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)
![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 396,492 | 697,276 | 784,832 | 504,479 | 1,019,309 | 3,402,388 |
| 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 | 396,492 | 697,276 | 784,832 | 504,479 | 1,019,309 | 3,402,388 |
| 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) .. | 397,282 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 3,005,106 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 396,492 | 697,276 | 784,832 | 504,479 | 1,019,309 | 3,402,388 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 1,313,608 | 1,612,070 | 1,766,534 | 1,621,954 | 1,518,833 | 7,832,999 |
| 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.).. | 72,324 | 13,324 | 4,265 | 206,972 | 353,615 | 650,500 |
| 11 | Total support. Add lines 7 through 10 | 11,885,887 | |||||
Calendar year (or fiscal
year beginning in) ![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (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) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (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 2023 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-2023 |
(iii) Distributable Amount for 2023 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2023 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2023 (reasonable cause required-- explain in Part VI).
See instructions. |
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| 3 Excess distributions carryover, if any, to 2023: | ||||
| a From 2018....... | ||||
| b From 2019....... | ||||
| c From 2020....... | ||||
| d From 2021....... | ||||
| e From 2022....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2023 distributable amount | ||||
|
i
Carryover from 2018 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2023 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2023 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2023, 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 2023. 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 2024. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2019..... | ||||
| b Excess from 2020..... | ||||
| c Excess from 2021..... | ||||
| d Excess from 2022..... | ||||
| e Excess from 2023..... | ||||
| Facts And Circumstances Test |
|---|
| THE ORGANIZATION MEETS THE FACTS AND CIRCUMSTANCES TEST IN TEMPORARY REGULATIONS SECTION 1.170A-9T(F)(3) THROUGH THE FOLLOWING SUPPORT. 1) THE ORGANIZATION MAINTAINS A CONTINUOUS AND BONA FIDE PROGRAM FOR SOLICITATION FROM THE GENERAL PUBLIC THROUGH MEMBERSHIP DUES, CONTRIBUTIONS, ADMISSIONS AND EDUCATIONAL PROGRAMS.2) THE ORGANIZATION RECEIVES SUPPORT THROUGH MEMBERSHIP DUES, CONTRIBUTIONS, ADMISSIONS AND EDUCATIONAL PROGRAMS WHICH IS OPEN TO THE GENERAL PUBLIC. |
