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.") .. | 1,408,107 | 1,273,586 | 1,442,568 | 1,346,688 | 1,182,983 | 6,653,932 |
| 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 | 1,408,107 | 1,273,586 | 1,442,568 | 1,346,688 | 1,182,983 | 6,653,932 |
| 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. | 6,653,932 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 1,408,107 | 1,273,586 | 1,442,568 | 1,346,688 | 1,182,983 | 6,653,932 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | -15,954 | 4,477 | 96,655 | -6,971 | 166,371 | 244,578 |
| 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.).. | 211,394 | 387,786 | 210,285 | 300,583 | 331,095 | 1,441,143 |
| 11 | Total support. Add lines 7 through 10 | 8,339,653 | |||||
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 1 | AS A CATALYST FOR ARTISTIC EXPRESSION, WE ENGAGE LOCAL COMMUNITIES WITH GLOBAL ART PRACTICES AND EXPERIENCES. OUR VISION IS TO BE A CREATIVE LABORATORY THAT USES ART TO PRODUCE LASTING IMPACT ON THE ARTS COMMUNITY IN SAN ANTONIO AND AROUND THE WORLD. WE ARE COLLABORATIVE; WE CONNECT ARTISTS TO RESOURCES, WHICH INSPIRE PROVOCATIVE RISK-TAKING AND THE CREATION OF AMBITIOUS NEW WORK. WE ARE INNOVATIVE; WE CHALLENGE ARTISTS AND COMMUNITIES TO EXPAND THE BOUNDS OF CREATIVITY. WE ARE DIVERSE; WE ENGAGE GLOBALLY TO EMBRACE A WIDE RANGE OF PERSPECTIVES, CULTURES, AND IDEAS. WE ARE GLOBAL; WE ARE A CATALYST FOR INTERNATIONAL CREATIVE DISCOURSE. WE ARE DISTINCTIVE; WE DEFINE A STANDARD OF EXCELLENCE TO FOSTER THE CREATIVE PROCESS. ARTPACE WAS FOUNDED BY ARTIST, COLLECTOR, AND PHILANTHROPIST LINDA PACE (1945 - 2007) IN 1993 AND OPENED TO THE PUBLIC IN 1995. PACE CONCEIVED OF ARTPACE AS A LABORATORY OF DREAMS, PROVIDING ARTISTS FROM ALL OVER THE WORLD WITH AN ENVIRONMENT THAT WOULD ENCOURAGE EXPERIMENTATION AND GROWTH. GROWING FROM THE INSPIRED VISION OF ONE WOMAN, ARTPACE IS NOW AN INTERNATIONALLY RESPECTED PUBLIC INSTITUTION AND A CORNERSTONE OF CONTEMPORARY ART IN TEXAS. |
| FORM 990, PART III, LINE 4A | INTERNATIONAL ARTIST-IN-RESIDENCE PROGRAM: EVERY YEAR, ARTPACE INVITES THREE GUEST CURATORS TO EACH SELECT ONE INTERNATIONAL, ONE NATIONAL, AND ONE TEXAS-BASED ARTIST FOR A TWO-MONTH RESIDENCY TO MAKE NEW ARTWORK FOLLOWED BY AN EIGHT-WEEK EXHIBITION OF THE NEW ARTWORK. THE RESIDENCY SERVES AS A CATALYST FOR ARTISTS TO STRENGTHEN AND BROADEN THEIR CREATIVE PRACTICES, WHILE PROMOTING CROSS-CULTURAL EXCHANGE AND