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) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 15,496,726 | 10,761,253 | 17,760,368 | 13,507,338 | 13,367,807 | 70,893,492 |
| 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 | 15,496,726 | 10,761,253 | 17,760,368 | 13,507,338 | 13,367,807 | 70,893,492 |
| 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) .. | 0 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 70,893,492 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 15,496,726 | 10,761,253 | 17,760,368 | 13,507,338 | 13,367,807 | 70,893,492 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 3,793,629 | 2,339,123 | 1,594,008 | 7,091,043 | 1,014,911 | 15,832,714 |
| 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.).. | 30,170 | 12,295 | 52,424 | 332,125 | 895,918 | 1,322,932 |
| 11 | Total support. Add lines 7 through 10 | 88,057,302 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (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) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (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 2022 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-2022 |
(iii) Distributable Amount for 2022 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2022 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2022 (reasonable cause required-- explain in Part VI).
See instructions. |
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| 3 Excess distributions carryover, if any, to 2022: | ||||
| a From 2017....... | ||||
| b From 2018....... | ||||
| c From 2019....... | ||||
| d From 2020....... | ||||
| e From 2021....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2022 distributable amount | ||||
|
i
Carryover from 2017 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2022 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2022 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2022, 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 2022. 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 2023. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2018..... | ||||
| b Excess from 2019..... | ||||
| c Excess from 2020..... | ||||
| d Excess from 2021..... | ||||
| e Excess from 2022..... | ||||
| 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: | 2022 ARTISTIC SEASON: IN 2022, PARK AVENUE ARMORY PRESENTED ITS FIRST FULL IN-PERSON ARTISTIC SEASON SINCE THE START OF COVID-19. A LANDSLIDE CRITICAL SUCCESS, EVERY LIVE PRODUCTION SHOWN IN THE WADE THOMPSON DRILL HALL RECEIVED A PRIZED CRITIC'S PICK FROM THE NEW YORK TIMES. IN ADDITION TO MAJOR DRILL HALL PRODUCTIONS, THE ARMORY PRESENTED A SERIES OF HISTORIC ROOM PROGRAMS IN THE EXUBERANT PERIOD ROOMS. ADDITIONALLY, IN CONJUNCTION WITH ITS ARTISTIC PROGRAMMING, THE ARMORY ENGAGED OVER 5,000 STUDENTS FROM