| Return Reference | Explanation |
|---|---|
| SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: | DEACCESSIONS - 2019 AMOUNT: $ 3,355. 2020 AMOUNT: $ 9,336. 2021 AMOUNT: $ 1,463. 2022 AMOUNT: $ 54,610. 2023 AMOUNT: $ 97,436. GAMING INCOME - 2019 AMOUNT: $ 3,350. FUNDRASING INCOME - 2019 AMOUNT: $ 63,456. 2022 AMOUNT: $ 80,437. 2023 AMOUNT: $ 253,122. MISCELLANEOUS - 2019 AMOUNT: $ 2,163. 2020 AMOUNT: $ 3,988. 2021 AMOUNT: $ 2,802. 2022 AMOUNT: $ 5,073. 2023 AMOUNT: $ 3,057. INSURANCE PROCEEDS - 2022 AMOUNT: $ 66,852. |
| Software ID: | |
| Software Version: |
| Return Reference | Explanation |
|---|---|
| FORM 990, PART III, QUESTION 4A CONTINUED | THIS EXHIBITION FEATURED THE WORK OF A TOTAL OF 12 ARTISTS, INCLUDING FRANK WIMBERLEY (B. 1926), AN OUTSTANDING ABSTRACT PAINTER WHO VACATIONED IN SAG HARBOR BEGINNING IN 1960 AND BUILT A HOME THERE IN 1965; ABSTRACT EXPRESSIONIST AND COLLAGIST AL LOVING (1935-2005); THE TALENTED COUPLE REYNOLD RUFFINS (1930-2021), A FAMED ILLUSTRATOR WHO WAS ALSO A PAINTER OF ENERGETIC ACRYLIC COMPOSITIONS, AND HIS WIFE, JOAN RUFFINS (1932-2013), AN IMPRESSIONIST ARTIST WHO TRAINED AT COOPER UNION IN THE 1950S; AND NANETTE CARTER (B. 1954), AN ABSTRACT COLLAGIST WHO WAS PROFOUNDLY IMPACTED BY HER FORMATIVE EXPERIENCES WITH ARTISTS SUCH AS WIMBERLEY AND LOVING. A RICH EXPLORATION OF CREATIVE WORK AND CONNECTIONS BETWEEN ARTISTS, THE EXHIBITION FEATURED 12 ARTISTS IN ALL, INCLUDING WORK BY CLAUDE LAWRENCE (B. 1944), HARLAN JACKSON (1918-1993), AND MICHAEL BUTLER (B. 1955), WHO WAS ALSO SERVING AS A GUEST CO-CURATOR OF THIS EXHIBITION. ROMARE BEARDEN: ARTIST AS ACTIVIST & VISIONARY - FEBRUARY 17 - MAY 29, 2023: THIS EXHIBITION OF NEARLY 50 PAINTINGS, SCREENPRINTS, AND COLLAGES EXPLORED THE WORK OF ONE OF THE 20TH CENTURY'S MOST IMPORTANT VISUAL ARTISTS. BORN ON SEPTEMBER 2, 1911, IN CHARLOTTE, NORTH CAROLINA, ROMARE HOWARD BEARDEN STUDIED AT LINCOLN UNIVERSITY, BOSTON UNIVERSITY, COLUMBIA UNIVERSITY, AND NYU, FROM WHICH HE GRADUATED IN 1935. AFTER COLLEGE, BEARDEN IMMEDIATELY JOINED THE HARLEM ARTISTS GUILD. BECOMING A CASE-WORKER WITH THE NYC DEPARTMENT OF SOCIAL SERVICES IN 1938, BEARDEN'S CAREER AS AN ARTIST TOOK RISE IN THE 1940S, WITH EXHIBITIONS IN HARLEM AND WASHINGTON, DC. HE CONTINUED HIS ARTS EDUCATION AT THE SORBONNE IN PARIS, IN 1950. COMMITTED TO SUPPORT OF EMERGING BLACK PAINTERS AND TO THE CAUSE OF CIVIL RIGHTS, BEARDEN FOUNDED THE "SPIRAL GROUP" IN 1962, WITH OTHER BLACK ARTISTS CHARLES ALSTON, NORMAN LEWIS, AND OTHERS. BEARDEN'S WORK IS IN MANY SIGNIFICANT MUSEUM COLLECTIONS