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) 2020 | (b) 2021 | (c) 2022 | (d) 2023 | (e) 2024 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 3,488,243 | 3,576,826 | 3,039,354 | 5,362,272 | 22,567,486 | 38,034,181 |
| 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.. | 60,000 | 60,000 | 60,000 | 60,000 | 60,000 | 300,000 |
| 4 | Total. Add lines 1 through 3 | 3,548,243 | 3,636,826 | 3,099,354 | 5,422,272 | 22,627,486 | 38,334,181 |
| 5 | The portion of total contributions by each person (other than a governmental unit or publicly supported organization) included on line 1 that exceeds 2% of the amount shown on line 11, column (f) .. | ||||||
| 6 | Public support. Subtract line 5 from line 4. | 38,334,181 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2020 | (b) 2021 | (c) 2022 | (d) 2023 | (e) 2024 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 3,548,243 | 3,636,826 | 3,099,354 | 5,422,272 | 22,627,486 | 38,334,181 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | ||||||
| 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.).. | ||||||
| 11 | Total support. Add lines 7 through 10 | 38,334,181 | |||||
Calendar year (or fiscal
year beginning in) ![]() |
(a) 2020 | (b) 2021 | (c) 2022 | (d) 2023 | (e) 2024 | (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) 2020 | (b) 2021 | (c) 2022 | (d) 2023 | (e) 2024 | (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 2024 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-2024 |
(iii) Distributable Amount for 2024 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2024 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2024 (reasonable cause required-- explain in Part VI).
See instructions. |
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| 3 Excess distributions carryover, if any, to 2024: | ||||
| a From 2019....... | ||||
| b From 2020....... | ||||
| c From 2021....... | ||||
| d From 2022....... | ||||
| e From 2023....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2024 distributable amount | ||||
|
i
Carryover from 2019 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2024 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2024 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2024, 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 2024. 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 2025. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2020..... | ||||
| b Excess from 2021..... | ||||
| c Excess from 2022..... | ||||
| d Excess from 2023..... | ||||
| e Excess from 2024..... | ||||
| Facts And Circumstances Test |
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| Return Reference | Explanation |
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| Software ID: | |
| Software Version: |
| Return Reference | Explanation |
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| FORM 990, PART III, LINE 4A: | AT THE END OF 2024, THE TAMPA MUSEUM OF ART'S PERMANENT COLLECTION COMPRISED OVER 8,000 OBJECTS, 494 RECEIVED IN THIS CALENDAR YEAR. THE MUSEUM COLLECTS CLASSICAL ANTIQUITIES (929 OBJECTS), 19TH-CENTURY PHOTOGRAPHY AND PRINTS EMPHASIZING WORKS THAT RELATE TO THE CLASSICAL COLLECTION (APPROXIMATELY 1,300 OBJECTS), MODERN AND CONTEMPORARY ART IN A VARIETY OF MEDIA (OVER 7,000 OBJECTS), WITH AN EMPHASIS ON PHOTOGRAPHY, ART CREATED AFTER 1970, AND NEW MEDIA. WITHIN THOSE TOTALS, THE FOLLOWING REPRESENT WORKS THAT WERE BROUGHT INTO OUR COLLECTION IN 2024: CLASSICAL ANTIQUITIES (103 OBJECTS), 19TH-CENTURY PHOTOGRAPHY AND PRINTS EMPHASIZING WORKS THAT RELATE TO THE CLASSICAL COLLECTION (0 OBJECTS); MODERN AND CONTEMPORARY ART IN A VARIETY OF MEDIA (391 OBJECTS). THE MUSEUM CARES FOR AND COLLECTS WORKS BY NATIONALLY AND INTERNATIONALLY RECOGNIZED ARTISTS IN A RANGE OF TECHNIQUES AND MEDIUMS, MANY OF WHOM HAVE TIES TO FLORIDA AND THE TAMPA BAY REGION. THE MUSEUM RECOGNIZES THAT ITS ACQUISITIONS TODAY ARE SETTING STANDARDS FOR FUTURE COLLECTING ACTIVITY AND BUILDING A FOUNDATION FOR EXHIBITIONS AND EDUCATION PROGRAMMING. THE MUSEUM CELEBRATED ITS 104TH ANNIVERSARY IN 2024. THROUGHOUT THE YEAR, THE TAMPA MUSEUM OF ART CONTINUED TO RAISE REVENUE AND ALLOCATE ITS FINANCIAL AND HUMAN RESOURCES TOWARD PROGRAM MANAGEMENT AND PRESENTATION OF COLLECTIONS, COLLECTIONS' CARE AND MANAGEMENT, AND PROVIDE A ROBUST SCHEDULE OF EXHIBITION AND EDUCATION PROGRAMS TO SERVE THE TAMPA BAY COMMUNITY, ALBEIT VIRTUAL AS WELL AS IN PERSON. AS A RESULT OF THE 2023 COMPLETION OF THE GALLERY AND EDUCATION CENTER RENOVATIONS AS WELL AS THAT OF THE WEST LOBBY TO THE MUSEUM, INCREASING OUR SQUARE FOOTAGE OF THE STORE, AND REDESIGNING THE FIRST-FLOOR ATRIUM INTO A SCULPTURE GALLERY AND WE COMPLETED THE TRANSFORMATION OF REDESIGNED