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)
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(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 2,096,608 | 2,085,750 | 2,586,988 | 3,143,407 | 3,244,617 | 13,157,370 |
| 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 | 2,096,608 | 2,085,750 | 2,586,988 | 3,143,407 | 3,244,617 | 13,157,370 |
| 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) .. | 1,238,465 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 11,918,905 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 2,096,608 | 2,085,750 | 2,586,988 | 3,143,407 | 3,244,617 | 13,157,370 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 20,807 | 23,321 | 12,081 | 24,400 | 27,073 | 107,682 |
| 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.).. | 1,246 | 2,504 | 5,594 | 26,171 | 65,569 | 101,084 |
| 11 | Total support. Add lines 7 through 10 | 13,366,136 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (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) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (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 on 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 0.015 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 0.035 | 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 | 1 | |
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
2 | |
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | 3 | |
| 4 Amounts paid to acquire exempt-use assets | 4 | |
| 5 Qualified set-aside amounts (prior IRS approval required - provide details in Part VI) | 5 | |
| 6 Other distributions (describe in Part VI). See instructions | 6 | |
| 7Total annual distributions. Add lines 1 through 6. | 7 | |
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
8 | |
| 9 Distributable amount for 2021 from Section C, line 6 | 9 | |
| 10 Line 8 amount divided by Line 9 amount | 10 | |
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2021 |
(iii) Distributable Amount for 2021 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2021 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2021 (reasonable cause required-- explain in Part VI). See instructions. |
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| 3 Excess distributions carryover, if any, to 2021: | ||||
| a From 2016....... | ||||
| b From 2017....... | ||||
| c From 2018....... | ||||
| d From 2019....... | ||||
| e From 2020....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2021 distributable amount | ||||
|
i