AROUND THE UNITED STATES, INCLUDING THE METROPOLITAN MUSEUM OF ART, THE WHITNEY MUSEUM OF AMERICAN ART, THE MUSEUM OF FINE ARTS, BOSTON, AND THE STUDIO MUSEUM IN HARLEM. AWARDED THE NATIONAL MEDAL OF ARTS IN 1987, HE DIED IN NEW YORK CITY THE NEXT YEAR, ON MARCH 12, 1988. THE EXHIBITION WAS ORGANIZED BY THE ROMARE BEARDEN FOUNDATION, NEW YORK. EXHIBITION TOUR MANAGEMENT WAS HANDLED BY LANDAU TRAVELING EXHIBITIONS, LOS ANGELES, CA. PICTURING AMERICA'S PASTIME: A SNAPSHOT OF THE PHOTOGRAPH COLLECTION AT THE NATIONAL BASEBALL HALL OF FAME - MAY 18 - OCTOBER 15, 2023: "THE GREATEST OF ALL, THE GAME WHICH SEEMS TO BREATHE THE RESTLESS SPIRIT OF AMERICAN LIFE, THAT CALLS FOR QUICK ACTION AND QUICKER THINKING, THAT SEEMS CHARACTERISTIC OF A GREAT NATION ITSELF, IS BASEBALL." - PHOTOGRAPHER CHARLES M. CONLON, 1913 SINCE THE 19TH CENTURY, BASEBALL AND PHOTOGRAPHY HAVE GROWN UP TOGETHER. FROM THE GRANDEUR OF THE EARLY GAME TO THE VIBRANCY OF TODAY'S SPORT, EVERY FACET OF OUR NATIONAL PASTIME HAS BEEN CAPTURED IN SEPIA, COLOR AND BLACK-AND-WHITE. THE NATIONAL BASEBALL HALL OF FAME AND MUSEUM'S COLLECTION OF OVER A QUARTER MILLION IMAGES IS THE WORLD'S PREMIERE REPOSITORY OF BASEBALL PHOTOGRAPHS, SPANNING SOME 150 YEARS OF THE SPORT'S HISTORY. PICTURING AMERICA'S PASTIME, AN EXHIBIT AT THE HALL OF FAME, FEATURES A SELECTION OF THESE TIMELESS PHOTOGRAPHS, EACH ACCOMPANIED BY THE WORDS OF THOSE WHO WERE THERE AND THOSE WHO ECHOED THE SENTIMENTS OF PHOTOGRAPHER CHARLES CONLON. PICTURING AMERICA'S PASTIME WAS MADE POSSIBLE BY A GENEROUS GRANT FROM THE HARRY M. STEVENS FAMILY FOUNDATION. HOME FIELDS: BASEBALL STADIUM OF LONG ISLAND AND NEW YORK CITY - MAY 18 - OCTOBER 15, 2023: UTILIZING OBJECTS AND PHOTOGRAPHS FROM REGIONAL PRIVATE COLLECTIONS, HOME FIELDS EXPLORED THE HISTORY OF AREA BASEBALL STADIUMS THAT INCLUDE THE OLD POLO GROUNDS, EBBETS FIELD, SHEA STADIUM, AND THE OLD YANKEE STADIUM, AS WELL AS NEW AND CURRENT VENUES. AS THE REGION'S TRANSPORTATION AND RECREATIONAL INFRASTRUCTURE CHANGED IN THE POST-WORLD WAR II YEARS, STADIUMS AND BALLPARKS TRANSITIONED WITH THE TIMES AND HAVE, OF COURSE, BEEN THE SOURCE OF MANY ICONIC AND MEMORABLE HISTORIC SPORTING EVENTS. EBB AND FLOW: PICTURING THE POWER OF WATER - JUNE 15 - AUGUST 27, 2023: "AS I EBB'D WITH THE OCEAN OF LIFE, AS I WENDED THE SHORES I KNOW, AS I WALK'D WHERE THE RIPPLES CONTINUALLY WASH YOU PAUMANOK" - WALT WHITMAN WATER IS A FORCE OF POWER, BOTH LIFE-GIVING AND DESTRUCTIVE. HUMANS HAVE LONG HARNESSED THIS POWER FOR TRANSPORTATION, EXPLORATION, INDUSTRY, AND COMMERCE. AS LONG ISLANDERS, ENVELOPED BY THE LONG ISLAND SOUND TO THE NORTH, ATLANTIC OCEAN TO THE SOUTH, AND NUMEROUS