PUBLIC SPACES ON THE FIRST FLOOR OF THE MUSEUM. AS A RESULT, THE FULL HARD AND SOFT COST EXPENSES OF THE RENOVATION CONSTRUCTION IN PROGRESS WERE TRANSFERRED FROM THE TMA FOUNDATION, THE CAMPAIGN FUNDRAISING ARM OF THE MUSEUM, TO THE TMA, INC., THE OPERATIONS AND LEASEHOLD CORPORATION FOR THE BUILDING AND GROUNDS. THE REVENUE AND EXPENSES OF THOSE OPERATIONS ARE REFLECTED IN THIS 2024 990 AND AS ONE CAN READ BELOW, WE CONTINUED IN 2024 TO FEATURE AN ADDITIONAL TEN IMPORTANT TRAVELING AND IN-HOUSE CURATED EXHIBITIONS AS WELL AS EDUCATION OPPORTUNITIES FOR THE TAMPA BAY COMMUNITY AND BEYOND. SHOWS OPENING IN 2024 YOUNG AT ART: ARTWORK FROM HILLSBOROUGH COUNTY PUBLIC AND PRIVATE SCHOOLS, K-8 JANUARY 13 THROUGH MARCH 17, 2024 THE YOUNG AT ART K-8 STUDENT EXHIBITION IS AN ANNUAL SHOWCASE OF STUDENT ARTWORK FROM KINDERGARTEN THROUGH 8TH GRADE. PUBLIC, PRIVATE, AND CHARTER SCHOOL ART TEACHERS FROM HILLSBOROUGH COUNTY ARE ELIGIBLE TO SUBMIT 1 ARTWORK PER SCHOOL. EACH YEAR, 100-150 ENTRIES ARE DISPLAYED IN THE VINIK FAMILY EDUCATION CENTER, CELEBRATING TALENTED YOUNG ARTISTS AND THEIR ART TEACHERS. THIS EXHIBITION TYPICALLY OPENS IN JANUARY AND IS ON VIEW THROUGH SPRING. THE ARTISTS RECEIVE CERTIFICATES OF RECOGNITION AT THE EXHIBITION RECEPTION, AN EVENT WHICH BRINGS 300-500 VISITORS TO THE MUSEUM. THIS YEAR'S SHOW REPRESENTS 105 ELEMENTARY AND MIDDLE SCHOOLS IN HILLSBOROUGH COUNTY. 14TH CONGRESSIONAL DISTRICT AND NEXT GENERATION HIGH SCHOOL ART COMPETITION EXHIBITION FEBRUARY 3 THROUGH APRIL 14, 2024 THE 14TH CONGRESSIONAL DISTRICT AND NEXT GENERATION HIGH SCHOOL ART COMPETITION HIGHLIGHTS ARTWORKS BY HIGH SCHOOL STUDENTS IN HILLSBOROUGH COUNTY AND THE 14TH CONGRESSIONAL DISTRICT. PUBLIC, PRIVATE, AND CHARTER HIGH SCHOOL ART TEACHERS CAN SUBMIT UP TO 3 ARTWORKS EACH, AND AFTER ADJUDICATION, 40-50 ARTWORKS ARE SELECTED FOR THE COMPETITION. THESE ARTWORKS ARE TYPICALLY INSTALLED IN LATE JANUARY AND ARE ON VIEW THROUGH SPRING. ALTHOUGH 2-DIMENSIONAL AND 3-DIMENSIONAL ARTWORKS ARE ACCEPTED, ONLY 2-DIMENSIONAL ARTWORKS ARE ELIGIBLE FOR THE CONGRESSIONAL CHOICE AWARD. THE ARTWORK SELECTED FOR THE CONGRESSIONAL CHOICE AWARD WILL CONTINUE TO REPRESENT THE DISTRICT IN THE NATIONAL CONGRESSIONAL HIGH SCHOOL ART COMPETITION, HANGING IN THE CANNON TUNNEL OF THE U.S. CAPITOL FOR ONE YEAR. ADDITIONALLY, THE RECIPIENT OF THIS AWARD RECEIVES A TRIP TO WASHINGTON, D.C. TO ATTEND THE NATIONAL AWARDS CEREMONY. OTHER AWARDS ANNOUNCED AT THE EXHIBITION RECEPTION INCLUDE THE MUSEUM CHOICE AWARD, 1ST, 2ND, AND 3RD PLACE AWARD, BEST SCULPTURE, AND BEST PHOTO. THE 2024 14TH CONGRESSIONAL EXHIBITION SHOW INCLUDES 48 ARTWORKS FROM 20 HIGH SCHOOLS IN HILLSBOROUGH COUNTY AND THE 14TH CONGRESSIONAL DISTRICT. VAUGH SPANN: ALLEGORIES FEBRUARY 16, 2024 - FEBRUARY 2025 ABSTRACTION AND FIGURATION CONVERGE IN VAUGHN SPANN'S MONUMENTAL PAINTINGS. MARKED MEN, AN ONGOING SERIES, FEATURES A PROMINENT X AT THE CENTER OF THE CANVAS. RENDERED IN VIBRANT PAINT SWATHS-FROM SAPPHIRE TO SKY BLUE, CRIMSON RED AND MARIGOLD YELLOW, TO BLUSH PINK AND EMERALD GREEN-THE X CREATES GRIDS OF KALEIDOSCOPIC COLORS. A STAND IN FOR THE BODY, UNKNOWN, OR THE ANONYMOUS, SPANN'S X SIGNIFIES BOTH INDIVIDUAL AND COLLECTIVE EXPERIENCES. THE SUITE OF FOUR LARGE-SCALE PAINTINGS ON VIEW IN THE TAMPA MUSEUM OF ART'S LOBBY DEMONSTRATES SPANN'S EXPLORATION OF PERSONAL, POLITICAL, AND ART HISTORICAL NARRATIVES. VAUGHN SPANN LIVES AND WORKS IN NEW HAVEN, CONNECTICUT. HE RECEIVED A BACHELORS OF FINE ARTS DEGREE FROM RUTGERS UNIVERSITY IN 2014 AND AN MFA FROM YALE SCHOOL OF ART IN 2018. SPANN WAS A RECIPIENT OF THE 2017 ALICE KIMBALL TRAVELING FELLOWSHIP. HE HAS BEEN INVITED TO PARTICIPATE IN NUMEROUS EXHIBITIONS AND HIS WORK IS REPRESENTED WITHIN VARIOUS PUBLIC AND PRIVATE INSTITUTIONS WHICH INCLUDE THE HIRSCHHORN MUSEUM, ICA MIAMI, NCMA, MONTCLAIR ART MUSEUM, PEREZ MUSEUM OF ART, HIGH MUSEUM, UBS ART COLLECTION, RUBELL FAMILY COLLECTION AMONGST OTHERS. EMBELLISH ME: WORKS FROM THE COLLECTION OF NORMA CANELAS ROTH AND WILLIAM ROTH FEBRUARY 17 THROUGH JULY 28, 2024 DURING THE 1970S, ARTISTS IN LOS ANGELES AND NEW YORK CHALLENGED CONVENTION BY PUSHING THE BOUNDARIES OF FORM, COLOR, AND MEANING. WHILE CONCEPTUALISM, POP ART, AND MINIMALISM GAINED SIGNIFICANT ATTENTION AND ACCLAIM, OTHER ARTISTS REVELED IN THE HANDMADE AND SOUGHT TO LEGITIMIZE AESTHETIC IDEAS BEYOND THOSE THAT PREOCCUPIED THE MAINSTREAM ART WORLD. EVEN THOUGH THE MOVEMENT ITSELF WAS LOOSELY CONSTRUED, ARTISTS AFFILIATED WITH PATTERN AND DECORATION SOUGHT TO CHALLENGE ESTABLISHED HIERARCHIES AND GENDERED ASSUMPTIONS IN THE ART WORLD. THROUGHOUT THE EXHIBITION VISITORS WILL ENCOUNTER VIVIDLY PAINTED CANVASES, DETAILED EMBROIDERY, AS WELL AS GOLD FOIL