MUTUAL RESPECT FOR DIVERSE BELIEFS AND VALUES. ARTPACE PROVIDES EACH OF THE IAIR ARTISTS WITH STUDIO SPACE, A WORKSHOP, USE OF THE ARTPACE VEHICLES, SUPPORT OF A STUDIO STAFF, A FURNISHED ON-SITE APARTMENT, A LIVING STIPEND, AND PROVIDES FUNDING FOR ARTWORK PRODUCTION. ALL ARTWORK IS RETURNED TO THE ARTISTS AFTER THEIR EXHIBITION AND OFTEN GOES ON TO BE FEATURED IN EXHIBITIONS AND COLLECTIONS AROUND THE WORLD. SINCE 1995, ARTPACE'S INTERNATIONAL ARTIST-IN-RESIDENCE PROGRAM HAS SUPPORTED MORE THAN 245 ARTISTS FROM OVER 30 COUNTRIES. THROUGH A COMPETITIVE PROCESS, THE SELECTED ARTISTS RESIDE AT ARTPACE FOR TWO MONTHS AND ARE GIVEN FINANCIAL AND TECHNICAL RESOURCES TO CREATE BOLD AND INNOVATIVE WORK THAT THEY OTHERWISE WOULD NOT BE ABLE TO CREATE. ARTPACE'S DIRECTOR SELECTS THE INTERNATIONAL ARTIST-IN-RESIDENCE GUEST CURATORS WITH INPUT FROM THE DIRECTOR OF RESIDENCIES AND EXHIBITIONS. BEFORE MAKING THE SELECTION, THE DIRECTOR TRAVELS NATIONALLY AND INTERNATIONALLY TO VARIOUS BIENNIALS, CONFERENCES, AND EXHIBITIONS TO MEET WITH PROSPECTIVE CURATORS. ARTPACE SEEKS ESTABLISHED CURATORS WITH SIGNIFICANT EXPERIENCE WORKING WITH LIVING ARTISTS AND EXHIBITIONS, A COMMITMENT TO INCLUSIVITY, AND A STRONG RECORD OF ACADEMIC AND CRITICAL WRITINGS. SINCE 1995, ARTPACE HAS INVITED MORE THAN 45 INTERNATIONALLY RECOGNIZED GUEST CURATORS. RENOWNED CURATORS INCLUDING CECILIA ALEMANI, KELLY BAUM, OKWUI ENWEZOR, DEBORAH WILLIS, LAURI FIRSTENBERG, RITA GONZALEZ, YUKO HASEGAWA, SARAH LEWIS, DENISE MARKONISH, CUAUHTEMOC MEDINA, HANS-ULRICH OBRIST, GABRIEL PEREZ-BARREIRO, LAWRENCE RINDER, AND ROBERT STORR HAVE SET A HIGH STANDARD FOR ARTISTIC RIGOR AT ARTPACE AND HAVE GREATLY CONTRIBUTED TO THE INNOVATIVE AND DIVERSE NATURE OF THE RESIDENCY PROGRAM. ONCE THE GUEST CURATORS HAVE BEEN APPOINTED, THEY SELECT INTERNATIONAL AND US-BASED ARTISTS WHO ARE MAKING SIGNIFICANT AND PROMISING STRIDES IN THEIR FIELD AND WILL BENEFIT FROM AND THRIVE IN AN ARTPACE RESIDENCY. TEXAS ARTISTS ARE CHOSEN THROUGH ARTPACE'S TEXAS OPEN CALL (AN ONLINE SUBMISSION SYSTEM OPEN TO ALL TEXAS ARTISTS). DURING THEIR PRELIMINARY VISIT, GUEST CURATORS CONDUCT STUDIO VISITS ACROSS THE STATE WITH THEIR TOP CANDIDATES FROM THE OPEN CALL. IN THE LAST 25 YEARS, ARTPACE'S GUEST CURATORS HAVE CONDUCTED OVER 1,100 STUDIO VISITS WITH TEXAS ARTISTS, PROVIDING THEM PROFESSIONAL EXPERIENCE AND EXPOSURE. AFTER THEIR STUDIO VISITS, GUEST CURATORS MAKE THEIR FINAL DECISIONS