BAYS, INLETS, RIVERS, AND LAKES INTERWOVEN THROUGHOUT OUR ISLAND, WE ARE ALSO AWARE OF THE TRANQUILITY AND SERENITY OF WATER. THE BEAUTIFUL REFLECTIVE QUALITIES AND THE RHYTHMIC EBB AND FLOW OF THE TIDES ARE BOTH MEDITATIVE AND THOUGHT PROVOKING. YET WE ARE ALSO FAMILIAR WITH THE DESTRUCTIVE POWER OF NATURE, WITH STORMS AND FLOODING A CONSTANT AND UNSTOPPABLE FORCE. AS A SPECIES WE HAVE ALTERED OUR PLANET SO DRASTICALLY THAT EVENTS LIKE SUPERSTORM SANDY ARE A NEW THREAT THAT WE MUST LEARN HOW TO DEAL WITH. THIS SHOW OF APPROXIMATELY 70 ARTWORKS PRESENTED PAINTINGS, DRAWINGS, PRINTS, AND PHOTOGRAPHS OF WATER IN THREE THEMES: THE POWER OF MAN, THE POWER OF NATURE, THE POWER OF SELF. IT EXAMINED HOW ARTISTS HAVE PORTRAYED MANKIND'S ABILITY TO UTILIZE THE POWER OF WATER AND INCLUDED MARITIME PICTURES, SCENES OF WATER USED INDUSTRIALLY AS A POWER SOURCE FOR THINGS SUCH AS MILLS AND DAMS, AND COMMERCIAL USES OF WATER FOR FISHING. LONG ISLAND ARTISTS OF THE 19TH AND MID 20TH CENTURIES - JULY 20 - OCTOBER 8, 2023: AFTER THE LONG ISLAND MUSEUM PUBLISHED A CHECKLIST OF LONG ISLAND ARTISTS OF THE NINETEENTH TO THE MID-TWENTIETH CENTURIES, A UNIQUE FULLY-ILLUSTRATED REFERENCE RESOURCE THAT INCLUDED LISTINGS FOR MORE THAN 1,000 ARTISTS WHO LIVED AND/OR WORKED ON LONG ISLAND DURING THE TIME FRAME COVERED BY THE VOLUME. THE PROJECT BY RONALD G. PISANO AND D. FREDRICK BAKER IN COLLABORATION WITH THE LONG ISLAND MUSEUM WAS SOME 35 YEARS IN THE MAKING. IN HONOR OF THE PUBLICATION, THIS EXHIBITION PRESENTED A SELECTION OF THE LIM'S ART COLLECTION, INCLUDING WORKS BY WILLIAM SIDNEY MOUNT, CHARLES HENRY MILLER, EDITH PRELLWITZ, JANE WILSON, AND JANE FREILICHER. SOMOS/WE ARE: LATINX ARTISTS OF LONG ISLAND - SEPTEMBER 14 - DECEMBER 17, 2023: SOMOS/WE ARE: LATINX ARTISTS OF LONG ISLAND WAS A GROUNDBREAKING EXHIBITION THAT CELEBRATED THE RICH CULTURAL HERITAGE AND ARTISTIC CONTRIBUTIONS OF THE LATINX COMMUNITY OF LONG ISLAND. THIS EXHIBITION, WHICH INCLUDED WORKS BY OVER 80 PARTICIPATING ARTISTS - HISTORIC, ESTABLISHED, AND CONTEMPORARY - OFFERED A UNIQUE OPPORTUNITY TO EXPLORE THEIR DIVERSE STYLES, MEDIA, COMPELLING PERSONAL STORIES, AND FAMILIAL NATIONAL ORIGINS. FROM BROOKLYN TO MONTAUK, SOMOS SHOWCASED THE WORKS OF CREATORS WHO HAVE GRAPPLED WITH QUESTIONS OF IDENTITY, HISTORY, AND THE MANY MEANINGS OF COMMUNITY. GUEST-CURATED BY MEXICAN-AMERICAN ARTIST KELYNN Z. ALDER, SOMOS SITUATED LATINX ARTISTS WITHIN THE HISTORIC FABRIC AND THE ACTIVELY CHANGING SHAPE OF THE LONG ISLAND NEIGHBORHOODS IN WHICH THEY LIVE. THE POWER OF TWO: ARTIST COUPLES OF LONG ISLAND - FEBRUARY 8 - JUNE 30, 2024: ARTISTS OFTEN WORK IN CLOSE CONTACT WITH ONE ANOTHER