UNDER-RESOURCED NEW YORK CITY PUBLIC SCHOOLS THROUGH STUDENT-ONLY EXPERIENCES ONSITE AND IN SCHOOLS CITY-WIDE; IN-DEPTH TEACHING-ARTIST-LED RESIDENCIES AT PARTNER SCHOOLS; AND PAID, HIGHLY MENTORED INTERNSHIP OPPORTUNITIES. DRILL HALL PRODUCTIONS: ASSEMBLY (FEBRUARY 16 - MARCH 6, 2022): THE 2022 SEASON BEGAN WITH THE PREMIERE OF A NEW COMMISSION BY MULTIDISCIPLINARY ARTIST RASHAAD NEWSOME. NEWSOME DEVELOPED A MULTI-FACETED WORK ENTITLED ASSEMBLY THAT INCORPORATED ARTIFICIAL INTELLIGENCE, SOCIAL MEDIA TECHNOLOGIES, DANCE, MOTION TRACKING TECHNOLOGIES, ART HISTORY, ADVERTISING, AND MOVING AND STILL IMAGES TO CREATE WHAT HE HAS CALLED A "BLACK QUANTUM LANGUAGE." THE DRILL HALL FUNCTIONED SIMULTANEOUSLY AS AN EXHIBITION SPACE, PERFORMANCE SPACE, AND CLASSROOM. AT THE CENTER WAS BEING 2.0, AN ARTIFICIAL INTELLIGENCE PROJECT NEWSOME HAS DEVELOPED OVER MANY YEARS. DURING "CLASS MODE," BEING 2.0 LED VISITORS IN "DECOLONIZATION WORKSHOPS" THAT COMBINED LECTURE, PEDAGOGY, DANCE, STORYTELLING, AND MINDFULNESS MEDITATION. IN NINE EVENING PERFORMANCES, THE THEATER SPACE HELD A NEW CHOREOGRAPHED WORK FOR ACCLAIMED VOGUE DANCERS FROM AROUND THE WORLD WITH LIVE MUSICIANS, SINGERS, CHORUS, FILM, SPOKEN WORD, AND BEING 2.0. THE NEW YORK TIMES NAMED ASSEMBLY A CRITIC'S PICK, HAILING IT AS "GRAND, OPULENT AND SMART,A "RICH SENSORY EXPERIENCE, AS WELL AS A SPRINGBOARD FOR RETHINKING THE ROOTS OF AMERICAN CULTURE." UPLOAD (MARCH 22 - 30, 2022): THIS NEW CO-COMMISSIONED MULTI-MEDIA CHAMBER OPERA COMPOSED AND DIRECTED BY MICHEL VAN DER AA UTILIZED LIVE ACTION, MOTION-CAPTURE TECHNOLOGY, AND IMMERSIVE FILM TO TELL THE STORY OF A FATHER WHO, WHEN CONFRONTED BY HIS INEVITABLE DEATH, HAS HIS THOUGHTS AND MEMORIES UPLOADED TO ACHIEVE VIRTUAL IMMORTALITY, LEAVING HIS DAUGHTER TO DEAL WITH THE CONSEQUENCES. AT ONCE HIGHLY CONCEPTUAL AND DEEPLY EMOTIONAL, THIS THOUGHT-PROVOKING WORK EXAMINED TECHNOLOGIES OF OUR NEAR-FUTURE AND THE IMPACT THEY PLAY ON FATE, IDENTITY, AND EVERLASTING LIFE. PERFORMED BY BARITONE RODERICK WILLIAMS AND ACCLAIMED SOPRANO JULIA BULLOCK, UPLOAD WAS SELECTED AS A NEW YORK TIMES CRITIC'S PICK AND LAUDED AS "A SEAMLESS INTERWEAVING OF OPERA, FILM AND HIGH TECHNOLOGY." HAMLET (JUNE 10 - AUGUST 13, 2022) AND ORESTEIA (JULY 13 - AUGUST 13, 2022): THE ARMORY PRESENTED TWO ACCLAIMED PRODUCTIONS (ORIGINALLY PLANNED FOR 2020) LED BY AWARD-WINNING DIRECTOR ROBERT ICKE. ICKE HAS BEEN HAILED AS "ONE OF THE MOST IMPORTANT FORCES IN TODAY'S THEATRE" (THE GUARDIAN), AND THE EVENING STANDARD DESCRIBES HIS FAST-PACED, VISCERAL INTERPRETATIONS OF CLASSIC PLAYS AS "UNAPOLOGETICALLY AUDACIOUS." BOTH PRODUCTIONS RECEIVED A CRITIC'S PICK FROM THE NEW YORK TIMES, WHICH CELEBRATED HAMLET AS A "RIVETING.TALE OF MUSING, MANIA AND MURDER FOR OUR AGEORESTEIA AS AN "EMOTIONALLY HARROWING RETELLING