FOR THE RESIDENCY. DURING THIS TIME, THE CURATORS CONSIDER THE THEMES, CONCEPTS, AND MATERIALS OF THE ARTISTS' WORK AND HOW THE THREE ARTISTS WILL INTERACT AND INSPIRE ONE ANOTHER DURING THEIR RESIDENCY. ONCE THE GUEST CURATOR MAKES THEIR FINAL SELECTION OF ONE INTERNATIONAL, ONE NATIONAL, AND ONE TEXAS-BASED ARTIST, THE THREE ARTISTS HAVE PRELIMINARY VISITS TO ARTPACE TO BEGIN PLANNING THEIR RESIDENCY WITH STAFF AND KEY STAKEHOLDERS. SIX MONTHS LATER, THE ARTISTS ARRIVE AT ARTPACE FOR THE TWO-MONTH PRODUCTION-BASED ARTIST RESIDENCY, FOLLOWED BY A SEVEN-WEEK EXHIBITION OF THEIR NEW WORK. THE RESIDENCY IS DESIGNED TO PROVIDE ARTISTS WITH UNPARALLELED RESOURCES THAT ENABLE THEM TO EXPERIMENT WITH NEW IDEAS, TAKE PROVOCATIVE RISKS, AND REALIZE INNOVATIVE AND AMBITIOUS NEW WORK. FOR MANY RESIDENT ARTISTS, ARTPACE HAS PROVEN TO BE A SIGNIFICANT MILESTONE IN THEIR CAREERS, PROPELLING THEM ONTO THE INTERNATIONAL ART STAGE. FOR INSTANCE, 46 ARTPACE ALUMNI ARTISTS HAVE EXHIBITED IN WHITNEY BIENNIALS; 22 HAVE EXHIBITED IN VENICE BIENNIALS; EIGHT HAVE RECEIVED "GENIUS" GRANTS FROM THE JOHN D. AND CATHERINE T. MACARTHUR FOUNDATION; AND THREE HAVE RECEIVED BRITAIN'S TOP ART AWARD, THE TURNER PRIZE, INCLUDING JEREMY DELLER WHO RECEIVED THE TURNER PRIZE IN 2004 FOR THE WORK HE CREATED AT ARTPACE. RECENTLY, SPRING 2019 RESIDENT ARTIST JENNIFER LING DATCHUK WAS NAMED A 2020 UNITED STATES ARTIST FELLOW AFTER HER ARTPACE RESIDENCY. ARTPACE'S PHYSICAL AND ONLINE ARCHIVES PROVIDE ACCESS TO RESIDENCY DOCUMENTATION AND SCHOLARSHIP. THE PROJECTS ARE ALSO CHRONICLED IN SCHOLARLY ESSAYS AUTHORED BY THE PROGRAM'S RENOWNED GUEST CURATORS, WHICH OFFER A CRITICAL OVERVIEW OF THE ARTWORK MADE AND SHOWN AT ARTPACE. ARTPACE ARTISTS OWN THEIR WORK UPON COMPLETION OF THE EXHIBITION, WHICH WILL OFTEN GO ON TO BE EXHIBITED IN PUBLIC AND PRIVATE COLLECTIONS AROUND THE GLOBE. DURING THE COURSE OF THEIR RESIDENCIES, THE ARTISTS ENGAGE WITH LOCAL COMMUNITIES THROUGH A NUMBER OF PUBLIC PROGRAMS INCLUDING ARTISTS WELCOME DINNERS, COMMUNITY COLLABORATIONS, AND ARTIST TALKS. AT THE BEGINNING OF EACH RESIDENCY CYCLE, ARTPACE HOSTS A PUBLIC ARTISTS WELCOME DINNER, WHERE ARTISTS CAN MEET AND MAKE CONNECTIONS WITH THE SAN ANTONIO COMMUNITY. AT THE DINNER, THEY GIVE PRESENTATIONS ON THEIR WORK AND DISCUSS THEIR GOALS FOR THE RESIDENCY. AT THE END OF THE RESIDENCY, A PUBLIC EXHIBITION OPENING IS HELD AND THE ARTISTS DISCUSS THEIR PROJECTS IN A CONVERSATION