Carryover from 2016 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2021 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2021 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2021, 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 2021. 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 2022. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2017..... | ||||
| b Excess from 2018..... | ||||
| c Excess from 2019..... | ||||
| d Excess from 2020..... | ||||
| e Excess from 2021..... | ||||
| 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 VI, SECTION B, LINE 11: | DRAFT OF THE FORM 990 IS SENT TO THE FULL BOARD OF DIRECTORS FOR REVIEW AND APPROVAL. |
| FORM 990, PART VI, SECTION B, LINE 12C: | BOARD MEMBERS AND OFFICERS ARE REQUESTED TO SUBMIT AN ANNUAL CONFLICT OF INTEREST CERTIFICATION AND FORM 990 DISCLOSURE FORM. |
| FORM 990, PART VI, SECTION B, LINE 15: | OFFICER'S COMPENSATION APPROVED BY BOARD BASED ON INDUSTRY STANDARDs. |
| FORM 990, PART VI, SECTION C, LINE 19: | FORM 990 IS AVAILABLE ON GUIDESTAR.ORG. and is posted on the New York State Charities bureau website. Form 990 and AUDITED FINANCIAL STATEMENTS ARE AVAILABLE UPON REQUEST. |
| FORM 990, PART XII, LINE 2C: | THE BOARD HAS APPROVED THE AUDIT COMMITTEE FOR OVERSIGHT OF THE ANNUAL AUDIT. |
| FORM 990, PART III, LINE 4A | FOUNDED IN 1977 BY MARTHA BECK (1938-2014), THE DRAWING CENTER STARTED AS A WAY TO EXHIBIT ART BY LIVING ARTISTS IN THEIR OWN NEIGHBORHOOD, AS WELL AS TO ADVANCE A MEDIUM THAT BECK VIEWED AS BROADLY OVERLOOKED. FIRST HOUSED IN A GROUND-FLOOR WAREHOUSE SPACE AT 137 GREENE STREET, THE DRAWING CENTER MOVED TO ITS PRESENT LOCATION, AROUND THE CORNER AT 35 WOOSTER STREET IN 1987. THE IMPACT ON THE MEDIUM THAT THE DRAWING CENTER HAS HAD OVER THE PAST 40 YEARS IS CLEAR. DRAWING HAS TAKEN ITS PLACE AS A CENTRAL AND RESPECTED ART FORM, WITH INSTITUTIONS AND GALLERIES ACROSS THE GLOBE. IT IS THE SUBJECT OF MAJOR EXHIBITIONS THAT CONFIRM ITS ARTISTIC IMPORTANCE AND COMMERCIAL VIABILITY. THIS SHIFT IN THE FIELD HAS ALLOWED THE DRAWING CENTER TO RETHINK ITS MISSION, MOVING AWAY FROM A MORE DEFENSIVE STANCE ABOUT DRAWING-THAT IT IS LEGITIMATE, IMPORTANT, AND VALUABLE-TO A MORE EXPANSIVE AND POSITIVE EXPLORATION OF HOW DRAWING OPERATES IN CONTEMPORARY CULTURE. THIS NEW INSTITUTIONAL APPROACH HAS BEEN POPULAR WITH GENERAL AUDIENCES AND THE FIELD IN GENERAL, AND THE DRAWING CENTER IS SEEING INCREASED ANNUAL ATTENDANCE FIGURES AS WELL AS THE DEVELOPMENT OF A BROADER BASE OF SUPPORTERS. EVERY YEAR, THE DRAWING CENTER SERVES 20,000+ INDIVIDUALS ON-SITE AND THROUGH OFF-SITE DRAWING WORKSHOPS, AND CLOSE TO 135,000 VIA THE DRAWING CENTER WEBSITE AND BLOOMBERG CONNECTS MOBILE APP. AS A MUSEUM THAT DOES NOT MAINTAIN A COLLECTION, THE MAIN FOCUS OF THE DRAWING CENTER'S