OF AESCHYLUS' TRILOGY." ALEX LAWTHER GAVE A RIVETING PERFORMANCE AS HAMLET AND ANASTASIA HILLE, WHO STEPPED INTO THE ROLE AT THE LAST MINUTE, WAS "MAGNIFICENT IN AN INCANDESCENT, UTTERLY SYMPATHETIC INTERPRETATION" (THE NEW YORK TIMES) AS KLYTEMNESTRA. MONOCHROMATIC LIGHT (AFTERLIFE) (SEPTEMBER 27 - OCTOBER 9, 2022): THIS NEW MULTI-DISCIPLINARY COMMISSION BY MACARTHUR "GENIUS," MULTI-INSTRUMENTALIST AND GENRE-DEFYING COMPOSER TYSHAWN SOREY COMMEMORATES FIFTY YEARS SINCE THE DEDICATION OF ROTHKO CHAPEL, A NONDENOMINATIONAL CHAPEL FOUNDED BY JOHN AND DOMINIQUE DE MENIL THAT FEATURES ORIGINAL WORK CREATED FOR THE SPACE BY 20TH-CENTURY PAINTER MARK ROTHKO. FOR THE DEDICATION, COMPOSER MORTON FELDMAN PRESENTED A SCORE HE HAD WRITTEN IN HONOR OF ROTHKO, WHO COMMITTED SUICIDE BEFORE THE CHAPEL'S OPENING. INSPIRED BY FELDMAN'S PIECE, SOREY'S WORK AMPLIFIED THE MISSION OF THE CHAPEL TO GIVE AUDIENCES A DIFFERENT PERSPECTIVE ON TIME, SPACE, AND MOVEMENT AND INSPIRE ACTION THROUGH ART. AFTER A PREMIERE IN HOUSTON, THIS NEW ITERATION OF SOREY'S PIECE HAD THE ADDED ELEMENTS OF DIRECTION AND STAGING BY PETER SELLARS, FEATURED MOVEMENT BY FLEX DANCE PIONEER REGGIE (REG ROCC) GRAY AND THE D.R.E.A.M. RING, AND PRODUCTION DESIGN BY JULIE MEHRETU, WHOSE ARTWORK FUNCTIONED AS INTERACTIVE VISUAL BACKDROPS FOR THE PIECE. THE NEW YORK TIMES NAMED IT A CRITIC'S PICK, STATING THAT THE PIECE "STRIKES A NEW RICHNESS IN NEW YORK, AND IT AFFIRMS HOW ABSTRACTION CAN GIVE FORM TO SUFFERING AND FREEDOM IN WAYS MORE STRAIGHTFORWARD EXPRESSION SO OFTEN CANNOT." THE PIECE WAS ALSO NAMED A FINALIST FOR THE 2023 PULITZER PRIZE FOR MUSIC. EUPHORIA (NOVEMBER 29, 2022 - JANUARY 8, 2023): DIRECTED AND CONCEIVED BY ARTIST JULIAN ROSEFELDT, EUPHORIA WAS A MULTI-CHANNEL VIDEO INSTALLATION USING SEVERAL SCREENS AND COMPLEX SOUND TECHNOLOGY TO EXPLORE THE CONCEPTS OF "CAPITAL, MONEY, AND GREEDWHAT ROSEFELDT DESCRIBES AS "THE DESTRUCTIVE POTENTIAL OF UNLIMITED CONSUMPTION BINGES AND THE SELDOM QUESTIONED MOTTO OF CONTINUAL ECONOMIC GROWTH." THE FILM FEATURED ORIGINAL MUSIC COMPOSED AND ARRANGED BY SAMY MOUSSA AND SEAN MARQUAND, PERFORMED BY 200 SINGERS FROM THE BROOKLYN YOUTH CHORUS, AS WELL AS FOOTAGE OF FIVE ACCLAIMED JAZZ DRUMMERS, TERRI LYNE CARRINGTON, PETER ERSKINE, YISSY GARCA, ERIC HARLAND, AND ANTONIO SANCHEZ, PROJECTED ON SCREENS AROUND THE SPACE. FRAGMENTS OF QUOTATIONS FROM ALAN GREENSPAN, SOCRATES, JOHN STEINBECK, NAOMI KLEIN, MILTON FRIEDMAN, ALBERT EINSTEIN AND WARREN BUFFET, AMONG OTHERS, WERE SPOKEN, SUNG, AND PERFORMED BY CHORISTERS, ACTORS, AND LAYMEN IN UNEXPECTED CONTEXTS. EUPHORIA WAS LAUDED AS "TECHNICALLY BRILLIANT ... VISUALLY SUMPTUOUS, WITH GORGEOUS CINEMATOGRAPHY AND CHOREOGRAPHY THAT FLOAT THROUGH A DREAMSCAPE OF DEGRADATION" (HYPERALLERGIC). |