AS A WAY TO ENCOURAGE THEIR ARTISTIC AND CREATIVE INNOVATIONS, FORMING CLUBS, SCHOOLS, AND COLONIES THAT HAVE PRODUCED SOME OF OUR MOST GROUNDBREAKING ART. ALL OF THE COUPLES PRESENTED IN THIS EXHIBITION WERE BROUGHT TOGETHER BY ART, AND CHOSE TO JOIN THEIR DOMESTIC AND FAMILY LIFE WITH THEIR CREATIVE OUTPUT AND PROFESSION. EXAMINING THE INFLUENCES WITHIN THESE PARTNERSHIPS, DIFFERING ARRANGEMENTS CAN BE SEEN, FROM DELIBERATELY COLLABORATIVE TO UNEXPECTEDLY SUBCONSCIOUS. MARY NIMMO AND THOMAS MORAN TOGETHER ESTABLISHED EAST HAMPTON AS A BURGEONING ARTIST COLONY WITH THE CREATION OF THEIR HOME, THE STUDIO, IN 1884. HE TAUGHT HER TO ETCH, AND SHE CONQUERED THE MEDIUM TO BECOME INTERNATIONALLY RECOGNIZED. LEE KRASNER AND JACKSON POLLOCK RETREATED TO THEIR REMOTE SPRINGS STUDIO IN 1945 WHERE GESTURAL PAINTING WAS PUSHED TO ITS LIMITS, AND WHERE KRASNER DECIDED THAT POLLOCK'S GENIUS WAS THE ONE TO PROMOTE AND SUPPORT, EVEN AFTER HIS DEATH. JUDITH AND GERSON LEIBER, OVER THE COURSE OF A REMARKABLE 70 YEAR MARRIAGE, GUIDED ONE ANOTHER TO SUCCESS ON THE NATIONAL STAGE IN BOTH THE FASHION AND ART WORLDS, POETICALLY PASSING AWAY JUST HOURS APART ON THE SAME DAY IN 2018. THESE HISTORIC COUPLES ESTABLISHED LONG ISLAND AS A PLACE THAT NURTURES ARTISTIC PARTNERSHIPS, AND CONTEMPORARY PAIRS CONTINUE THIS TRADITION, INCLUDING BASTIENNE SCHMIDT AND PHILIPPE CHENG, LAUTARO CUTTICA AND ISADORA CAPRARO, AND JEREMY DENNIS AND BRIANNA L. HERNANDEZ. THIS EXHIBITION FEATURED OVER 50 ARTWORKS COMPARING AND CONTRASTING THE WORK PRODUCED BY 14 ARTIST COUPLES OF LONG ISLAND, FROM THE MORANS IN THE 1880S THROUGH CONTEMPORARY COUPLES WORKING TODAY. |
| FORM 990, PART III, QUESTION 4A CONTINUED | PAINTING PARTNERSHIP: REYNOLD AND JOAN RUFFINS - FEBRUARY 8 - JUNE 30, 2024: ORGANIZED IN CONJUNCTION WITH THE POWER OF TWO, THIS EXHIBITION PRESENTED A UNIQUE STORY OF LOVE, CREATIVITY, AND ART. REYNOLD DASH RUFFINS (1930-2021) AND JOAN B. YOUNG RUFFINS (1932-2013) SHARED 60 YEARS OF MARRIAGE, LIVING IN ST. ALBANS (QUEENS) AND EVENTUALLY SETTLING YEAR-ROUND IN SAG HARBOR IN 1992, SOME 30 YEARS AFTER THEY BEGAN SUMMERING IN THE HISTORICALLY-IMPORTANT BLACK COMMUNITY OF NINEVEH BEACH. PAINTING PARTNERSHIP FEATURED CLOSE TO 25 PAINTINGS AND SCULPTURES FROM THIS OUTSTANDING ARTISTIC DUO. REYNOLD BEGAN MAKING HIS MARK IN GRAPHIC AND ADVERTISING DESIGN IN THE 1950S AND THE 1960S, LATER WORKING ON SUCH PUBLICATIONS AS THE NEW YORK TIMES MAGAZINE, GOURMET, AND ESSENCE, AND CREATING AWARD-WINNING ILLUSTRATIONS FOR CHILDREN'S BOOKS. MEANWHILE, AS JOAN RAISED THE COUPLE'S FOUR CHILDREN, SHE CREATED A STUDIO IN THE FAMILY'S ST. ALBANS HOME, CREATING ART AND TEACHING