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.") .. | 71,708,501 | 8,754,678 | 9,021,455 | 15,496,726 | 10,761,253 | 115,742,613 |
| 2 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf.... | 0 | |||||
| 3 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | 0 | |||||
| 4 | Total. Add lines 1 through 3 | 71,708,501 | 8,754,678 | 9,021,455 | 15,496,726 | 10,761,253 | 115,742,613 |
| 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).. | 62,984,888 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 52,757,725 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 71,708,501 | 8,754,678 | 9,021,455 | 15,496,726 | 10,761,253 | 115,742,613 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 34,702 | 1,401,014 | 2,325,129 | 3,793,629 | 2,339,123 | 9,893,597 |
| 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.).. | 28,346 | 34,242 | 14,349 | 30,170 | 12,295 | 119,402 |
| 11 | Total support. Add lines 7 through 10 | 125,755,612 | |||||
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 |
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| 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 |
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| 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 | 2019 ARTISTIC SEASON (January December 2019) In 2019, the season in the Wade Thompson Drill Hall welcomed over 70,000 attendees, including over 5,000 NYC public school students attending for free, reinventing the possibilities of theater, music, and art for an unconventional space: The Lehman Trilogy (3/22 4/20): This epic work was directed by Tony Olivier, and Academy Award-winning director Sam Mendes (American Beauty, King Lear, Skyfall) and adapted by Ben Power. The Lehman Trilogy is an immigrant story - and a New York story - chronicling the rise and fall of the Lehman family empire from the arrival of Henry Lehman and his two brothers in America in 1844 until the collapse of the firm 163 years later. Simon Russell Beale, Adam Godley, and Ben Miles reprised their critically acclaimed portrayals of the Lehman Brothers, their sons, and grandsons spanning nearly two centuries and told in three parts on a single evening: "three of the most viruosic performances you're ever likely yo see" (Ben Brantley, New York Times). The play was the hottest ticket in New York and sold out completely. In fact, we added seats. FKA twigs (5/11 5/12): The English singer, dancer, producer, and choreographer returned to New York for the first time since 2015 in a sold-out weekend co-presented with the Redbull Music Festival to perform new songs through her distinctive amalgam of electronic music, R&B, and avant-garde pop. Everything That Has Happened And Would Happen (6/3 6/9): After his stunning production De Materie in 2016, German artist and composer Heiner Goebbels returned to the Drill Hall with a new production that explored the effects of WWI in shaping the 20th century. This massive work featured sound, choreography, and performance as well as projections of current events updated daily from the news source "No Comment." The production fused many of Goebbels iconic imagery and techniques, describe as "a Phantasmogoric, ever-changing landscape permeated by spoken text and film" (New York Times). DRILL (6/20 7/21): Commissioned by the Armory and curated by Park Avenue Armorys visual arts curator Tom Eccles, filmmaker and cultural critic Hito Steyerls installation DRILL utilized both the Wade Thompson Drill Hall and historic interiors of the Armory in mounting both pre-existing works as well as new projects in her ongoing illumination of the worlds power structures, inequalities, obscurities, and delights. Hailed by ArtNews as "one of her most exceptional works to date"yet another essential work from Steyerl," this material allowed viewers to zoom in on and out from some of the most complex and pressing issues of our time. Hyperallergic calls Steyerl "a crucial voice in a chorus of critics seeking to untangle the problems of contemporary culture." Antigone (9/25 10/6): The Armory presented an extraordinary staging of Sophocles classic story in the soaring 55,000 square foot Wade Thompson Drill Hall, which was an unparalleled showcase of acclaimed Japanese director Satoshi Miyagis vision in New York. Miyagis production blended the foundational principles of Greek tragedy, Japanese Noh theatre, Indonesian shadow play, and the Buddhist philosophy to illustrate this riveting play about loss and memorialization. The New York Times hailed Miyagi's production as "spellbinding..both timeless and urgent (Critic's Pick, Laura Collins-Hughes)." Black Artists Retreat (10/11 10/12): Hosted outside of Chicago for the first time, Theaster Gates Black Artists Retreat welcomed over 2,200 guests, including 132 artists, over a weekend of public