| FORM 990, PART III, LINE 4A (CONTINUED) | HISTORIC ROOM PROGRAMS: RECITAL SERIES: THE ARMORY'S ACCLAIMED RECITAL SERIES RETURNED TO THE BOARD OF OFFICERS ROOM WITH ITS GILDED AGE INTERIORS AND EXCEPTIONAL ACOUSTICS. THE 2022 SERIES BEGAN WITH "VIBRANT [AND] TECHNICALLY DAZZLING" (THE NEW YORK TIMES) CONTEMPORARY ENSEMBLE ALARM WILL SOUND PERFORMING GRAMMY AND PULITZER PRIZE-WINNING COMPOSER JOHN LUTHER ADAMS TEN THOUSAND BIRDS IN AN IMMERSIVE NEW STAGING, WHICH RECEIVED A CRITIC'S PICK BY THE NEW YORK TIMES. IN THE SPRING, THE "MUSICALLY EXQUISITE" (THE NEW YORK TIMES) ENSEMBLE CORRESPONDANCES PRESENTED AN EVENING OF PERIOD MUSIC FOR THE CHAMBER OF LOUIS XIII, AND JUSTIN AUSTIN BROUGHT HIS "MELLIFLUOUS BARITONE" TO PERFORM AMERICAN ART SONGS, INCLUDING WORKS BY RICKY IAN GORDON SET TO THE POEMS OF LANGSTON HUGHES. IN THE FALL, BARITONE MICHAEL SPYRES MADE HIS "OVERDUE NEW YORK RECITAL DEBUT" (THE NEW YORK TIMES) ALONGSIDE MATHIEU PORDOY WITH A PROGRAM THAT INCLUDED BEETHOVEN, BERLIOZ, AND LISZT AND MEZZO-SOPRANO, AND EMILY D'ANGELO - MAKING HER NORTH AMERICAN RECITAL DEBUT - PRESENTED A RANGE OF WORKS FROM HILDEGARD VON BINGEN TO MISSY MAZZOLI. ARTISTS STUDIO: IN THE RESTORED VETERANS ROOM, THE ECLECTIC ARTISTS STUDIO SERIES, CURATED SINCE 2016 BY MACARTHUR "GENIUS" JASON MORAN, FEATURED A SOLO BY LEGENDARY PIONEERING SOUND AND MULTI-MEDIA ARTIST JOAN JONAS; A SOLO PIANO PERFORMANCE BY CURATOR, OSCAR-WINNING AND GRAMMY-NOMINATED JAZZ PHENOM HIMSELF, JASON MORAN; A NEW WORK BY CONCEPTUAL ARTIST, WRITER, AND PERFORMER RODNEY MCMILLIAN THAT COMBINED TEXT FROM SUPREME COURT JUSTICE CLARENCE THOMAS' POLARIZING 1985 COMMENCEMENT ADDRESS AT SAVANNAH STATE UNIVERSITY WITH FUNK-ROCK SONGS; AND A COLLABORATIVE PERFORMANCE BY MULTIMEDIA ARTIST CAMILLE NORMENT AND PIANIST, COMPOSER, AND ELECTRONIC MUSICIAN CRAIG TABORN THAT INVESTIGATED SONIC AND SOCIAL DISSONANCE, BLENDING THE PAIR'S INDIVIDUAL STYLES AND INSTRUMENTS. MAKING SPACE AT THE ARMORY: WITH THE LEADERSHIP OF OUR CURATOR OF PUBLIC PROGRAMMING DR. TAVIA NYONG'O, THE 2022 PUBLIC PROGRAMS SERIES, MAKING SPACE AT THE ARMORY, BROUGHT TOGETHER DIVERSE ARTISTS, SCHOLARS, AND LEADERS ACROSS DISCIPLINES TO ENGAGE IN RELEVANT ISSUES OF OUR TIME. THE WELL-ATTENDED SERIES INSPIRED FASCINATING INTERACTIONS AMONG SPEAKERS AND AUDIENCE MEMBERS ALIKE. PROGRAMS INCLUDED QUEER AFRO-CUBAN HIP HOP CYPHER, A PARTICIPATORY AND IMMERSIVE MULTIDISCIPLINARY ART FORM, WITH KRUDXS CUBENSI AND A ROUNDTABLE WITH SHANTE PARADIGM SMALLS; ARCHER AYMES RETROSPECTIVE: A JUNETEENTH EXHIBITION, PART OF A CITY-WIDE FESTIVAL WITH NATIONAL BLACK THEATRE, HARLEM STAGE, AND LINCOLN CENTER, WITH AN ART INSTALLATION CREATED BY CARL HANCOCK RUX; A SKILLSHARE SESSION BETWEEN TAVIA NYONG'O AND CURRENT ARMORY ARTISTS-IN-RESIDENCE; BLOOM, A PERFORMANCE AND SALON WITH LEGENDARY CHICANA