BOTH CHILDREN AND ADULTS. IN THE 1990S, REYNOLD AND JOAN BOUGHT A NINETEENTH-CENTURY HOUSE ON HAMPTON STREET, SAG HARBOR. EACH FOUND THEIR CREATIVE OUTPUT FLOURISH IN THIS NEW ENVIRONMENT. REYNOLD BEGAN EASEL PAINTING IN ACRYLICS AND TAKING UP ABSTRACT AND CUBIST WORK. MEANWHILE, INSPIRED BY THE WORK OF CZANNE AND OTHER IMPRESSIONIST PAINTERS, JOAN PAINTED DEFTLY ORGANIZED DOMESTIC INTERIORS AND DRAMATICALLY-COLORED LANDSCAPES. FINDING HIDDEN TREASURES: THE ART OF SAMUEL ADOQUEI ISLAND - FEBRUARY 8 - JUNE 30, 2024: THIS WAS THE FIRST MUSEUM RETROSPECTIVE OF ARTIST SAMUEL ADOQUEI (B. 1964), A GHANAIAN-BORN, NEW YORK-BASED PAINTER WHO HAS SHOWN WORK IN MUSEUMS AND GALLERIES ACROSS THE UNITED STATES. ADOQUEI'S MAJOR PORTRAITS AND HISTORY PAINTINGS ARE AT ONCE AMBITIOUS, PROVOCATIVE, AND TECHNICALLY MASTERFUL. HIS POWER LIES BELOW THE SURFACE OF HIS COMPOSITIONS. WHETHER DEPICTING A STATELY TREE, A VASE FULL OF FLOWERS, OR A DISTINCTIVELY FEATURED FACE, HE SEIZES THE SPIRIT OF HIS SUBJECT MATTER, POWERFULLY. FINDING HIDDEN TREASURES FEATURED ALMOST 30 WORKS BY ADOQUEI, INCLUDING HIS SIGNIFICANT 10'-WIDE TRIPTYCH THE LEGACY OF MARTIN LUTHER KING JR., A PAINTING FEATURED IN THE NEW YORK TIMES AND DISPLAYED AT THE S. DILLON RIPLEY CENTER OF THE SMITHSONIAN INSTITUTION IN WASHINGTON, DC. BORN IN ACCRA, GHANA, ADOQUEI CAME TO NEW YORK CITY IN 1987 TO CONTINUE HIS EDUCATION AND WON THE GOLD MEDAL IN OIL PAINTING AND BEST TRADITIONAL OIL PAINTING AWARDS AT THE KNICKERBOCKERS ARTISTS ANNUAL INTERNATIONAL EXHIBITION. HE EVENTUALLY TAUGHT AT THE NATIONAL ACADEMY OF DESIGN, AND IS STILL THE FIRST AND ONLY AFRICAN ARTIST TO TEACH AT ALL OF NEW YORK'S MAJOR ART INSTITUTIONS AND ACADEMIES (IN ADDITION TO N.A.D., THE ART STUDENTS LEAGUE, NEW YORK ACADEMY OF ART, AND THE EDUCATIONAL ALLIANCE). ADOQUEI HAS BEEN COMMISSIONED TO COMPLETE PORTRAITS OF PROMINENT PUBLIC FIGURES, SUCH AS THE POLITICIAN STACEY ABRAMS. ON LONG ISLAND, DR. JAMES WATSON (WHO DISCOVERED THE MOLECULAR STRUCTURE OF DNA) INVITED ADOQUEI TO PAINT VIEWS OF COLD SPRING HARBOR FOR THE EXHIBITION "SCIENCE AND ART COME TOGETHER" (2000). OVER THE YEARS, HE HAS DONE ADDITIONAL LANDSCAPE PAINTINGS OF SCENES AT SHELTER ISLAND AND EAST HAMPTON, SEVERAL OF WHICH WERE SEEN IN THIS EXHIBITION. MUSICAL MASTERWORKS: JOHN MONTELEONE'S GUITARS AND OTHER INSTRUMENTS - MAY 23 - OCTOBER 13, 2024: MUSICAL MASTERWORKS TOLD THE STORY OF ONE OF AMERICA'S MOST TALENTED AND FAMED MAKERS OF ARCHTOP GUITARS. FROM HIS WORKSHOP IN ISLIP, NEW YORK, JOHN MONTELEONE HAS BUILT A WORLD-RENOWNED FOLLOWING AS A SKILLED LUTHIER. MONTELEONE'S GUITARS ARE ONE-OF-A-KIND MASTERPIECES OF FUNCTIONAL ART, AND INSTRUMENTS