PROGRAMMATIC ACTIVITY IS TEMPORARY EXHIBITIONS AND LONGER-TERM SITE-SPECIFIC INSTALLATIONS. THE MUSEUM MOUNTS 4 TO 6 EXHIBITIONS OR INSTALLATIONS ANNUALLY ACROSS ITS THREE GALLERY SPACES. OFTEN, THESE EXHIBITIONS TRAVEL ON TO DIFFERENT NATIONAL AND INTERNATIONAL VENUES. DURING THE 2021-2022 EXHIBITION SEASON, THE DRAWING CENTER HOSTED FIVE EXHIBITIONS IN ITS VARIOUS GALLERIES, INCLUDING HUGUETTE CALAND: TTE--TTE; WAYS OF SEEING: THREE TAKES ON THE JACK SHEAR DRAWING COLLECTION; DRAWING IN THE CONTINUOUS PRESENT; FERNANDA LAGUNA: THE PATH OF THE HEART; AND THE CLAMOR OF ORNAMENT: EXCHANGE, POWER, AND JOY FROM THE FIFTEENTH CENTURY TO THE PRESENT. THE DRAWING CENTER OPENED ITS 2021-2022 SEASON WITH HUGUETTE CALAND: TTE--TTE, ON VIEW FROM JUNE 11 THROUGH SEPTEMBER 19, 2021, TO DATE THE LEBANESE ARTIST'S MOST COMPREHENSIVE SOLO MUSEUM EXHIBITION IN THE UNITED STATES. CHARTING CALAND'S UNORTHODOX PATH TO ARTISTIC SUCCESS, THE EXHIBITION SPANNED HER FIVE-DECADE CAREER AND FEATURED OVER 100 WORKS ON PAPER AND CANVAS, AS WELL AS CAFTANS, SCULPTURES, AND NOTEBOOKS ON AND IN WHICH SHE WIELDED HER PEN. TTE--TTE CELEBRATED CALAND'S UNCONVENTIONAL AND EXUBERANT PERSPECTIVE ON BOTH LIFE AND ART, AND SURVEYED HOW SHE USED THE MEDIUM OF DRAWING THROUGHOUT HER CAREER TO CHALLENGE TRADITIONAL REPRESENTATIONS OF SEXUALITY, THE BODY, AND DESIRE. ON VIEW FROM OCTOBER 2, 2021 - FEBRUARY 20, 2022, WAYS OF SEEING: THREE TAKES ON THE JACK SHEAR DRAWING COLLECTION, WAS A THREE-PART EXHIBITION THAT FOCUSED ON THE EXTRAORDINARY DRAWING COLLECTION OF ARTIST, CURATOR, AND PRESIDENT OF THE ELLSWORTH KELLY FOUNDATION JACK SHEAR. CONTINUING THE DRAWING CENTER'S TRADITION OF EXHIBITING DRAWINGS FROM OUTSTANDING PUBLIC AND PRIVATE COLLECTIONS, WAYS OF SEEING OFFERED A REVEALING EXPERIMENT IN CONNOISSEURSHIP AND EXHIBITION-MAKING. DURING THE COURSE OF THE EXHIBITION'S FIFTEEN-WEEK RUN, ARTIST ARLENE SHECHET, CRITIC AND CURATOR JARRETT EARNEST, AND SHEAR HIMSELF EACH PRESENTED AN INSTALLATION CURATED FROM SHEAR'S HOLDINGS, WHICH CONSIST OF NEARLY SEVEN HUNDRED DRAWINGS DATING FROM THE SIXTEENTH CENTURY TO THE PRESENT, INCLUDING CONTRIBUTIONS BY SUCH DIVERSE FIGURES AS EDGAR DEGAS, KAZIMIR MALEVICH, HENRI MATISSE, HENRY DARGER, JULIE MEHRETU, LEE KRASNER, ODILON REDON, PABLO PICASSO, CY TWOMBLY, VIJA CELMINS, GEORGES SEURAT, TOM OF FINLAND, AND TORKWASE DYSON, AMONG MANY OTHERS. FROM MARCH 10 - MAY 22, 2022, THE DRAWING CENTER SHOWED TWO CONCURRENT EXHIBITIONS: "DRAWING IN THE CONTINUOUS PRESENT"FERNANDA LAGUNA: THE PATH OF THE HEART". FEATURING MORE THAN NINETY DRAWINGS BY THIRTEEN INTERNATIONAL ARTISTS, DRAWING IN THE CONTINUOUS PRESENT EXPLORED HOW