AND MOSAICS. A FEAST FOR THE EYES, THE WORKS INCLUDED IN THE EXHIBITION ARE UNABASHEDLY SUMPTUOUS. BEGINNING WITH PATTERN PAINTING AND MOVING INTO COMPLEX FIBER WORKS, THE EXHIBITION EXAMINES HOW ARTISTS EMBRACED EXCESS AND REJECTED RESTRAINED FORMALITY. IN THEIR WORK AND IN THEIR PERSONAL LIVES, SEVERAL ARTISTS CONSIDERED FEMINISM TO BE A CORE COMPONENT OF THEIR PRACTICES. SOME AIMED TO ELEVATE COLOR PALETTES AND TECHNIQUES TRADITIONALLY ASSOCIATED WITH WOMEN ARTISTS. EMBELLISH ME IS PRESENTED IN HONOR OF NORMA CANELAS ROTH (1943-2022). A TIRELESS ADVOCATE FOR ARTISTS, ROTH FELT DEEPLY PASSIONATE ABOUT COLLECTING ART THAT WAS OFTEN NEGLECTED BY MAINSTREAM ART DEALERS, CRITICS, AND CURATORS. BORN IN SANTURCE, PUERTO RICO, AND AN ALUMNI OF THE UNIVERSITY OF SOUTH FLORIDA, SHE LIVED MUCH OF HER LIFE IN FLORIDA. SHE REMAINED COMMITTED TO COLLECTING IN DEPTH. EMBELLISH ME PRESENTS A SELECTION OF WORKS COLLECTED BY ROTH, MANY OF WHICH MADE BY ARTISTS AFFILIATED WITH THE PATTERN AND DECORATION MOVEMENT, WHICH SHE COLLECTED EXTENSIVELY. JOSEPH VEACH NOBLE: THROUGH THE EYE OF A COLLECTOR APRIL 18, 2024 THROUGH FEBRUARY 19, 2026 IN 1986, THE TAMPA MUSEUM OF ART ACQUIRED SOME 175 ANCIENT OBJECTS FROM THE PROMINENT COLLECTION OF JOSEPH VEACH NOBLE. THIS ACQUISITION BECAME THE CORNERSTONE OF THE MUSEUM'S BURGEONING PERMANENT COLLECTION OF ANTIQUITIES THAT HAS SINCE GROWN TO OVER 800 OBJECTS. AFTER NEARLY FOUR DECADES, IT IS HIGH TIME TO PLACE THE NOBLE COLLECTION IN THE SPOTLIGHT ONCE MORE. THE SUPERB NOBLE COLLECTION OF GREEK AND ITALIAN VASES IS OF INTERNATIONAL RENOWN FOR ITS BREADTH OF THEMES AND STYLES, FORMS AND TECHNIQUES. THE NOBLE VASES ARE THEREFORE OF SUPERIOR EDUCATIONAL VALUE TO ILLUMINATE ASPECTS OF ANCIENT ATHENIAN MYTH AND RELIGION, WARFARE AND ATHLETICS, WINE CULTURE AND COSMETICS, DAILY LIFE AND ENTERTAINMENT. MANY VASES OF NOBLE'S COLLECTION HAVE BEEN ON DISPLAY IN THE PAST DECADES, BUT NO DEDICATED PRESENTATION OF THE COLLECTION HAS BEEN ON DISPLAY SINCE THE INAUGURAL EXHIBITION AT THE TMA IN 1986. THROUGH THE EYE OF A COLLECTOR WILL ALSO SHOWCASE FASCINATING CURIOSITIES AND BEAUTIFUL SCULPTURE IN THE TMA'S NOBLE COLLECTION. |
| FORM 990, PART III, LINE 4A: | SKYWAY 2024: A CONTEMPORARY COLLABORATION AUGUST 28, 2024 THROUGH JANUARY 5, 2025 SKYWAY 2024: A CONTEMPORARY COLLABORATION IS A CELEBRATION OF ARTISTIC PRACTICES IN THE TAMPA BAY REGION, AS IT IS A COLLABORATION BETWEEN FIVE INSTITUTIONS: THE MUSEUM OF FINE ARTS, ST. PETERSBURG; THE JOHN AND MABLE RINGLING MUSEUM OF ART, SARASOTA; THE SARASOTA ART MUSEUM OF RINGLING COLLEGE OF ART AND DESIGN; THE TAMPA MUSEUM OF ART; AND THE UNIVERSITY OF SOUTH FLORIDA CONTEMPORARY ART MUSEUM, TAMPA. WORKING TOGETHER, CURATORS FROM EACH INSTITUTION OFFER CONTEXT FOR THE DIVERSITY OF ART BEING MADE IN HILLSBOROUGH, MANATEE, PASCO, PINELLAS, AND SARASOTA COUNTIES. THIS YEAR, EIGHTEEN ARTISTS (ELEVEN WOMEN AND SEVEN MEN) WILL BE FEATURED AT THE TMA FROM TWELVE DIFFERENT CITIES ACROSS FIVE COUNTIES. SUCHITRA MATTEI: BODIES AND SOULS JUNE 21, 2024 - APRIL 20, 2025 THE EXHIBITION SUCHITRA MATTAI: BODIES AND SOULS EXPLORES MIGRATION, MATRIARCHY, AND MATERIALITY. MATTAI USES FOUND OBJECTS, SUCH AS VINTAGE SARIS, TO CREATE COLORFUL MONUMENTAL INSTALLATIONS. SHE WRAPS, BRAIDS, STITCHES, AND WEAVES FABRICS TOGETHER AS ALLEGORIES FOR HISTORICAL AND PERSONAL NARRATIVES. FOR HER FIRST MUSEUM EXHIBITION IN FLORIDA AND THE SOUTHEAST, MATTAI WILL PREMIER NEW INSTALLATIONS IN CONVERSATION WITH RECENT WORKS, HIGHLIGHTING THE ARTIST'S ONGOING INVESTIGATIONS OF THE PAST AND PRESENT. SUCHITRA MATTAI IS A MULTI-DISCIPLINARY ARTIST WHO LIVES AND WORKS IN DENVER, COLORADO. SUCHITRA WAS BORN IN GUYANA, SOUTH AMERICA, BUT HAS ALSO LIVED IN HALIFAX AND WOLFVILLE, NOVA SCOTIA, PHILADELPHIA, NEW YORK CITY, MINNEAPOLIS, AND UDAIPUR, INDIA. THESE DIVERSE NATURAL AND CULTURAL ENVIRONMENTS HAVE GREATLY INFLUENCED HER WORK AND RESEARCH. WHILE HER PRACTICE INCLUDES A WIDE RANGE OF MATERIALS AND IDEAS, HER PRIMARY INTERESTS INCLUDE THE COMPLEX RELATIONSHIP BETWEEN THE NATURAL AND ARTIFICIAL WORLDS AND THE QUESTIONING OF HISTORICAL AND AUTHORITATIVE NARRATIVES, ESPECIALLY THOSE SURROUNDING COLONIALISM. THROUGH PAINTING, FIBER, DRAWING, COLLAGE, INSTALLATION, VIDEO, AND SCULPTURE, SHE WEAVES NARRATIVES OF "THE OTHER," INVOKING FRACTURED LANDSCAPES AND RECLAIMING CULTURAL ARTIFACTS (OFTEN COLONIAL AND DOMESTIC IN NATURE). JENNIFER STEINKAMP: MADAME CURIE AUGUST 8, 2024 THROUGH AUGUST 10, 2025 JENNIFER STEINKAMP: MADAME CURIE, A MULTI-CHANNEL VIDEO INSTALLATION, NODS TO THE ACHIEVEMENTS AND LIFE OF SCIENTIST AND NOBEL PRIZE WINNER MARIE CURIE. EVE CURIE, MARIE AND PIERRE CURIE'S DAUGHTER, WROTE THE DEFINITIVE BIOGRAPHY ON THE