MADE FOR SOME OF THE LEADING ROCK, JAZZ, AND FOLK GUITARISTS OF THE LATE-20TH AND EARLY-21ST CENTURIES: MARK KNOPFLER, ERIC CLAPTON, JULIAN LAGE, ANTHONY WILSON, AND BEN HARPER, TO NAME JUST A FEW. BEGINNING IN THE EARLY 1970S AS A REPAIRER AND MAKER OF MANDOLINS, MONTELEONE HAS MADE AN EXTRAORDINARY LIFETIME JOURNEY AS A CRAFTSMAN OF HIS SIGNATURE GUITARS AND OTHER INSTRUMENTS. ALTHOUGH STUNNINGLY BEAUTIFUL, THERE ARE NO FEATURES OF HIS INSTRUMENTS THAT ARE ENTIRELY DECORATIVE. ALL ELEMENTS - WHETHER THEY PROVIDE A REFINEMENT IN ACOUSTICS OR IMBUE A SENSE OF STYLE AND INSPIRATION TO THE PERFORMER - ARE DEPLOYED TO CREATE INSTRUMENTS WITH EXCEPTIONAL SOUND THAT HAPPEN TO ALSO BE GREAT-LOOKING. LIM VISITORS WERE ABLE TO ENJOY SEEING THE LARGEST-EVER EXHIBITION OF JOHN MONTELEONE'S MUSICAL ART ASSEMBLED AND DISPLAYED AT A SINGLE VENUE. THIS EXHIBITION FEATURED NEARLY 50 GUITARS, MANDOLINS, AND OTHER INSTRUMENTS BY MONTELEONE, MADE BETWEEN 1971 AND 2023, INCLUDING THE FAMED FOUR SEASONS GUITAR QUARTET (2002-2006), LOANED FROM THE METROPOLITAN MUSEUM OF ART, ALONG WITH OTHER HISTORIC GUITARS FROM GIBSON, JOHN D'ANGELICO, JAMES D'AQUISTO, AND SELMER-MACCAFERRI. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE 990 FORM IS FIRST REVIEWED BY SENIOR MANAGEMENT, AND THEN BY THE CHAIRMAN OF THE BOARD. UPON THE CURRENT CHAIRPERSON'S REVIEW AND APPROVAL A COPY IS DISTRIBUTED TO THE BOARD OF TRUSTEES BEFORE FILING WITH THE IRS. |
| FORM 990, PART VI, SECTION B, LINE 12C | DIRECTORS, OFFICERS AND KEY EMPLOYEES SIGN AN ANNUAL QUESTIONNAIRE. THE EXECUTIVE ASSISTANT TO THE EXECUTIVE DIRECTOR REVIEWS THE FORMS WHEN THEY ARE RECEIVED AND WOULD NOTIFY THE EXECUTIVE DIRECTOR OR THE DIRECTOR OF FINANCE IN THE CASE OF AN ACTUAL OR POTENTIAL CONFLICT. THEY IN TURN WOULD CONTACT THE BOARD. |
| FORM 990, PART VI, SECTION B, LINE 15 | AS PART OF THE BUDGET PROCESS, THE EXECUTIVE COMMITTEE ESTABLISHES THE COMPENSATION FOR THE EXECUTIVE DIRECTOR. THE EXECUTIVE DIRECTOR'S SUGGESTED COMPENSATION IS PRESENTED TO THE BOARD IN JUNE FOR REVIEW AND APPROVAL BY VOTE. ALSO, AS PART OF THE BUDGET PROCESS, THE EXECUTIVE DIRECTOR AND EXECUTIVE COMMITTEE ESTABLISH THE COMPENSATION FOR KEY EMPLOYEES. THE KEY EMPLOYEES' SUGGESTED COMPENSATION IS PRESENTED TO THE BOARD AT THE JUNE BOARD MEETING FOR REVIEW AND APPROVAL BY VOTE. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE ORGANIZATION MAKES ITS GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, AND FINANCIAL STATEMENTS AVAILABLE TO THE PUBLIC UPON WRITTEN REQUEST. |
| FORM 990, PART XI, LINE 9: | CHANGE IN VALUE OF PERPETUAL TRUST 547,595. |
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