LED BY THE GUEST CURATOR. EACH RESIDENT ARTIST ALSO PARTICIPATES IN A COMMUNITY COLLABORATION, WHICH IS DESIGNED BY THE ARTIST IN CONSULTATION WITH ARTPACE'S EDUCATION COORDINATOR. PAST EXAMPLES INCLUDE OPEN STUDIOS, WORKSHOPS, FILM SCREENINGS, UNIVERSITY LECTURES, PERFORMANCES, AND MORE. THESE ACTIVITIES OFTEN LEAD TO ORGANIZATIONAL PARTNERSHIPS WITH NONPROFITS, SCHOOLS, OTHER ARTS INSTITUTIONS, AND LOCAL ARTISTS. |
| FORM 990, PART III, LINE 4B | EXHIBITIONS: IN ADDITION TO OUR RESIDENCY GALLERIES, ARTPACE HAS TWO ROTATING EXHIBITION SPACES, MAIN SPACE AND THE HUDSON SHOWROOM, WHICH FEATURE EXHIBITIONS SHOWCASING THE WORK OF REGIONAL, NATIONAL, AND INTERNATIONAL ARTISTS THROUGH GROUP SHOWS, SOLO EXHIBITIONS, AND COMMUNITY PARTNERSHIPS. EACH YEAR, THE HUDSON SHOWROOM AND THE MAIN SPACE FEATURE NEW INNOVATIVE EXHIBITIONS IN THE SPRING, SUMMER, AND FALL. THE EXHIBITIONS ARE FREE AND OPEN TO THE PUBLIC SEVEN DAYS OF THE WEEK AND ARE BOLSTERED THROUGH FREE PUBLIC PROGRAMMING. |
| FORM 990, PART III, LINE 4C | PUBLIC PROGRAMS: ARTPACE IS ONE OF THE ONLY MAJOR ARTS INSTITUTIONS IN SAN ANTONIO WHICH IS ADMISSION-FREE AND OPEN TO THE PUBLIC SEVEN DAYS A WEEK. EACH YEAR, OVER 11,000 PEOPLE VISIT ARTPACE TO SEE OUR ADMISSION-FREE EXHIBITIONS AND PUBLIC PROGRAMS, INCLUDING ARTIST TALKS, CURATOR TALKS, AND PERFORMANCES. IN THE FALL, ARTPACE ALSO HOLDS AN ADMISSION-FREE, COMMUNITY FESTIVAL, CHALK IT UP, WHICH DRAWS MORE THAN 25,000 PEOPLE, 80 SCHOOLS, AND 20 ARTISTS TO CREATE SIDEWALK CHALK MURALS IN THE STREETS OF DOWNTOWN SAN ANTONIO. ARTPACE'S EDUCATION PROGRAMS PLAY A CRITICAL ROLE IN SUPPORTING OUR MISSION TO ENGAGE THE PUBLIC WITH GLOBAL ART PRACTICES AND EXPERIENCES. ARTPACE EDUCATION PROGRAMS INCLUDE ARTPACE TEEN COUNCIL, UNIVERSITY INTERNSHIPS, WORKSHOPS, AND TOURS. IN ADDITION TO THE PUBLIC PROGRAMS SURROUNDING ARTPACE'S INTERNATIONAL ARTISTS-IN-RESIDENCE PROGRAM, ARTPACE OFFERS NUMEROUS OTHER WAYS FOR THE COMMUNITY TO ENGAGE WITH CONTEMPORARY ART. EACH YEAR, ARTPACE HOLDS OVER 25 PUBLIC PROGRAMS FOR THE SAN ANTONIO COMMUNITY. ARTPACE'S TEEN COUNCIL PROGRAM HAS RECEIVED NATIONAL RECOGNITION FROM THE INSTITUTE OF CONTEMPORARY ART BOSTON, A LEADER IN ARTS EDUCATION. ARTPACE'S COMPETITIVE TEEN COUNCIL ANNUALLY SUPPORTS 12 TEENS IN A NINE-MONTH, PAID PROGRAM DESIGNED FOR SAN ANTONIO AREA HIGH SCHOOL STUDENTS TO BECOME ADVOCATES FOR CONTEMPORARY ART AND YOUNG LEADERS IN THE COMMUNITY. THE COUNCIL DEVELOPS