGE 6, PART VI, LINE 1A | THE OFFICERS OF FRAME SHALL BE (1) A NORTH AMERICAN CO-PRESIDENT, TREASURER AND SECRETARY (EACH ELECTED BY A SIMPLE MAJORITY VOTE OF THE NORTH AMERICAN DIRECTORS); AND (2) A FRENCH CO-PRESIDENT (EX-OFFICIO,THE CURRENT DIRECTEUR DES MUSES DE FRANCE AND ELECTED BY A SIMPLE MAJORITY VOTE OF THE FRENCH DIRECTORS). ANY PERSON MAY HOLD ANY TWO OR MORE OFFICES OF FRAME. WITH THE EXCEPTION OF THE NORTH AMERICAN CO-PRESIDENT AND FRENCH CO- PRESIDENT, WHO SHALL IN ALL INSTANCES BE DIRECTORS, AN OFFICER MAY BUT NEED NOT BE A DIRECTOR. THE PROPERTY, AFFAIRS AND ACTIVITIES OF FRAME SHALL BE MANAGED AND CONDUCTED BY OR UNDER THE DIRECTION OF THE BOARD OF DIRECTORS. THE BOARD OF DIRECTORS SHALL SET POLICIES TO GUIDE THE ORGANIZATION, DETERMINE PRIORITIES AND CONDITIONS FOR FRAME SPONSORED PROJECTS, APPROVE THE ANNUAL BUDGET, DETERMINE THE AMOUNT OF THE ANNUAL MUSEUM MEMBERSHIP DUES, COORDINATE FUNDRAISING EFFORTS, AND SHALL GENERALLY OVERSEE THE DAY-TO-DAY MANAGEMENT OF FRAME'S AFFAIRS. THE BOARD OF DIRECTORS SHALL HAVE THE POWER TO APPOINT, BY A RESOLUTION PASSED BY A MAJORITY OF ALL OF THE DIRECTORS, COMMITTEES, INCLUDING AN EXECUTIVE COMMITTEE. |
| FORM 990, PAGE 6, PART VI, LINE 3 | THE ORGANIZATION ENGAGED THE SERVICES OF LUISA ADRIANZEN-GUYER AS ITS NORTH AMERICAN EXECUTIVE DIRECTOR UNDER A ONE YEAR, ANNUALLY RENEWABLE CONTRACT. DURING 2019, MS. ADRIANZEN-GUYER WAS PAID 64,418 WHICH IS INCLUDED IN THE ACCOMPANYING FORM 990 IN PART IX, LINE 11A, FEES FOR SERVICES: MANAGEMENT. EFFECTIVE JANUARY 15, 2020, THE ORGANIZATION ENGAGED MARGUERITE D'APRILE QUIGLEY AS THE NORTH AMERICAN EXECUTIVE DIRECTOR FOR 75,000 IN ANNUAL COMPENSATION FOR 2020 AS AN INDEPENDENT CONTRACTOR. SHE IS ALSO GIVEN A SUBSIDY OF 24,000 TOWARDS THE PURCHASE OF HER HEALTH INSURANCE.. SHE WORKS WITH EMILIE VANHAESEBROUCKE, THE FRENCH EXECUTIVE DIRECTOR, WHO IS THE EMPLOYEE OF FRAME IN FRANCE FOR AN ANNUAL SALARY OF 46,000 AND 42,600 AS BENEFITS IN 2019. THE ORGANIZATION ALSO ENGAGED THE SERVICES OF PAM CHANFRAU, ACP RESOURCES, INC. FOR ITS ACCOUNTING NEEDS. DURING 2019, MS CHANFRAU WAS COMPENSATED 4,000 WHICH IS INCLUDED IN THE ACCOMPANYING FORM 990 IN PART IX, LINE 11C, FEES FOR SERVICES: ACCOUNTING. |
| FORM 990, PAGE 6, PART VI, LINE 4 | IN APRIL 2019, THE ORGANIZATION AMENDED ITS BY-LAWS TO EXPAND THE NUMBER OF HONORARY DIRECTORS UP TO TWENTY-EIGHT (28) MEMBERS AND TO EXPAND THE NUMBER OF PHILANTHROPIC DIRECTORS UP TO TWELVE (12) MEMBERS. A COPY OF THE AMENDMENT IS ATTACHED HEREIN. |
| FORM 990, PAGE 6, PART VI, LINE 6 | THE ORGANIZATION HAS TWO CLASSES OF MEMBERSHIP, AS FOLLOWS: 1. MEMBERS, AND 2. MUSEUM MEMBERS. ESSENTIALLY, PARTIES SERVING AS DIRECTORS ARE CLASSIFIED AS MEMBERS AND MAINTAIN FULL VOTING PRIVILEGES. MUSEUM MEMBERS CONSISTOF ART MUSEUMS THAT CONTRIBUTE JOINTLY TO THE MISSION OF FRAME BY VIRTUE OF (A) THE COMPARABILITY OF THEIR SCALE, QUALITY OF COLLECTIONS,AND AUDIENCES, (B) THEIR SCOPE OF PROGRAMMING, AND (C)THEIR REGIONAL DIVERSITY. MEMBER MUSEUMS MAINTAIN LIMITED VOTING PRIVILEGES. ADDITIONAL MUSEUMS MAY BE INVITED TO JOIN FRAME AS RECOMMENDED BY THE BOARD OF DIRECTORS AND APPROVED BY A MAJORITY VOTE OF THE MUSEUM MEMBERS. |
| FORM 990, PAGE 6, PART VI, LINE 7A | MEMBERS ARE ELECTED AS DIRECTORS BY A SIMPLE MAJORITY VOTE (5 TO 6 BY A SIMPLE MAJORITY VOTE OF THE NORTH AMERICAN MUSEUM MEMBERS AND 5 TO 6 BY A SIMPLE MAJORITY VOTE OF THE FRENCH MUSEUM MEMBERS). THE BOARD OF DIRECTORS MAY FROM TIME TO TIME D ESIGNATE INDIVIDUALS AS HONORARY DIRECTORS IN RECOGNITION OF THEIR SUPPORT OF FRENCH AND AMERICAN MUSEUM COLLABORATION. |
| FORM 990, PAGE 6, PART VI, LINE 11B | THE ORGANIZATION'S NORTH AMERICAN EXECUTIVE DIRECTOR AND ITS TREASURER REVIEW FORM 990 PRIOR TO FILING. |
| FORM 990, PAGE 6, PART VI, LINE 12C | ALL REPORTED POTENTIAL CONFLICTS OF INTEREST MATTERS ARE EVALUATED BY THE BOARD OF DIRECTORS (EXCLUSIVE OF THE SUBJECT BOARD MEMBER, IF APPLICABLE). |
| FORM 990, PAGE 6, PART VI, LINE 15A | THE ORGANIZATION USES BEST PRACTICES WHEN ENGAGING INDEPENDENT CONTRACTORS INCLUDING ANALYSIS OF MARKET DATA, COMPETITIVE BIDS AND BACKGROUND VERIFICATION. |
| FORM 990, PAGE 6, PART VI, LINE 19 | DOCUMENTS ARE AVAILABLE UPON REQUEST. FORM 990 IS AVAILABLE ON GUIDESTAR. |
| FORM 990, PART XI, LINE 9 | ROUNDING -1 |
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