A NEW GENERATION OF ARTISTS PLACES DRAWING AT THE CENTER OF CONTEMPORARY ART DISCOURSE. THE EXHIBITION BROUGHT TOGETHER WORKS ON PAPER BY SOME OF TODAY'S MOST SIGNIFICANT ARTISTIC VOICES, INCLUDING MICHAEL ARMITAGE, JAVIER BARRIOS, JESSE DARLING, MAREN KARLSON, CHRISTINE SUN KIM, HELEN MARTEN, JEAN KATAMBAYI MUKENDI, JULIEN NGUYEN, SANOU OUMAR, WALTER PRICE, FLORENCIA RODRIGUEZ GILES, JOHANNA UNZUETA, AND HE XIANGYU. DRAWING IN THE CONTINUOUS PRESENT TOOK ITS TITLE FROM GERTRUDE STEIN'S COINAGE OF THE TERM "CONTINUOUS PRESENT," WHICH THE ARTIST AMY SILLMAN USED TO DESCRIBE A KEY ELEMENT OF DRAWING. THE NOTION OF THE "CONTINUOUS PRESENT" PROVIDES A METAPHOR FOR THE WAYS IN WHICH THE FEATURED ARTISTS EMPLOY DRAWING'S IMMEDIACY TO MEDIATE THEIR RELATIONSHIPS WITH THE WORLD. FERNANDA LAGUNA: THE PATH OF THE HEART WAS A MAJOR SURVEY THAT FEATURED SEVENTY WORKS SPANNING THE ARTIST'S ENTIRE CAREER. HIGHLIGHTING LAGUNA'S UNDERSTANDING OF ART AS A LANGUAGE THAT COMMUNICATES EMOTIONS, THE PATH OF THE HEART FOREGROUNDED THE ROLE OF DRAWING IN AN OEUVRE THAT INCLUDES LAGUNA'S WORK AS A VISUAL ARTIST, AND ALSO AS A WRITER, CURATOR, ACTIVIST, AND CULTURAL AGITATOR. FUNDAMENTAL TO LAGUNA'S MULTIFACETED PRACTICE IS THE SHARING OF EMOTIONAL BONDS AND THE CULTIVATION OF COMMUNITY. SINCE THE TURN OF THE CENTURY, LAGUNA HAS INITIATED PROJECTS THAT CONNECT ART AND COMMUNITY, INCLUDING THE WIDELY INFLUENTIAL BELLEZA Y FELICIDAD, AN ART GALLERY, DIY PUBLISHING SPACE, AND ART SUPPLY STORE THAT WAS THE MEETING GROUND FOR BUENOS AIRES'S ARTISTIC COMMUNITY. COLLECTIVE INITIATIVES LIKE BELLEZA Y FELICIDAD WERE HIGHLIGHTED IN THE DRAWING CENTER'S LOWER LEVEL GALLERY, WHERE THE ARTIST INSTALLED A SITE-SPECIFIC ARCHIVE OF HAND-DRAWN MURALS, EPHEMERA, VIDEOS, PHOTOS, OBJECTS, BOOKLETS, AND MAGAZINES THAT CHRONICLES HER COLLECTIVE PRACTICE AND ACTIVISM. |
| FORM 990, PART III, LINE 4A CONT. | ROUNDING OUT THE FY22 EXHIBITION SEASON, THE CLAMOR OF ORNAMENT: EXCHANGE, POWER AND JOY FROM THE FIFTEENTH CENTURY TO THE PRESENT (ON VIEW JUNE 15 THROUGH SEPTEMBER 18TH) BROUGHT TOGETHER MORE THAN 200 OBJECTS PRODUCED OVER THE PAST FIVE CENTURIES, EXPLORING ORNAMENT'S IMPACT IN ARCHITECTURE, ART, AND DESIGN THROUGH THE LENS OF DRAWING. THE CLAMOR OF ORNAMENT SOUGHT TO ADDRESS THE MULTILAYERED HISTORY AND COMPLEXITY OF EXCHANGE ACROSS GEOGRAPHIES AND CULTURES, WHICH INCLUDES THE DISSONANCE BETWEEN THE UNEQUAL AND DESTRUCTIVE RELATIONSHIPS THAT MEDIATE ORNAMENT'S MOVEMENT BETWEEN SOURCES. THE EXHIBITION FEATURED A BROAD RANGE OF DRAWINGS, PRINTS, TEXTILES AND OBJECTS, INCLUDING EIGHTEENTH-CENTURY INDIAN PALAMPORES; PENNSYLVANIA DUTCH FRAKTUR DRAWINGS; KOSODE