WORKSHOPS, TOURS, TEEN NIGHTS, AND OTHER ARTS-DRIVEN PROGRAMMING TO ENGAGE THE HIGH SCHOOL STUDENTS WITH ART. THE PROGRAMS THEY CREATE SERVE HUNDREDS OF STUDENTS EACH YEAR. OVER 90% OF TEEN COUNCIL ALUMNI PURSUE A COLLEGE DEGREE. OUR UNIVERSITY INTERNSHIP PROGRAM ANNUALLY SERVES 15-TO-20 COLLEGE STUDENTS FROM HIGHER EDUCATION INSTITUTIONS ACROSS SAN ANTONIO. THIS PROGRAM HAS GIVEN STUDENTS THE TOOLS, EXPERIENCE, AND RELATIONSHIPS TO PURSUE ARTISTIC CAREERS IN ARTS ORGANIZATIONS ACROSS THE NATION. ARTPACE OFFERS ADMISSION-FREE GUIDED TOURS OF OUR EXHIBITIONS AND FACILITIES FOR SCHOOLS, ORGANIZATIONS, AND INDIVIDUALS YEAR-ROUND. THESE TOURS ENGAGE A BROAD AUDIENCE FROM ELEMENTARY SCHOOL STUDENTS TO SENIOR CENTER RESIDENTS. ARTPACE COLLABORATES WITH A NUMBER OF LOCAL ARTISTS TO BRING MONTHLY ART-MAKING WORKSHOPS TO THE COMMUNITY. WE ALSO WORK WITH COMMUNITY ORGANIZATIONS AND NONPROFITS TO PROVIDE SPACE TO HOST LECTURE SERIES, FILM SCREENINGS, SUMMER CAMPS, AND LIVE PERFORMANCES. THESE PARTNERSHIPS ARE ONGOING, AND WE ARE CONSTANTLY SEEKING NEW PARTNERSHIPS TO ENGAGE A WIDER AND MORE DIVERSE AUDIENCE WITH CONTEMPORARY ART. OTHER PROGRAM SERVICES. CURATORIAL RESIDENCY: AFTER RECOGNIZING THE SIGNIFICANT IMPACT THE INTERNATIONAL ARTIST-IN-RESIDENCE GUEST CURATORS' STUDIO VISITS HAVE ON TEXAS ARTISTS, ARTPACE DEVELOPED A CURATORIAL RESIDENCY, WHICH INVITES TWO CURATORS EACH YEAR TO ARTPACE FOR A TWO-TO-SIX-WEEK RESIDENCY. THE PROGRAM PROVIDES NATIONAL AND INTERNATIONAL CURATORS TIME AND RESOURCES TO EXPAND THEIR PRACTICE AND DISCOVER ARTISTS. TEXAS ARTISTS HAVE LIMITED ACCESS TO ESTABLISHED CURATORS AND ART CRITICS AS COMPARED WITH ARTISTS IN CREATIVE HUBS, SUCH AS NEW YORK OR LA. BY SUPPORTING CURATORS TO CONDUCT STUDIO VISITS AND WRITE ABOUT THEIR EXPERIENCES, THE RESIDENCY BRINGS GREATER ATTENTION TO TEXAS ARTISTS AND PROVIDES THEM WITH PROFESSIONAL OPPORTUNITIES. DURING THEIR RESIDENCY, CURATORS CONDUCT A MINIMUM OF 20 STUDIO VISITS WITH ARTISTS WHOM THEY SELECT FROM OUR TEXAS OPEN CALL AND PAST RESIDENTS. IN ADDITION TO SUBMITTING THEIR WRITINGS TO NATIONAL PUBLICATIONS, CURATORS PUBLISH WRITTEN CONTENT FOR ARTPACE'S WEBSITE. CURATORS CAN PROPOSE A FUTURE EXHIBITION AT ARTPACE AND WILL BE CONSIDERED FOR INTERNATIONAL ARTIST-IN-RESIDENCE GUEST CURATOR OPPORTUNITIES. THE CURATORIAL RESIDENTS ARE PROVIDED WITH A STIPEND, A TRAVEL BUDGET, ACCESS TO OUR COMPREHENSIVE LIBRARY AND ARCHIVE, AN ARTPACE VEHICLE, AND