SCIENTIST AND NOTED HER MOTHER'S PASSION FOR GARDENING. STEINKAMP, A PIONEER IN VIDEO ART AND ANIMATION, DEPICTS IN MADAME CURIE OVER 40 FLOWERS AND PLANTS DESCRIBED IN CURIE'S BIOGRAPHY. IN THIS ROOM-SIZED INSTALLATION, ENTANGLED AND INTERTWINED FLORA APPEAR TO SWIRL AND SWAY AS THE BRANCHES AND FLOWERS SLOWLY MOVE ACROSS THE PROJECTION. ANIMATIONS OF APPLE BLOSSOMS, DAISIES, EUCALYPTUS, PASSION FLOWERS, PERIWINKLE, AND WISTERIA ARE AMONGST THE FLOWERS FEATURED IN MADAME CURIE. ORIGINALLY COMMISSIONED BY THE MUSEUM OF CONTEMPORARY ART, SAN DIEGO IN 2011, MADAME CURIE WILL BE PRESENTED AS A SITE-SPECIFIC INSTALLATION AT THE NEW BRONSON THAYER GALLERY AT THE TAMPA MUSEUM OF ART. THE ART OF COPTIC EGYPT: COLLECTION OF DR. ROBERT STEVEN BIANCHI SEPTEMBER 20, 2024 THROUGH SEPTEMBER 28, 2025 THE WORD "COPT" REFERS TO THE NATIVE POPULATION OF EGYPT, MANY OF WHOM CONVERTED TO CHRISTIANITY IN THE EARLY CENTURIES OF THE ROMAN PERIOD. TRADITION MAINTAINS THAT THE HOLY FAMILY SOJOURNED IN EGYPT AND THAT SAINT MARK, THE EVANGELIST, ESTABLISHED THE FIRST CHRISTIAN CHURCH IN EGYPT IN ALEXANDRIA IN THE FIRST CENTURY. THE COPTS SHARED A COMMON MATERIAL CULTURE WITH THEIR POLYTHEISTIC NEIGHBORS. IMPERIAL EDICTS ESTABLISHED CHRISTIANITY AS THE RELIGION OF THE EMPIRE IN THE LATE 4TH CENTURY, WHICH ALLOWED THE COPTIC COMMUNITY TO FLOURISH. THE ART OF COPTIC EGYPT SHOWCASES OVER FIFTY ARTIFACTS FROM A LOCAL PRIVATE COLLECTION DATING FROM EARLY CENTURIES OF THE ROMAN IMPERIAL TO THE MIDDLE AGES, ALTHOUGH SPECIAL ATTENTION IS GIVEN TO OBJECTS SPECIFICALLY ASSOCIATED WITH THE COPTIC CHURCH. TODAY, THERE IS STILL A THRIVING, VIBRANT COPTIC COMMUNITY IN EGYPT AND BEYOND, INCLUDING IN TAMPA. ANCIENT ATHENS: BIRTHPLACE OF DEMOCRACY OCTOBER 24, 2024 THROUGH MAY 18, 2025 THE U.S. DEMOCRATIC CONSTITUTION WAS IN LARGE PART INSPIRED BY THE POPULAR GOVERNMENT OF CLASSICAL ATHENS, AS WELL AS THE ROMAN REPUBLIC AND THE FRENCH ENLIGHTENMENT. DURING THE 2024 PRESIDENTIAL ELECTIONS, THE TAMPA MUSEUM OF ART WILL HIGHLIGHT THE ANCIENT GREEK CITY-STATE ATHENS, AS THE BIRTHPLACE OF DEMOCRACY. THERE, BETWEEN THE 6TH AND 4TH CENTURIES BCE, MALE CITIZENS GAINED POWER IN A FORM OF GOVERNMENT BASED ON THE RULE OF LAW. THE EXHIBITION IS BASED ON THE MUSEUM'S EXTENSIVE COLLECTION OF 19TH CENTURY PHOTOGRAPHY, PAIRED WITH A DOZEN ANTIQUITIES FROM THE PERMANENT COLLECTION AS WELL AS SOME SIGNIFICANT LOANS. ANCIENT ATHENS: BIRTHPLACE OF DEMOCRACY ILLUSTRATES ARCHAEOLOGICAL SITE SUCH AS THE ACROPOLIS, THE ARTS AND CULTURE OF CLASSICAL ATHENS SUCH AS SCULPTURE AND CERAMIC VASES, THEATER AND ATHLETICS, AS WELL AS THE GODS AND GODDESSES WORSHIPPED IN THE CITY. THE EXHIBITION ALLOWS THE VISITOR TO CONTEMPLATE THE IDEALS OF THE SOCIETY THAT GAVE BIRTH TO DEMOCRACY. SHOWS CONTINUING THROUGH 2024 THE LAST PICTURE SHOW: PAINTINGS BY ROD PENNER ON VIEW THROUGH SEPTEMBER 1, 2024 THE LAST PICTURE SHOW PRESENTS A SMALL SELECTION OF PAINTINGS BY THE REALIST PAINTER ROD PENNER (AMERICAN, B. CANADA, 1965). BASED IN TEXAS, PENNER'S WORK CAPTURES THE VISUAL DICHOTOMY OF FORGOTTEN TOWNS IN SOUTHWEST AMERICA. PAINTED IN EXCRUCIATING DETAIL, THESE CINEMATIC PAINTINGS EXPLORE THE DESOLATION AND SERENITY OF RURAL TEXAS AND NEW MEXICO. IN THE LATE 1960S, A NEW GENRE OF REALIST PAINTING EMERGED IN NEW YORK CITY AND SAN FRANCISCO. WHILE POP ART AND ABSTRACTION REMAINED THE DOMINANT FORMS OF PAINTING AT THE TIME, A GROUP OF ARTISTS EXPLORED THE CONVERGENCE OF PHOTOGRAPHY AND PAINTING. DUBBED "PHOTOREALISM" BY THE GALLERIST LOU MEISEL, A COHORT OF ARTISTS USED THEIR OWN PHOTOGRAPHS TO CREATE LANDSCAPES, PORTRAITS, AND STILL LIFES IN EXACT DETAIL. TO CREATE SUCH PRECISE PAINTINGS, THE PHOTOREALISTS OFTEN EMPLOYED PROJECTORS TO ENLARGE THEIR IMAGES ONTO CANVAS AND UTILIZED NOVEL TOOLS, SUCH AS SPRAY GUNS, TO RENDER WORKS WITH SMOOTH SURFACES. BRUSHWORK, PARTICULARLY BOLD GESTURAL MARK MAKING, WAS ABANDONED IN FAVOR OF A LOOK THAT MIRRORED THE QUALITY OF THE PHOTOGRAPH. THE PICTORIAL CONTENT VARIED BUT TYPICALLY THE WEST COAST ARTISTS FAVORED EVERYDAY SCENES OF DAILY LIFE. EAST COAST ARTISTS CAPTURED THE SHINY ALLURE OF CHROME OBJECTS, SUCH AS DINERS, TRUCKS, CARS, AND THE TYPOGRAPHY OF SIGNS AND ADVERTISEMENTS. ARTISTS ON BOTH COASTS EMPHASIZED LIGHT AND REFLECTION IN THEIR PAINTINGS, WHICH REMAINS A SIGNATURE ELEMENT OF PHOTOREALISM. ROD PENNER'S PHOTO-BASED WORK INHERITS THE LEGACY OF PHOTOREALISM BUT ALSO CHALLENGES THE AESTHETIC OF THE GENRE. FOR NEARLY 40-YEARS, PENNER HAS PAINTED AMERICA'S SMALL TOWNS. WHILE MUCH OF HIS WORK PORTRAYS COMMUNITIES IN TEXAS AND NEW MEXICO, PENNER'S PAINTINGS EXPLORE THE BEAUTY IN ABSENCE AND DECAY THAT INHABIT THE ONCE BUSTLING CORRIDORS OF MAIN STREET, AMERICA. IN THIS SELECTION OF