ARTIST NAO BUSTAMANTE; AND ART AT WATER'S EDGE, A SYMPOSIUM CENTERING THE WORK OF INDIGENOUS WATER PROTECTORS AND A GENERATION OF YOUTH LEADERS WHO ARE REBELLING AGAINST CLIMATE NIHILISM AND ASKING WHAT ROLE ART CAN PLAY IN COLLECTIVE RESILIENCE. ARTS EDUCATION PROGRAMS: THE ARMORY'S ARTS EDUCATION PROGRAMS HAVE THREE MAIN COMPONENTS: (1) PRODUCTION-BASED PROGRAMMING, IN WHICH STUDENTS EXPERIENCE WORKS OF MUSIC, THEATER, DANCE AND VISUAL ART, AND PARTICIPATE IN WORKSHOPS WITH THE ARMORY'S TALENTED CORPS OF TEACHING ARTISTS; (2) THE PARTNER SCHOOL INITIATIVE, IN WHICH DEEPER RELATIONSHIPS WITH SCHOOLS ARE CREATED THROUGH CUSTOMIZED RESIDENCIES; AND (3) THE YOUTH CORPS, A PAID AND CLOSELY MENTORED INTERNSHIP PROGRAM FOR NEW YORK CITY PUBLIC HIGH SCHOOL STUDENTS. WHILE THE ARMORY SAW THE RETURN OF ITS FIRST FULL ARTISTIC SEASON SINCE COVID-19 IN 2022, OUR IN-PERSON ARTS EDUCATION PROGRAMMING RETURNED AT A MORE GRADUAL PACE AS A RESULT OF OUR TEAM'S EFFORTS TO CONTINUALLY BE RESPONSIVE TO COVID PROTOCOLS AND THE EVER-CHANGING NEEDS OF STUDENTS AND SCHOOLS DURING THIS TIME. PRODUCTION-BASED PROGRAM: FOR THE 2021-2022 SCHOOL YEAR, THE ARMORY'S PRODUCTION-BASED PROGRAM PROVIDED THOUSANDS OF FREE IN-SCHOOL WORKSHOPS TO NEW YORK CITY PUBLIC SCHOOL STUDENTS SURROUNDING THE WORK OF ARMORY ARTISTS. AS PUBLIC HEALTH IMPROVED AND DEPARTMENT OF EDUCATION FIELD TRIP RESTRICTIONS RELAXED, THE ARMORY RETURNED TO HOSTING IN-PERSON FIELD TRIPS WHENEVER POSSIBLE. IN DECEMBER 2021 AND JANUARY 2022, IN TANDEM WITH THE ARMORY'S VISUAL ART PRODUCTIONS OF THE SHAPE OF THINGS BY CARRIE MAE WEEMS AND ASSEMBLY BY RASHAAD NEWSOME, 582 STUDENTS PARTICIPATED IN WORKSHOPS THAT FOCUSED ON THE PRACTICES OF BOTH ARTISTS AND EXPLORED THEMES OF DECOLONIZATION, TECHNOLOGY, HUMAN RIGHTS, AND THE POWER OF ART TO PROMOTE CHANGE. FIELD TRIP RESTRICTIONS PREVENTED THE ARMORY FROM BRINGING ALL STUDENTS TO EXPERIENCE THIS WORK. HOWEVER, WE WERE ABLE TO HOST THE FIRST ON-SITE FIELD TRIPS SINCE 2020 FOR SMALL GROUPS, WELCOMING 60 STUDENTS AND PROVIDING COMPLIMENTARY TICKETS TO THOSE WHO WERE NOT ABLE TO ATTEND A FIELD TRIP. THE TICKET OFFER WAS EXTENDED TO FAMILIES OF STUDENTS AND WAS ADVERTISED IN MULTIPLE LANGUAGES TO INCREASE ACCESSIBILITY. IN MARCH 2022, WITH RESTRICTIONS FURTHER RELAXING, THE ARMORY HOSTED NEARLY 400 FULLY VACCINATED STUDENTS FOR A PERFORMANCE OF MICHEL VAN DER AA'S TECHNOLOGY INFUSED CHAMBER OPERA, UPLOAD - THE ARMORY'S FIRST STUDENT MATINEE IN TWO YEARS! A VIRTUAL STUDENT MATINEE WAS HOSTED FOR UNVACCINATED STUDENTS, WITH ALL STUDENTS PARTICIPATING IN PRE- AND POST-SHOW IN-SCHOOL WORKSHOPS, IN WHICH STUDENTS RESPONDED TO THE PIECE THROUGH THE CREATION OF THEIR OWN ART. SOME STUDENTS CREATED COLLABORATIVE OPERAS, WHILE OTHERS CREATED A VISUAL BRAIN MAP INDICATING WHAT MAKES THEIR