A FURNISHED APARTMENT. ARTPACE'S DIRECTOR AND DIRECTOR OF RESIDENCIES AND EXHIBITIONS SELECT THE CURATORS FOR OUR CURATORIAL RESIDENCY PROGRAM. DURING THE SELECTION PROCESS, THEY HOLD MEETINGS WITH PROSPECTIVE CURATORS AND TAKE RECOMMENDATIONS FROM PRIOR ARTPACE CURATORS. THE CURATORIAL RESIDENTS ARE CHOSEN BASED ON A SIMILAR SET OF CRITERIA AS THE IAIR GUEST CURATORS. THEY ARE EXPECTED TO DISPLAY SCHOLARLY RIGOR, EXHIBITION EXPERIENCE, INCLUSIVITY, AND A STRONG RECORD OF ACADEMIC AND CRITICAL WRITINGS. IT IS IMPORTANT FOR THE CURATORS TO HAVE THIS EXPERIENCE, SO THEY CAN PROVIDE TEXAS ARTISTS WITH PROFESSIONAL OPPORTUNITIES AND EXPOSURE THROUGH THEIR STUDIO VISITS AND WRITINGS. THIS RESIDENCY, HOWEVER, MAY ALSO SEE CURATORS WHO ARE EARLIER ON IN THEIR CAREERS, ALLOWING THE RESIDENCY TO OFFER THEM TIME AND RESOURCES TO EXPLORE AND GROW THEIR CURATORIAL PRACTICE. |
| FORM 990, PART VI, SECTION A, LINE 2 | CERTAIN OFFICERS OR DIRECTORS HAVE BUSINESS RELATIONSHIPS WITH CERTAIN OTHER OFFICERS OR DIRECTORS AND THE ORGANIZATION MAY, ON OCCASION, CONDUCT BUSINESS WITH ONE OF THE OFFICERS OR DIRECTORS. SUCH TRANSACTIONS ARE CONDUCTED IN THE NORMAL COURSE OF BUSINESS AND ARE NOT SIGNIFICANT TO THE ORGANIZATION. ALL RELATIONSHIPS AND TRANSACTIONS ARE DISCUSSED WITH, AND REVIEWED BY, THE BOARD ON AT LEAST AN ANNUAL BASIS TO VERIFY A CONFLICT OF INTEREST DOES NOT EXIST. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE FORM IS PREPARED BY THE ORGANIZATION'S INDEPENDENT PUBLIC ACCOUNTING FIRM. IT IS THEN REVIEWED BY MANAGEMENT AND THE BOARD OF DIRECTORS BEFORE FILING WITH THE IRS. |
| FORM 990, PART VI, SECTION B, LINE 12C | AT LEAST ANNUALLY THE BOARD DISCUSSES ANY CONFLICTS OF INTEREST AND WHETHER SUCH CONFLICTS ARE IN ITS BEST INTERESTS. |
| FORM 990, PART VI, SECTION B, LINE 15 | THE BOARD USES VARIOUS METHODS TO DETERMINE THE APPROPRIATE COMPENSATION FOR ITS SENIOR MANAGEMENT, INCLUDING REVIEWING COMPENSATION POLICIES OF OTHER SIMILAR ORGANIZATIONS; OTHER FORM 990 FILINGS, PUBLISHED COMPARABILITY DATA, AND SIMILAR METHODS. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE ORGANIZATION'S GOVERNING DOCUMENTS AND SIMILAR POLICIES ARE AVAILABLE UPON WRITTEN REQUEST TO ITS ADMINISTRATIVE OFFICES. |
| PART XII, LINE 2C | THE ORGANIZATION HAS A FINANCE COMMITTEE WHO TAKE RESPONSIBLITY FOR THE AUDIT. THIS PROCESS HAS NOT CHANGED. |
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| Software Version: |