PAPER DESIGNS; NAVAJO TEXTILES; AND ALBRECHT DRER'S ISLAMIC-INSPIRED WOODBLOCK-PRINT KNOTS. THIS BROAD APPROACH TO THE SUBJECT OF ORNAMENT ALSO ENCOMPASSED ORIGINAL ARCHITECTURAL DRAWINGS BY LOUIS SULLIVAN AND SIR DAVID ADJAYE; CONTEMPORARY ORNAMENT IN THE FORM OF LOGOS FROM LUXURY FASHION BRANDS; AND EVEN PRESENT-DAY DESIGNS FOR PATISSERIE BY THE GREAT BRITISH BAKE OFF ARTIST TOM HOVEY. IN 2021-2022, THE DRAWING CENTER PUBLISHED DRAWING PAPERS CATALOGS IN CONJUNCTION WITH HUGUETTE CALAND: TTE--TTE, WAYS OF SEEING: THREE TAKES ON THE JACK SHEAR DRAWING COLLECTION; DRAWING IN THE CONTINUOUS PRESENT; FERNANDA LAGUNA: THE PATH OF THE HEART; AND THE CLAMOR OF ORNAMENT: EXCHANGE, POWER, AND JOY FROM THE FIFTEENTH CENTURY TO THE PRESENT. THE DRAWING CENTER'S PUBLICATION PROGRAM ENABLES THE PRODUCTION OF IMPORTANT AND INFLUENTIAL NEW SCHOLARSHIP ON DRAWING. ALL MAJOR EXHIBITIONS ARE ACCOMPANIED BY AN EDITION OF DRAWING PAPERS, AN AFFORDABLY PRICED PUBLICATION THAT ATTRACTS A WIDE AUDIENCE, FROM STUDENTS AND FELLOW ARTISTS TO CRITICS, COLLECTORS, AND SCHOLARS. DRAWING PAPERS INCLUDE REPRODUCTIONS OF ARTISTS' WORKS, ARTIST STATEMENTS, COMMISSIONED ESSAYS, AND INTERPRETIVE TEXTS. DRAWING PAPERS ARE AVAILABLE FOR PURCHASE AT THE DRAWING CENTER'S ONSITE AND ONLINE BOOKSTORES, AND IN COMMERCIAL BOOKSTORES, DISTRIBUTED BY D.A.P. DISTRIBUTED ART PUBLISHERS. THE DRAWING CENTER PARTNERS WITH THE ONLINE PUBLISHER ISSUU.COM TO OFFER ALL 140+ OF ITS PUBLICATIONS IN A READABLE FORMAT FOR FREE ONLINE. EACH MONTH, MORE THAN 11,000 PEOPLE INTERACT WITH OUR ONLINE PUBLICATIONS. THE DRAWING CENTER ORGANIZED PUBLIC PROGRAMS TO ACCOMPANY ALL FIVE EXHIBITIONS. THESE PROGRAMS ENGAGED MORE THAN 10,000 LIVE AUDIENCE PARTICIPANTS ACROSS 5 CONTINENTS, WITH 18 PROGRAMS FEATURING THE PARTICIPATION OF ARTISTS, WRITERS, AND CRITICS, INCLUDING DESIGNERS EMILY BODE AND CYNTHIA MERHEJ; COMPOSER CHARLIE PORTER, AUTHOR CLARE SESTANOVICH, AND CRITIC AND WRITER HILTON ALS; MULTIMEDIA SCULPTOR AND PATISSERIE CHEF EDWARD CABRAL; AND OF COURSE MANY OF TODAY'S LEADING ARTISTS, INCLUDING WALTER PRICE, JULIEN NGUYEN, FERNANDA LAGUNA, ARLENE SCHECHET, AND CHRIS KRAUS, AMONG OTHERS. SEVERAL OF THESE PROGRAMS WERE RECORDED AND ARE AVAILABLE TO ALL FUTURE AUDIENCES TO VIEW, FOR FREE, THROUGH OUR WEBSITE AND BLOOMBERG CONNECTS. OTHER PUBLIC PROGRAMS INCLUDE ARTIST CONVERSATIONS AND TDC'S POPULAR DRAWNOW! WORKSHOP SERIES. IN ITS 2021-2022 SEASON, THE DRAWING CENTER CONTINUED ITS STRONG ROSTER OF EDUCATION AND COMMUNITY PROGRAMS, INCLUDING DRAWING CONNECTIONS AND DRAWNOW! ONLINE! WITH TEEN ART SALON. SERVING STUDENTS BOTH LOCALLY IN NEW YORK CITY AND GLOBALLY VIA A