BRAIN UNIQUE. BEGINNING IN THE SUMMER, THE ARMORY WAS ABLE TO RETURN TO ITS MOST TRADITIONAL, RESTRICTION-FREE STUDENT MATINEES. FIVE HUNDRED STUDENTS ATTENDED ROBERT ICKE'S HAMLET IN JUNE. FOLLOWING THE PIECE, THEY CREATED THEIR OWN "TO BE, OR NOT TO BE" MONOLOGUES, FINDING THAT THE 400-YEAR-OLD PLAY STILL RESONATES WITH YOUNG AUDIENCES. IN OCTOBER, WE WELCOMED 600 STUDENTS FOR MONOCHROMATIC LIGHT (AFTERLIFE), WITH PRE- AND POST-SHOW WORKSHOPS FOCUSING ON THEMES OF SILENCE, CREATING A REFLECTIVE SPACE, AND ARTISTIC CONTINUUMS. ONE TEACHER WHOSE CLASSES PARTICIPATED IN THE PROGRAMMING AROUND MONOCHROMATIC LIGHT (AFTERLIFE) COMMENTED AFTERWARDS, "THAT PERFORMANCE WAS SO MOVING. IT HELPED ME EXPLAIN TO MY STUDENTS WHY ART IS NECESSARY TO BE HUMAN, AND IT SHOWED THEM HOW ART IS NOT JUST ABOUT MAKING THE WORLD PRETTIER, BUT ALSO HOW IT IS SO NECESSARY IN ORDER TO HELP US UNDERSTAND ALL FACETS OF THE HUMAN EXPERIENCE." IN DECEMBER 2022, 1,200 NEW YORK CITY PUBLIC SCHOOL STUDENTS FROM 19 DIFFERENT SCHOOLS VISITED THE ARMORY TO EXPERIENCE JULIAN ROSEFELDT'S EUPHORIA. TEACHERS WERE DRAWN TO THE THEMES IN ROSEFELDT'S WORK WHICH OFFERED A WEALTH OF CURRICULAR CONNECTIONS FOR HISTORY, ENGLISH LANGUAGE ARTS, ECONOMICS, AND ART CLASSES ALIKE. DURING FIELD TRIPS, STUDENTS EXPERIENCED THE EXPANSIVE INSTALLATION IN THE DRILL HALL AND PARTICIPATED IN CREATIVE, MULTIDISCIPLINARY ARTS WORKSHOPS FACILITATED BY THE ARMORY'S CORPS OF TEACHING ARTISTS, OFFERING OPPORTUNITIES FOR STUDENTS TO REFLECT ON THE MANY WAYS THE FREE MARKET ECONOMIC SYSTEM AFFECTS THEIR OWN LIVES. |
| FORM 990, PART III, LINE 4A (CONTINUED) | PARTNER SCHOOLS: LIKE THE ARMORY'S PRODUCTION-BASED PROGRAM, THE ARMORY'S PARTNER SCHOOL INITIATIVE, IN WHICH CUSTOMIZED RESIDENCIES ARE DESIGNED TO ENHANCE EXISTING SCHOOL CURRICULA AND MEET SPECIFIC NEEDS, CONTINUED TO PROVIDE MEANINGFUL AND SUBSTANTIAL EDUCATIONAL PROGRAMMING, WHILE NAVIGATING THE CONTINUOUSLY CHANGING HEALTH REQUIREMENTS. RESIDENCIES CONTINUED AT THE ARMORY'S LONG-TERM PARTNER SCHOOLS: WILLIAMSBURG HIGH SCHOOL FOR ARCHITECTURE AND DESIGN, BRONX ENVISION ACADEMY, VANGUARD HIGH SCHOOL, CLAREMONT INTERNATIONAL HIGH SCHOOL, INTERNATIONAL HIGH SCHOOL AT PROSPECT HEIGHTS, THE NEW SCHOOL FOR LEADERSHIP AND THE ARTS/MS 244, AND THE PARKCHESTER SCHOOL/PS 106. PARTNER SCHOOL RESIDENCIES EXPLORED A VAST RANGE OF ARTISTIC DISCIPLINES, DRAWING INSPIRATION FROM THE ARMORY'S VARIED PROGRAMMING. FOR EXAMPLE, FOR THE RESIDENCY AT WILLIAMSBURG HIGH SCHOOL FOR ARCHITECTURE AND DESIGN (A PARTNER SCHOOL OF THE ARMORY'S FOR OVER TEN YEARS), TWO ARMORY TEACHING ARTISTS VISITED FIVE 10TH GRADE ENGLISH AND LANGUAGE ARTS CLASSES ONCE A WEEK TO CONNECT CLASSROOM READINGS TO A FILM OF BILL T. JONES' DANCE WORK TITLED DEEP BLUE SEA, AN ARMORY COMMISSION FROM SEPTEMBER 2021. DEEP