EIGHT PAINTINGS, PENNER DETAILS DETERIORATING BUILDING FACADES, AGING SIGNS, AND VACANT STREETS DEVOID OF PEOPLE. BROODING CLOUDS AND EXPANSIVE SKYLINES LOOM ABOVE THE ONE AND TWO-STORY BUILDINGS, FURTHER HIGHLIGHTING THE SPECTRAL QUALITY OF THE TOWN. PENNER'S USE OF LIGHT AND SHADOW, AS WELL AS REFLECTIONS IN PUDDLES, CREATE BOTH A SENSE OF DRAMA IN THE COMPOSITION AND EMPHASIZE THE PASSAGE OF TIME. TO CREATE HIS PAINTINGS, PENNER USES HIS OWN REFERENCE PHOTOGRAPHS AND VIDEOS TO RENDER PRECISION OF SUBJECT, LIGHT, AND FORM. UNLIKE THE PHOTOREALISTS, HE IS NOT INTERESTED IN RECREATING THE PHOTOGRAPHIC IMAGE, RATHER HE USES THE PHOTO AS A SKETCH. HE PHOTOGRAPHS SITES IN THE EVENING OR SUNDAY MORNINGS, FINDING INSPIRATION IN THE SOLITUDE AND QUIETNESS OF THE MOMENT. IN THE STUDIO, PENNER USES A SMALL PAINTBRUSH TO LABORIOUSLY RENDER THE DETAILS AND VISUAL TEXTURES OF EACH SCENE. ALTHOUGH FROM A DISTANCE THE WORKS MAY APPEAR AS A PHOTOGRAPH, CLOSE INSPECTION OF PENNER'S PAINTINGS REVEAL HIS CAREFULLY PLACED BRUSH MARKS. EACH PAINTING REPRESENTS THE ARTIST'S POETIC INTERPRETATION OF AMERICANA AND THE ENDURING PRESENCE OF THE PAST. |
| FORM 990, PART III, LINE 4A: | A PASSION FOR HAITIAN ART: THE ALBRECHT AND HELLER COLLECTIONS ON VIEW THROUGH MARCH 17, 2024 THE OCCUPATION OF THE REPUBLIC OF HAITI BY THE US IN THE EARLY PART OF THE 20TH-CENTURY LASTED FOR MORE THAN THREE DECADES. BY THE TIME THEY LEFT IN THE 1930S, AFTER BEING MIRED IN COUNTLESS REBELLIONS BY THE HAITIAN PEASANTRY AND A STIFF OPPOSITION ACROSS THE GLOBE, AMERICANS AT HOME WERE WELL AWARE OF THE ISLAND TO THEIR SOUTH. SOME OF THE CULTURAL PARTICULARITIES OF THAT NATION PIQUED HOLLYWOOD'S INTEREST AND THEY DID NOT MISS ON THE SALACIOUS POTENTIAL THOSE UNFAMILIAR CUSTOMS COULD HAVE ON THE PUBLIC. MOVIES SUCH AS I WALKED WITH A ZOMBIE (1943) STARTED A TREND THAT TO THIS DAY WE CANNOT SEE ITS END, SUCH AS THE INTERNATIONAL POPULARITY OF THE TELEVISION SERIES THE WALKING DEAD. DESPITE THE CULTURAL APPROPRIATION AND MISINTERPRETATIONS OF HAITI'S MYSTICAL TRADITIONS, THE CARIBBEAN ISLAND CAPTURED THE GLOBE'S ATTENTION. THE OPENING OF THE CENTRE D'ART IN PORT-AU-PRINCE IN 1944 BY AN AMERICAN CONSCIENTIOUS OBJECTOR AND A HANDFUL OF HAITIAN INTELLECTUALS ATTRACTED ARTISTS FROM ALL WALKS OF LIFE TO ITS GALLERIES AND OPEN-AIR STUDIOS. ARTISTS STREAMED TO THE CENTRE FROM HAITI'S URBAN AND RURAL COMMUNITIES AND CAUSED AN IMMEDIATE SENSATION IN THE ART WORLD. PRESENTED AT FIRST AS INTUITIVE AND NAVE, WHAT THE ARTISTS PROPOSED WAS IN FACT THEIR VISION OF THEIR WORLD AS THEY LIVED AND SAW IT. AFTER THREE CENTURIES AS SLAVE LABOR IN SUGAR PLANTATIONS IN THE FRENCH COLONY OF ST. DOMINGUE, AND AFTER A HARD-WON FREEDOM WHERE THEY FOUGHT THE MOST ADVANCED ARMY OF ITS DAY-THE FRENCH ARMY UNDER NAPOLEON, AND THE SCORN THIS CREATED IN MOST ADVANCED NATIONS, THEY WERE AT LAST FREE TO TRY TO RECOLLECT THEIR MEMORIES. THE PAINTINGS ON VIEW IN THIS EXHIBITION, CREATED BETWEEN THE 1950S AND 1990S, DEMONSTRATE HOW HAITIANS FINALLY FELT LIBERATED IN THEIR ABILITY TO RECONSTRUCT WHAT THEY HAD LOST OR HAD BEEN FORBIDDEN FOR SO LONG-TO HONOR THEIR GODS, SPIRITUALITY, AND SACRED TRADITIONS. THROUGH THE PRISM OF SLAVERY AND ITS HARDSHIPS, THEIR VISIONS OFFERED SOMETHING NEW IF NOT FANTASTIC. ALL OF THIS DID ATTRACT ATTENTION AND FOR A TIME HAITI WAS VISITED BY MANY TOURISTS, AMONGST THEM ART ENTHUSIASTS WHO BECAME PASSIONATE COLLECTORS. THEIR CONNOISSEURSHIP AND SUPPORT OF HAITIAN ART HAS BENEFITTED THE PERMANENT COLLECTION OF THE TAMPA MUSEUM OF ART, WHO NOW HOLDS ONE THE MOST FORMIDABLE HOLDINGS OF HAITIAN ART IN THE US. THE FACT THE MUSEUM HAS IN ITS HOLDINGS SUCH A LARGE NUMBER OF EXCELLENT WORKS OF ART FROM THEIR NEIGHBOR TO THE SOUTH ENABLES VISITORS, AS WELL AS THE MANY TRANSPLANTED HAITIANS IN THE REGION, TO GRASP AND ADMIRE A COMPLEX HISTORY THROUGH ART AND THE SPIRIT OF HAITI. GARRY WINOGRAND: WOMEN ARE BEAUTIFUL ON VIEW THROUGH APRIL 21, 2024 A CELEBRATED ARTIST, GARRY WINOGRAND TRANSFORMED THE GENRE OF STREET PHOTOGRAPHY IN THE 1960S. WITH HIS LEICA CAMERA IN HAND, HE CAPTURED THE MOVEMENTS, BOTH HURRIED AND INTROSPECTIVE, AND RAW EMOTIONS OF HIS SUBJECTS. INITIALLY PUBLISHED AS A MONOGRAPH, THE PORTFOLIO WOMEN ARE BEAUTIFUL (1975) REPRESENTS WINOGRAND'S MOST SIGNIFICANT PROJECT. COMPRISED OF 85 PHOTOGRAPHS, THE SERIES FEATURES WOMEN ENGAGED A RANGE OF ORDINARY ACTIVITIES -WALKING ACROSS THE STREET, ENJOYING A CONVERSATION, AND DANCING IN A CROWD. SOME OF THE PHOTOS ARE DIRECT, WITH THE WOMAN WALKING STRAIGHT TOWARDS WINOGRAND'S LENS, WHILE OTHERS REVEAL THE PHOTOGRAPHER OBSERVING QUIET MOMENTS OF SOLITUDE. IN THE EARLY 1980S, THE TAMPA MUSEUM OF ART ESTABLISHED PHOTOGRAPHY-WITH AN EMPHASIS ON WORK