programs, performances, private retreat activities, and conversation. Gates brought together an extraordinary group for an illuminating weekend, including Nona Hendryx, Esperanza Spalding, Illustrious Blacks, Toshi Reagon, Carrie Mae Weems, Staceyann Chin and more. A highlight of the retreat was a public celebration with roller skating. The event marked the completion of the replacement of the wooden flooring of the Wade Thompson Drill Hall, which includes recycled pine planks milled by Gatess workforce and repurposed from his Chicago urban manufacturing renewal project. Judgment Day (12/5 1/10): Director Richard Jones (The Hairy Ape) returned to the Armory to direct dn von Horvths 1937 play about a station master who is responsible for a fatal train crash, but denies responsibility in the investigation that follows. The production was a major milestone for the Armory as its first solely produced new theater production, developed from concept through execution and with a new script adaptation by Pulitzer Prize-winning playwright Christopher Shinn. Finally, the workshop and rehearsal process inaugurated the brand new rehearsal studio, which opened on the Armorys 5th floor in June 2019. The play has been nominated for 4 Drama Desk Awards including Best Set Design and Best Adaptation of a Play. The Artists Studio Series for the Veterans Room continued in 2019 with a program curated by pianist and composer Jason Moran and inspired by the improvisational, collaborative and eclectic forces behind the original design of the room. Highlights included: two distinct programs by composer, saxophonist, and founding member of the Art Ensemble of Chicago Roscoe Mitchell that spotlighted his wide ranging compositional achievements; a number of new works by experimental composer, improviser, and performer Miya Masaoka, a longtime explorer of the intersection of technology and music-making; the presentation of Star Choir, a new work developed by Malik Gaines and Alexandro Segade while serving as Armory artists-in-residence; and a performative work within a site-specific installation inspired by the Veterans Room by Rosa Barba in collaboration with percussionist Chad Taylor. In the Board of Officers Room, the Recital Series continued to offer an exquisite, intimate counterpart to the spectacular scale of the Drill Hall season. In 2019, the series included: a fifth year of the Lindemann Young Artist Concert with the Metropolitan Opera; a program of songs by Schubert sung by German baritone Benjamin Appl in his North American Recital Debut; Austrian tenor Ilker Arcayrek performing an all Schubert program in his North American Recital Debut; the esteemed Dudok Quartet Amsterdam ensemble in their New York Debut with programs focusing on works by Haydn and Ligeti that artfully showcased their versatility and superb musicianship; and violin virtuoso Leila Josefowicz, a MacArthur "Geniusreceipt of the prestigious Avery Fisher Prize, who came to the Board of Officers Room with pianist John Novacek to perform inventive programs of modern music paired with pieces by 20th century masters. The Interrogations of Form Series connected the Armorys programs with relevant issues through Symposia on the arts and social justice, Artist Talks, and Sunday Salons. Highlights of the year included the annual February symposia "Culture in a Changing America," which featured two main tracks, Art & Identity and Art & Activism; and Theaster Gates Black Artists Retreat, which welcomed black artists and allies from Chicago, New York, and beyond for a weekend of communion, celebration, and multi-disciplinary exploration of the years theme: sonic imagination (also part of the Drill Hall season and detailed above).(also part of the Drill Hall season and detailed above). |
| FORM 990, PART III, LINE 4A CONTINUED | ARTS EDUCATION AT THE ARMORY Utilizing our magnificent historic building and the unique visual and performing arts programming that takes place within it, Park Avenue Armorys Arts Education Program gives underserved New York City public school students from all five boroughs the opportunity to be immersed in the creative process of exceptional artists. The Arts Education Program has three main components: (1) Production-based Programming, in which students attend major productions of music, theater, dance and visual art, and participate in pre- and post-visit workshops with the Armorys talented corps of teaching artists; (2) Partner School Program, in which deeper relationships with schools are created through attendance at productions, in-school residencies and end-of-term events at the Armory; and (3) the Armory Youth Corps, a paid and closely mentored internship program focusing on students from underserved NYC public schools. Armory Arts Education programs are offered at no cost to students