BLUE SEA UTILIZES TEXT FROM HERMAN MELVILLE'S MOBY DICK AND MARTIN LUTHER KING'S "I HAVE A DREAM" SPEECH, TO EXPLORE THE ELUSIVE "WE" DURING FRACTIOUS TIMES. OVER THE COURSE OF THE WINTER AND SPRING, STUDENTS CREATED THEIR OWN FILMS INSPIRED BY DEEP BLUE SEA, THAT INVESTIGATED RELATIONSHIPS, INDIVIDUAL IDENTITY, AND COMMUNITY. IN JUNE, THE STUDENTS PREMIERED THEIR FILMS, WITH THE HOSTING ENGLISH LANGUAGE ARTS TEACHER EXCLAIMING, "COLLABORATING WITH THE ARMORY ALWAYS ENHANCES OUR SCHOOL YEAR. THE OPPORTUNITY TO SHIFT GEARS ONCE A WEEK GIVES EVERYONE A CHANCE TO LOOK AT THE WORK WE DO THROUGH NEW LENSES. MY CURRICULUM, CLASSROOM ENVIRONMENT, AND PROFESSIONALISM ACHIEVE NEW LEVELS THROUGH THE PLANNING, ACTUALIZATION, AND REFLECTION THAT COMES WITH EACH ARMORY SESSION." YOUTH CORPS: IN 2022, THE YOUTH CORPS, THE ARMORY'S INTERNSHIP PROGRAM FOR YOUNG PEOPLE AGES 16 TO 25, HAS REMAINED COMMITTED TO ITS CORE MISSION AND VALUES, CONTINUING TO DEVELOP RIGOROUS, HIGHLY MENTORED, AND PAID OPPORTUNITIES THAT ARE CUSTOMIZABLE TO EACH STUDENT'S GOALS, LEARNING STYLE, AND SCHEDULE. NEARLY 100 YOUTH CORPS INTERNS HAD ACCESS TO OVER 12,000 HOURS OF PAID, MENTORED EMPLOYMENT. SELECTED YOUTH CORPS INITIATIVES ARE DETAILED BELOW: HIGH SCHOOL YOUTH CORPS: THE HIGH SCHOOL YOUTH CORPS PROGRAM MADE A RETURN TO IN- PERSON PROGRAMMING FOR THE FIRST TIME SINCE MARCH 2020. THESE YOUNG PEOPLE HAILED FROM OUR FIVE YOUTH CORPS PARTNER HIGH SCHOOLS: BRONX ENVISION ACADEMY, INTERNATIONAL HIGH SCHOOL AT PROSPECT HEIGHTS, TALENT UNLIMITED, VANGUARD HIGH SCHOOL, AND WILLIAMSBURG HIGH SCHOOL FOR ARCHITECTURE AND DESIGN. THROUGHOUT THE 10-WEEK PROGRAM YOUTH CORPS WORKED COLLABORATIVELY TO CREATE A MULTIDISCIPLINARY INSTALLATION FOR THEIR CULMINATING CAPSTONE PROJECT INSPIRED BY JULIAN ROSEFELDT'S CREATIVE PROCESS AND HIS FILM INSTALLATION EUPHORIA. THROUGH MEETING WITH ROSEFELDT, RESEARCHING HIS METHODS, AND PARTICIPATING IN ROBUST CONVERSATIONS, INTERNS GAINED INSIGHT INTO ROSEFELDT'S PROCESS FOR CREATING THAT FUELED THEIR ARTMAKING. ARMORY ART TOGETHER: ARMORY ART TOGETHER COMMISSIONED ARTWORK FROM 60 YOUTH CORPS. WORKS WERE INSPIRED BY ARMORY ARTISTS INCLUDING RASHAAD NEWSOME, NAO BUSTAMANTE, TANIA BRUGERA, CAMILLE NORMENT AND CRAIG TABORN. ORIGINALLY CREATED IN RESPONSE TO THE NEED FOR REMOTE PROGRAMMING, THE ARMORY SENT ART PACKS WITH SUPPLIES AROUND THE CITY (AND COUNTRY!) TO YOUTH CORPS. TEACHING ARTISTS HOSTED REMOTE OPEN STUDIOS, BRINGING STUDENTS TOGETHER IN COMMUNITY ONLINE TO DEEPEN UNDERSTANDING OF THE WORK OF FEATURED ARTISTS. OVER 40 YOUTH CORPS AND TEACHING TEAM MEMBERS CAME TOGETHER FOR A VIRTUAL CELEBRATION OF THE ARTWORK. PARTICIPANTS WERE GUIDED THROUGH VIRTUAL GALLERIES AND INSTALLATIONS OF YOUTH CORPS ARTWORK, OFFERING AN OPPORTUNITY FOR PARTICIPANTS TO COMMENT ON THE IMPRESSIVE