CREATED AFTER 1970-AS A PRIMARY COLLECTING AREA. THE COLLECTION NOW COMPRISES MORE THAN 950 PHOTOGRAPHS AND DEMONSTRATES HOW THE MEDIUM EVOLVED THROUGHOUT THE 20TH-CENTURY. TMA'S PHOTOGRAPHY COLLECTION INCLUDES WORKS BY JOHN BALDESSARI, JAMES CASEBERE, AND CINDY SHERMAN, AS WELL AS THE CANDID PHOTOGRAPHS OF HENRI CARTIER-BRESSON, ANDY WARHOL, AND WINOGRAND. HAITIAN PAINTINGS FROM THE ARTHUR ALBRECHT TRUST ON VIEW THROUGH JUNE 23, 2024 THE ARTHUR R. ALBRECHT COLLECTION OF THE TAMPA MUSEUM OF ART INCLUDES OVER 75 ARTWORKS FROM HAITI'S MOST PROMINENT PAINTERS INCLUDING RIGAUD BENOIT, WILSON BIGAUD, PREFETE DUFFAUT, AND PHILOME OBIN. RARELY IF EVER SEEN BY THE PUBLIC, THE WORKS PRESENT AN OVERVIEW OF THE MAJOR DEVELOPMENTS IN HAITIAN PAINTING FROM THE 1960S-80S. HIGHLIGHTS FROM THE ALBRECHT COLLECTION INCLUDE PAINTINGS BY THE FIRST GENERATION OF ARTISTS TO TRAIN AT LE CENTRE D'ART (THE ART CENTER), HAITI'S PREMIER ART SCHOOL IN PORT-AU-PRINCE, AND A SELECTION OF CAP HAITIAN WORKS BY THE OBIN FAIMILY. CREATED UNDER THE IMPETUS OF THE AMERICAN WATERCOLORIST DEWITT PETERS AND HAITIAN INTELLECTUALS MAURICE BORNO AMONG OTHERS, THE CENTER WAS CONCEIVED AS A TRAINING AND PRODUCTION SPACE FOR ARTISTS AND HAS SINCE BECOME THE BENCHMARK FOR THE GLOBAL DISSEMINATION OF HAITIAN ART AND INFORMED CREATION AND SELECTION OF WORKS ON VIEW IN THE ARTHUR ALBRECHT COLLECTION. PEPE MAR: MYTH AND MAGIC ON VIEW THROUGH MAY 19, 2024 THE TAMPA MUSEUM OF ART WILL PRESENT PEPE MAR: MYTH AND MAGIC, THE FIRST SURVEY OF THE ARTIST'S PRACTICE. ALL OR NOTHING WILL INCLUDE FIFTY WORKS FROM PEPE MAR'S (BORN 1977, REYNOSA, MEXICO) DIVERSE PRACTICE IN COLLAGE, SCULPTURE, CERAMICS, AND PAINTING. MAR HAS DEVELOPED A HIGHLY UNIQUE PERSONAL STYLE IN WHICH HE EQUALLY MIXES AND INNOVATES CRAFT, OP ART, PAINTING, AND IDENTITY POLITICS. THE ARTIST OFTEN EXPLORES THEMES RELATED TO CULTURAL ISOLATION AND IDENTITY, RITUALS AND MYTHOLOGIES, AND CONSUMER CONSUMPTION AND EXCESS. RECENT PROJECTS ILLUMINATE QUEER HISTORY AND ICONS-THE PLACES, EVENTS, AND PEOPLE OFTEN OVERLOOKED OR MARGINALIZED IN HISTORICAL NARRATIVES. HIS WORK HAS BEEN EXHIBITED THROUGHOUT THE US AND ABROAD AND IS INCLUDED IN PRIVATE AND PUBLIC COLLECTIONS. MAR RECEIVED HIS BFA FROM CALIFORNIA COLLEGE OF ART, SAN FRANCISCO, AND HIS MFA FROM FLORIDA INTERNATIONAL UNIVERSITY. MAR LIVES AND WORKS IN MIAMI. SHOWS ON VIEW AND CONTINUING THROUGH 2025 AND 2026 PURVIS YOUNG: REDOUX ON VIEW THROUGH JUNE 29, 2026 INSPIRED BY THE SUCCESS OF THE EXHIBITION PURVIS YOUNG: 91 IN 2019, THE MUSEUM WILL REMOUNT ITS PURVIS YOUNG COLLECTION AS ONE OF THE FIRST SEVERAL LONG-TERM DISPLAYS OF THE PERMANENT COLLECTION. IN 2024, THE RUBELL FAMILY FOUNDATION GIFTED 91 PAINTINGS TO THE MUSEUM BY YOUNG (AMERICAN, 1943-2010). BASED ON THE OVERTOWN NEIGHBORHOOD OF MIAMI, FLORIDA, YOUNG'S PAINTINGS REFLECT HIS OBSERVATIONS OF DAILY LIFE AND THE FIGHT FOR SOCIAL JUSTICE, HOPE FOR HIS COMMUNITY, IMMIGRATION AND OTHERNESS, AS WELL AS THE FRAGILE BALANCE BETWEEN LIFE AND DEATH. HE RENDERED HIS WORK ON FOUND OBJECTS, ITEMS HE DISCOVERED IN THIS NEIGHBORHOOD. DISCARDED WOOD, WINDOWS, FURNITURE FRAGMENTS, CABINETS, DOORS, CARPET, FABRIC, STRING, AND CABLES. ALTHOUGH HIS MEANS WERE LIMITED, YOUNG IS RECOGNIZED ACROSS THE GLOBE FOR HIS REMARKABLE PAINTING PRACTICES AND HIS CONTRIBUTIONS TO THE CULTURAL LANDSCAPE OF FLORIDA. JACOB HASHIMOTO: THIS PARTICLE OF DUST ON VIEW THROUGH JANUARY 2026 THE TAMPA MUSEUM OF ART'S ATRIUM IS TRANSFORMED BY JACOB HASHIMOTO'S SITE-SPECIFIC INSTALLATION THIS PARTICLE OF DUST. CREATED FROM OVER 2,500 HANDMADE KITES, THIS PARTICLE OF DUST IS A SITE-SPECIFIC INSTALLATION AND UNIQUE TO THE TAMPA MUSEUM OF ART'S ARCHITECTURE. THE INSTALLATION REPRESENTS JACOB HASHIMOTO'S EXPLORATION OF ABSTRACT LANDSCAPE AND HIS INTEREST IN BLURRING THE BOUNDARIES BETWEEN PAINTING AND SCULPTURE. THIS PARTICLE OF DUST EVOKES THE EXPERIENCE OF OBSERVING THE NIGHT SKY THROUGH VARIOUS CLOUD CLUSTERS. THOUSANDS OF TRANSPARENT AND OPAQUE WHITE DISCS HANG SUSPENDED FROM A BESPOKE ARMATURE. NAVY BLUE KITES, IMPRINTED WITH WHITE AND CERULEAN BLUE STAR PATTERNS, HANG AMIDST THE CLOUD SHAPES AND CATCH THE LIGHT AS THE SUN RISES OVER THE MUSEUM AND DIPS INTO THE HORIZON OVER THE HILLSBOROUGH RIVER. DEPENDING ON ONE'S VANTAGE POINT, EITHER FROM THE LOBBY, STAIRWELL, OR GALLERIES, THE EXPERIENCE OF THIS PARTICLE OF DUST SHIFTS-FROM BELOW THE CLOUDSCAPE APPEARS TO DRIFT INTO THE SKY WHILE AT EYE-LEVEL THE VIEWER LOOKS DIRECTLY INTO THE STARS. HASHIMOTO BEGAN MAKING KITE SCULPTURES TWENTY-YEARS AGO WHILE AN ART STUDENT IN CHICAGO. INSPIRED BY TRADITIONAL CHINESE KITE MAKING IN THE CITY OF WEIFANG, WHERE THE ARTFORM OF SCULPTURAL DRAGON KITES ORIGINATED, HASHIMOTO HAS MADE HUNDREDS OF THOUSANDS OF KITES FROM JAPANESE PAPER AND RESIN. HE APPRECIATES KITES AS A UNIVERSAL OBJECT OF JOY THAT IS RECOGNIZED ACROSS THE GLOBE. TRANSFORMED INTO MONUMENTAL ARTWORKS, HASHIMOTO'S KITES CONVEY HAPPINESS, WONDER, AND SERENITY. |