NEW VIRTUAL FORMAT, THESE ONLINE EDUCATION OFFERINGS ENCOURAGED YOUNG PEOPLE TO DEVELOP THEIR OWN ARTISTIC PRACTICES AND EXAMINE DRAWING'S ROLE IN CONTEMPORARY CULTURE AND CREATIVE THOUGHT. TDC WAS THRILLED TO ONCE AGAIN SERVE STUDENTS IN-PERSON AS LOCAL NYC SCHOOLS REVERTED BACK TO THEIR NORMAL SCHEDULES AND ROUTINES IN 2022. THROUGH ITS LONG-STANDING DRAWING CONNECTIONS PROGRAM, THE DRAWING CENTER PARTNERS ANNUALLY WITH NEW YORK CITY PUBLIC SCHOOLS TO PROVIDE STUDENTS WITH AN IN-DEPTH VISUAL ART EXPERIENCE FOCUSED ON THE MEDIUM OF DRAWING. IN THE 2021-2022 SCHOOL YEAR, THE DRAWING CENTER'S TEACHING ARTISTS PARTNERED WITH P.S. 42 BENJAMIN ALTMAN SCHOOL, CHELSEA CAREER AND TECHNICAL EDUCATION HIGH SCHOOL, AND LEXINGTON SCHOOL FOR THE DEAF TO PRODUCE PROJECTS INSPIRED BY RECENT EXHIBITIONS. THROUGH PROGRAMS LIKE DRAWING CONNECTIONS, THE DRAWING CENTER SERVES AN EVER-EXPANDING CORE AUDIENCE OF STUDENTS, EDUCATORS, AND THE GENERAL PUBLIC, AS WELL AS UNDERSERVED AUDIENCES WHO WOULD NOT NORMALLY HAVE EASY ACCESS TO ARTS INSTITUTIONS. THESE INCLUDE K-12 PUBLIC SCHOOL STUDENTS FROM ACROSS THE FIVE BOROUGHS OF NYC; AT RISK AND AT PROMISE TEENS; MEMBERS OF SURROUNDING COMMUNITIES, INCLUDING THOSE IN ELDERCARE; DEAF AND HARD-OF-HEARING AUDIENCES; AND PARTICIPANTS FOR WHOM ENGLISH IS A SECOND LANGUAGE. TO BEST SERVE THESE AUDIENCES, THE DRAWING CENTER HAS PRODUCED AN AMBITIOUS ROSTER OF EDUCATION PROGRAMS THAT INCLUDES WORKSHOPS FOR K-12 STUDENTS; HANDS-ON, ARTIST-LED DRAWING WORKSHOPS IN SPANISH, AMERICAN SIGN LANGUAGE, AND ENGLISH FOR ALL AGES AND ABILITIES; AND TAILORED TOURS AND PROGRAMS FOR COMMUNITY GROUPS. THE DRAWING CENTER OFFERS OFF-SITE PUBLIC DRAWING WORKSHOPS IN COLLABORATION WITH THE NON-PROFIT ORGANIZATION STREET LAB; GUIDED TOURS FOR ADULT AND UNIVERSITY GROUPS; AND A ROBUST INTERNSHIP PROGRAM. IN ADDITION TO HAVING ESTABLISHED PARTNERS AT TEEN ART SALON, STREET LAB/THE UNI PROJECT, AND THE NEW YORK PUBLIC LIBRARY, IN 2021-2022 TDC FORGED NEW PARTNERSHIPS WITH SUMMERTIME, A NONPROFIT ART STUDIO AND GALLERY IN WILLIAMSBURG, BROOKLYN WHICH PROVIDES SPACE, MATERIALS, AND MENTORSHIP FOR NEURODIVERSE ARTISTS; THE CENTER FOR AFROFUTURIST STUDIES, AN ARTIST RESIDENCY PROGRAM WHICH PROMOTES A FUTURE WHERE ARTISTS OF COLOR CAN THRIVE; AND CITYMEALS ON WHEELS, AN ORGANIZATION WITH A 40 YEAR HISTORY OF PROVIDING NOURISHING MEALS TO ELDERLY HOMEBOUND NEW YORKERS. TOGETHER, THE DRAWING CENTER'S FAR-REACHING EXHIBITIONS, PROGRAMS, AND EDUCATIONAL INITIATIVES ENCOURAGE AUDIENCES TO EXAMINE DRAWING'S ROLE IN CONTEMPORARY CULTURE, THE FUTURE OF ART, AND CREATIVE THOUGHT. |
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