ARTISTRY DISPLAYED. YOUTH CORPS ARTISTS MAY CONTINUE TO USE THE ARMORY ART TOGETHER WEBSITE AS AN ONLINE PORTFOLIO FOR SHOWCASING THEIR WORK. FRONT OF HOUSE: YOUTH CORPS WERE ACTIVE AS USHERS IN EVERY PRODUCTION AT THE ARMORY THROUGHOUT THE YEAR, GAINING VALUABLE EXPERIENCE INTERACTING WITH THE PUBLIC, COMMUNICATING THE ARMORY'S HISTORY AND CURRENT SUITE OF PROGRAMMING, AND SUPPORTING COVID-19 COMPLIANCE PROTOCOLS AS WE CONTINUED TO WELCOME BACK PATRONS. POST-HIGH SCHOOL 1:1 INTERNSHIPS: ARMORY STAFF CONTINUED TO WORK WITH YOUTH CORPS IN CLOSELY-MENTORED INTERNSHIPS, WITH PLACEMENTS IN ARTS EDUCATION, DEVELOPMENT, FINANCE, PRODUCTION, AND PUBLIC PROGRAMMING. STUDENTS AND SUPERVISORS WORKED CLOSELY TOGETHER ON REAL-WORLD PROJECTS AT THE ARMORY, INCLUDING TIMELAPSE PRODUCTION VIDEOS, FUNDRAISING DATA, AND AS PRODUCTION ASSISTANTS. COHORT: A MEANINGFUL MONTHLY GATHERING FOR YOUTH CORPS IN COLLEGE, COHORT ADAPTED TO THE VIRTUAL SPACE AND EXPLORED STUDENT-DRIVEN TOPICS, SUCH AS CONNECTING YOUR MAJOR TO YOUR FUTURE CAREER, INTERVIEWING TIPS, AND MORE. THIS SCHEDULED MOMENT TO CHECK-IN WITH EACH OTHER SERVED AS A SUPPORT GROUP FOR STUDENTS NAVIGATING CLASSWORK AND POST-SECONDARY SCHOOLING IN THE VIRTUAL SPHERE. ABOUT 20 ACTIVE YOUTH CORPS PARTICIPATED IN COHORT EACH MONTH. TEACHING DEMONSTRATIONS: TEACHING ARTISTS AND YOUTH CORPS ALIKE WERE THRILLED TO RETURN TO IN-PERSON TEACHING DEMONSTRATIONS, IN WHICH STUDENTS GAVE FEEDBACK ON LESSON PLANS IN PROGRESS TO THE TEACHING TEAM IN PREPARATION FOR WORKSHOPS IN SCHOOLS. |
| FORM 990, PART VI, SECTION B, LINE 11B: | A DRAFT FORM 990, PREPARED BY AN INDEPENDENT ACCOUNTING FIRM BASED ON INFORMATION PROVIDED BY MANAGEMENT, IS SUBMITTED TO THE CEO/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, SECTION B, LINE 12C: | 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, SECTION B, LINE 15A | COMPENSATION OF THE PRESIDENT IS SUBJECT TO REVIEW AND APPROVAL BY THE EXECUTIVE COMMITTEE OF THE BOARD (CONSISTING OF INDEPENDENT BOARD MEMBERS). THE CO-CHAIRS OBTAIN COMPENSATION INFORMATION FROM INDEPENDENT SOURCES WHICH SERVE AS THE BASIS FOR COMPENSATION OFFERED TO THE EXECUTIVE POSITION IDENTIFIED ABOVE. THE DELIBERATION AND DECISION OF THE EXECUTIVE COMMITTEE IS CONTEMPORANEOUSLY DOCUMENTED. |
| FORM 990, PART VI, SECTION B, LINE 15B: | COMPENSATION OF OTHER OFFICERS AND KEY EMPLOYEES IS DETERMINED BY USE OF COMPARABLE DATA AND IS REVIEWED AND APPROVED BY THE PRESIDENT OF THE ORGANIZATION. |
| FORM 990, PART VI, SECTION C, LINE 19: | THE ORGANIZATION'S GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, AND FINANCIAL STATEMENTS ARE MADE AVAILABLE TO THE PUBLIC UPON REQUEST. |
| FORM 990 PART IX LINE 11G | DESCRIPTION:OTHER PROF./CONSULT. FEES TOTAL FEES:5931917 |
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