and schools and are developed in alignment with the NYS Next Generation Learning Standards and the NYC Blueprint for the Arts. In 2019: Over 5,000 NYC public school students attended FREE student matinees and participated in production-based programming; 8 Partner Schools received in-school residencies connecting the school curriculum with Armory productions and other resources, with a 9th Partner School added for the 2019-2020 school year: Brooklyn Community Arts and Media High School (BCAM H.S.); and nearly 100 Youth Corps interns worked over 13,000 paid hours. The Youth Corps Program has expanded significantly to support a new Post High School phase, providing highly individualized support during the critical post-secondary years through programs including: Advanced Internships across departments, a college persistence Cohort, a Writing Intensive, Career Chats, and our Student Advisory Board. DESIGN AND CONSTRUCTION In 2018/2019, the 138 year-old 55,000SF of the Wade Thompson Drill Hall floor was replaced in kind with re-cycled wood of the same period and type as the original. After two phases of construction, the floor was finished in August 2019 with immediate benefits for artists and audiences. Prior to the project, the Drill Hall floor, after 14 decades of use and temporary repairs, finally reached its limit of usability. In consultation with the New York State Office of Historic Preservation (SHPO)the Armory replaced the 140-year old Georgia yellow pine floor and the substructure and added a layer of moisture barrier. The first 20,000 SF of demolition, installation of the substructure, and replacement of the finished pine surface was completed in August 2018. The second half of the project was completed on August 30, 2019 in time for a busy fall season of programming. The new floor surface and subsurface will now provide a stable, strong and aesthetically appropriate floor for this historic room for decades to come. One of the first uses of the floor was for Theaster Gates Black Artists Retreat. After contributing to the construction process by leading a Chicago team that milled 20-25% of the reclaimed heart pine, Gates transformed the new floor into a roller skating rink as part of his extraordinary Retreat weekend in October 2019. In 2019, the Armory also completed the construction of a new Rehearsal Room on the 5th floor in order to support the development of new works and in-house rehearsal space for up-coming productions. The space which was opened in May has already demonstrated its tremendous potential as a dynamic new resource in the Armory building; Drill Hall artists, Artists-in-Residence, and students can explore new visions and collaborate, while maintaining a constant connection to the building and Armory community. Highlights to date have included: the workshop and rehearsal process for Christopher Shinns adaptation of dn von Horvths play Judgment Day; a workshop for Artist-in-Residence Lynn Nottage and collaborators, developing her new commission for the Drill Hall; and rehearsals for programs like the FLEXN tour, Antigone, and new performances commissioned for young audiences. |
| FORM 990, PART VI, LINE 11 - POLICIES | A DRAFT FORM 990, PREPARED BY EISNERAMPER LLP BASED ON INFORMATION PROVIDED BY MANAGEMENT, IS SUBMITTED TO THE CAO/CFO AND PRESIDENT FOR REVIEW. UPON APPROVAL, THE DRAFT FORM 990 IS PROVIDED TO THE FINANCE/AUDIT COMMITTEE OF THE BOARD FOR REVIEW, COMMENT, AND APPROVAL. UPON THE FINANCE/AUDIT COMMITTEE'S APPROVAL, THE FORM 990 IS PROVIDED TO THE FULL BOARD, PRIOR TO ITS ELECTRONIC FILING WITH THE INTERNAL REVENUE SERVICE. |
| FORM 990, PART VI, LINE 12 - POLICIES | ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES ARE REQUIRED TO COMPLETE A CONFLICT-OF-INTEREST DISCLOSURE FORM ON AN ANNUAL BASIS. ANY POTENTIAL CONFLICTS REPORTED IN THE DISCLOSURE FORMS ARE REVIEWED BY THE FINANCE/AUDIT COMMITTEE OF THE BOARD. ANY CONFLICT THAT BECOMES KNOWN DURING THE YEAR SHALL BE REPORTED TO THE FINANCE/AUDIT COMMITTEE. THE EVALUATION AND RESOLUTION POLICIES OUTLINED IN THE CONFLICT-OF-INTEREST POLICY SHALL BE APPLIED. |
| FORM 990, PART VI, LINE 15 - POLICIES | COMPENSATION OF THE PRESIDENT IS SUBJECT TO REVIEW AND APPROVAL BY THE EXECUTIVE COMMITTEE OF THE BOARD. THE CO-CHAIRMAN AND CO-CHAIR OBTAIN COMPENSATION INFORMATION FROM INDEPENDENT SOURCES WHICH SERVE AS THE BASIS FOR COMPENSATION OFFERED TO THE EXECUTIVE POSITION IDENTIFIED ABOVE. OTHER SENIOR EMPLOYEE COMPENSATION IS REVIEWED AND APPROVED BY THE PRESIDENT. |
| FORM 990, PART VI, LINE 19 - DISCLOSURES | THE FORM 990 AND AUDITED FINANCIAL STATEMENTS ARE AVAILABLE UPON REQUEST. |
| FORM 990, PART XI, LINE 9 | OTHER CHANGES IN NET ASSETS CONSISTS OF BAD DEBT EXPENSES OF $27,408. |
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| Software Version: |