| FORM 990, PART III, LINE 4A: | IDENTITY IN ANTIQUITY: ETHNICITY, GENDER & SEXUALITY FEBRUARY 23, 2023 - JANUARY 18, 2025 THIS GALLERY DISPLAY OF THE TMA'S ANTIQUITIES COLLECTION CENTERS AROUND THE THEME OF IDENTITY, ESPECIALLY THE ASPECTS OF ETHNICITY, GENDER AND SEXUALITY. ACROSS THE ANCIENT MEDITERRANEAN, PEOPLE WILL HAVE FELT SOME SENSE OF GROUP IDENTITY AS BELONGING TO A TRIBE, RACE, CULTURE, OR CIVILIZATION. THEY WILL HAVE RECOGNIZED DIFFERENCES BETWEEN MEN AND WOMEN AND WILL HAVE EXPERIENCED SEXUAL DESIRES AND MORAL CONSTRAINTS. FEELINGS OF IDENTITY COULD ALSO BE EXPRESSED IN OPPOSITION TO OTHER GROUPS, SUCH AS GREEKS VS. PERSIANS OR SCYTHIANS, ROMANS VS. GAULS OR GERMANS, MEN VS. WOMEN. IN OUR MODERN SOCIETY MANY MORE EXPRESSIONS OF IDENTITY ARE RECOGNIZED THAT MAY INVOKE A SENSE OF BELONGING OR FORM EXCLUSIVE ALLIANCES. IN ANTIQUITY EXPRESSIONS OF IDENTITY COULD NOT ALWAYS BE ARTICULATED EXPLICITLY BECAUSE THE TERMINOLOGY FOR VOICING THOUGHTS ABOUT PERSONAL, SEXUAL, CULTURAL AND NATIONAL FRAMES OF IDENTITY DID NOT EXIST. IDENTITY IN ANTIQUITY: ETHNICITY, GENDER & SEXUALITY WILL ILLUSTRATE THESE ASPECTS BASED PREDOMINANTLY ON THE MUSEUM'S OWN COLLECTION. ESTERIO SEGURA: GOOD-BYE MY LOVE FEBRUARY 25, 2023 - MARCH 2026 A NEW ACQUISITION TO THE MUSEUM'S PERMANENT COLLECTION, GOODBYE MY LOVE REPRESENTS ESTERIO SEGURA'S (CUBAN, B. 1970) ONGOING EXPLORATION OF THE MEANING OF AIRPLANES AND FLIGHT. PRODUCED IN MULTIPLE EDITIONS AT DIFFERENT SCALES, THIS VERSION IS NEARLY THE LARGEST. IN DESCRIBING THE SERIES, SEGURA EXPLAINED, "IN THIS WORK, THE REFERENCE TO THE AIRPLANE HYBRIDIZES WITH A REFERENCE TO ANOTHER WELL-KNOWN UNIVERSAL SYMBOL: A SIMPLIFIED IMAGE OF THE HEART. THIS IS FUSED WITH AN EASILY UNDERSTOOD TITLE WITH SEVERAL MEANINGS, FROM THE MOST CORNY AND SENTIMENTAL TO THE MOST CONTROVERSIAL, FROM A POLITICAL AND SOCIAL STANDPOINT. WITH THIS WORK, I REFERENCE THE EXPERIENCE OF UPROOTING, NOSTALGIA, MEMORY, LOSS-HOW WE EXPERIENCE THE BREAKDOWN OF EVERYTHING WE LOVE. "BORN IN SANTIAGO DE CUBA, ESTERIO SEGURA IS A GRADUATE OF THE RENOWNED ART SCHOOL INSTITUTO SUPERIOR DE ARTE IN HAVANA. HE WORKS IN A RANGE OF MEDIA-FROM PAINTING AND PRINTMAKING TO SCULPTURE AND DRAWING-AND EXPLORES THEMES RELATED TO CUBA'S COMPLEX SOCIO-POLITICAL HISTORY SUCH AS ISOLATION, IMMIGRATION, DESIRE, AND FREEDOM. SEGURA'S SCULPTURE LA HISTORIA SE MUERDE LA COLA (HISTORY BITES ITS TAIL) IS CURRENTLY ON VIEW IN THE EXHIBITION TIME FOR CHANGE: ART AND SOCIAL UNREST IN THE JORGE M. PREZ COLLECTION. GOOD-BYE MY LOVE IS PRESENTED AS PART OF THE EXHIBITION PRELUDE: AN INTRODUCTION TO THE PERMANENT COLLECTION ON VIEW IN THE PATEL NORTH ATRIUM GALLERY. DRAPO VODOU: HAITIAN VODOU FLAGS OF ERZULIE FROM THE PERMANENT COLLECTION ROTATING EXHIBITIONS THROUGH JANUARY 30, 2025 THE SECOND PRESENTATION OF THE TAMPA MUSEUM OF ART'S HAITIAN FLAG COLLECTION HIGHLIGHTS ERZULIE, ONE OF THE MOST POWERFUL AND BELOVED LWAS OR GODS OF THE VODOU PANTHEON. ERZULIE REPRESENTS A FAMILY OF GODDESSES WHO ARE ALSO REFERRED TO AS EZILI OR ZILI. ERZULIE FREIDA AND ERZULIE DANTOR SYMBOLIZE THE TWO MOST RECOGNIZABLE FORMS OF ERZULIE. CONSIDERED SISTERS AND RIVALS, ERZULIE FREIDA AND ERZULIE DANTOR BOTH EMBODY LOVE BUT SHOW IT IN DIFFERENT WAYS. ERZULIE FREIDA EXUDES LOVE THROUGH PASSION AND SENSUALITY, WHEREAS ERZULIE DANTHOR GUARDS AND DEFENDS THE PEOPLE SHE LOVES. BOTH MANIFESTATIONS OF ERZULIE ARE REPRESENTED BY HEARTS PIERCED WITH DAGGERS. AS DEMONSTRATED BY THE FIFTEEN FLAGS ON VIEW, ERZULIE CONTINUES TO CAPTIVATE AND INSPIRE THE ARTISTS OF HAITI. THE TAMPA MUSEUM OF ART'S COLLECTION NOW INCLUDES ONE OF THE LARGEST COLLECTIONS OF DRAPO VODOU (HAITIAN VODOU FLAGS) IN THE SOUTHEAST. THESE NEWLY ACQUIRED WORKS, LARGELY GIFTED BY THE GESSEN COLLECTION, WILL REMAIN ON VIEW FOR AN EXTENDED DISPLAY. THE FLAGS WILL BE PRESENTED IN A ROTATION OF THREE GROUPINGS. THE FIRST GROUPING WILL FOCUS ON FLAGMAKERS' VARIOUS DEPICTIONS OF HAITIAN DEITIES, INCLUDING ST. JACQUES, ERZULIE, GRAN BOIS, AND PAPA ZAK. DEPICTIONS OF WOMEN AND FEMALE DEITIES WILL BE THE FOCUS OF THE SECOND GROUPING. THE FINAL GROUP WILL SURVEY THE FIRST, SECOND, AND THIRD GENERATIONS OF FLAGMAKERS AND THE EVOLUTION OF THE GENRE FROM RITUAL ART TO HIGH ART. C. PAUL JENNEWEIN: ART DECO BRONZE SCULPTURE FROM THE PERMANENT COLLECTION MARCH 19, 2023 THROUGH JANUARY 30, 2025 C. PAUL JENNEWEIN'S (GERMAN-AMERICAN, 1890-1978) ARTWORK REVEALS THE INSPIRATION OF THE ANCIENT WORLD WHILE ALSO ENGAGING WITH THE NEW SCULPTURAL STYLES OF HIS TIME, MERGING ART DECO WITH THE NEO-CLASSICAL TRADITION. IN 1978, THE TAMPA BAY ART CENTER, PREDECESSOR OF THE TAMPA MUSEUM OF ART, RECEIVED A BEQUEST OF 2,600 OBJECTS INCLUDING FINISHED ARTWORKS, AS WELL AS PREPARATORY DRAWINGS, PLASTER CASTS, AND MOLDS FOR THE NUMEROUS COMMISSIONS JENNEWEIN RECEIVED DURING HIS PROLIFIC CAREER. STARTING IN FALL 2022, THE MUSEUM WILL PRESENT JENNEWEIN'S EARLY SCULPTURES FOR AN EXTENDED TWO-YEAR DISPLAY. PRELUDE: AN INTRODUCTION TO THE PERMANENT COLLECTION ON VIEW THROUGH JANUARY 2026 PRELUDE: TMA COLLECTS FEATURES WORKS REPRESENTATIVE OF THE INSTITUTION'S COLLECTING HISTORY AND MISSION. THE COLLECTION IS UNIQUE-WITH SIGNIFICANT HOLDINGS OF ANCIENT GREEK AND ROMAN ART, AS WELL AS INCREASED ACQUISITIONS OF MODERN AND CONTEMPORARY ART. WITH EIGHT MAIN CATEGORIES, THE COLLECTION FEATURES A BREADTH OF OBJECTS: CLASSICAL ANTIQUITIES, PRINTS AND PHOTOGRAPHS RELATED TO CLASSICAL ANTIQUITY, PAINTING, DECORATIVE ARTS AND SCULPTURE, PHOTOGRAPHY, WORKS ON PAPER, AND NEW MEDIA, VIDEO, AND INSTALLATION ART. THE EXHIBITION FEATURES ARTWORKS EXPLORING THEMES OF SITE, POWER, AND THE BODY IN ANCIENT VESSELS, TOOLS, AND JEWELRY, AS WELL AS SCULPTURES, PAINTING, AND PHOTOGRAPHY. VIEWED TOGETHER IN DIALOGUE WITH EACH OTHER, THE OBJECTS SPEAK TO SHARED EXPERIENCES ACROSS TIME AND PLACE. PRELUDE PRESENTS AN UNIQUE INSIGHT INTO HOW THE COLLECTION AND IDENTITY OF THE MUSEUM HAVE EVOLVED AS IT HAS GROWN FROM A SMALL LOCAL ARTS ORGANIZATION TO THE CITY'S PREEMINENT MUSEUM OF ART. LIFE & DEATH IN ANTIQUITY: INTRODUCTION TO THE ANCIENT COLLECTION JANUARY 13, 2023 - FALL 2026 THE TAMPA MUSEUM OF ART PURCHASED ITS FIRST ANCIENT ARTWORK IN 1981, A BLACK-FIGURE COLUMN KRATER, PERHAPS DEPICTING THE WEDDING PROCESSION OF PELEUS AND THETIS. FIVE YEARS LATER THE MUSEUM'S ANTIQUITIES COLLECTION QUADRUPLED IN SIZE WITH THE SINGLE ACQUISITION OF THE PROMINENT COLLECTION OF JOSEPH VEACH NOBLE. THE PERMANENT COLLECTION CURRENTLY HOLDS ABOUT 575 ANCIENT ARTEFACTS, IN ADDITION TO OVER 100 LONG-TERM LOANS FROM PRIVATE COLLECTIONS. MORE THAN THREE-QUARTERS OF THE MUSEUM'S ANTIQUITIES ARE REPRESENTATIVE OF ANCIENT GREECE AND ITALY, PARTICULARLY ATHENS AND ROME. THE ANCIENT WORLD ENCOMPASSED A MUCH WIDER DIVERSITY OF TRADITIONS, HOWEVER, OF WHICH SOME CAN BE ENCOUNTERED IN THIS INTRODUCTION TO THE MUSEUM'S ANTIQUITIES COLLECTION. THE GALLERY DISPLAY WILL HIGHLIGHT ASPECTS OF EVERYDAY LIFE AND DEATH, AS WELL AS ENTERTAINMENT AND RELIGION, TRADE AND POLITICS. EDUCATION FOCUSED ACTIVITIES TMA CURRENTLY SERVES CHILDREN AND ADULTS THROUGH 160+ ONSITE AND OFFSITE EDUCATION PROGRAMS, CLASSES AND EVENTS AND YEAR-ROUND EDUCATIONAL ACTIVITIES. ALMOST A THIRD OF ADULTS AND OVER 35% OF STUDENTS PARTICIPATING IN TMA PROGRAMS QUALIFY AS LOW-INCOME. PROVIDING TOURS FOR STUDENTS IN GRADES K-12, THEY CURRENTLY SERVE OVER 6,000 STUDENTS PER YEAR, WITH APPROXIMATELY 35% OF THOSE STUDENTS CONSIDERED LOW-INCOME OR FROM TRANSFORMATIONAL NETWORK (FORMERLY TITLE 1) SCHOOLS. WITH THIS PROJECT AND THROUGH A REVISED AGREEMENT WITH HILLSBOROUGH COUNTY, TMA SERVED A MINIMUM OF 14,000 ADDITIONAL K-12 STUDENTS IN 2024 (IN ADDITION TO OUR REGULAR 6,000) ON SCHOOL TOURS AS A RESULT OF A FEDERAL DEPARTMENT OF EDUCATION GRANT IN COLLABORATION WITH HILLSBOROUGH PUBLIC SCHOOL DISTRICT. THE NEW 8,000 SQUARE FOOT ON-SITE EDUCATION CENTER THAT OPENED IN 2022 ALLOWS FOR YEAR-ROUND STUDIO ART CLASSES FOR CHILDREN AND ADULTS, AS WELL AS LECTURES, PROGRAMS AND TOURS THAT PROVIDE CHILDREN, TEENS, AND ADULTS WITH OPPORTUNITIES TO DISCOVER NEW PERSPECTIVES AND LEARN DIFFERENT ART-MAKING TECHNIQUES. THE MUSEUM OFFERS SCHOLARSHIP OPPORTUNITIES THROUGH PHILANTHROPY AND FREE TEEN PROGRAMS. IN ADDITION TO SERVING ALL AGE GROUPS, THE MUSEUM ALSO PROVIDED FREE ACCESS PROGRAMS FOR MILITARY AND THEIR FAMILIES THROUGH BLUE STAR MUSEUMS AS WELL AS SNAP BENEFIT RECIPIENTS, INDIVIDUALS WITH MENTAL & PHYSICAL HEALTH CHALLENGES, ECONOMICALLY AND ENVIRONMENTALLY DISADVANTAGED YOUTH, ART EDUCATORS, AND MORE! LIKEWISE, THROUGH UNIQUE COMMUNITY PARTNERSHIPS, THE MUSEUM CURRENTLY OFFERS OUTREACH PROGRAMS THAT PROVIDE ART-THERAPY-INFORMED INTERVENTIONS AND MEANINGFUL MODES OF SELF-EXPRESSION TO VULNERABLE SEGMENTS OF THE POPULATION. THEY ALSO PARTNER WITH UT, USF AND HCC TO TRAIN UNIVERSITY STUDENTS TO TEACH AND PROVIDE THESE PROGRAMS. |
| FORM 990, PART III, LINE 4A: | EXHIBITION SPACES WERE EXPANDED FROM 14,800 TO MORE THAN 32,000 SQ. FT, WHICH OPENED NEW OPPORTUNITIES FOR EDUCATION PROGRAMS. THIS ENHANCED THE VIEWING EXPERIENCE WITH SIX ADDITIONAL GALLERY EXPERIENCES, TWO OF WHICH EQUIPPED FOR MULTI-MEDIA EXPERIENCES, A RENOVATED SCULPTURE GALLERY, AND A FLEXIBLE REGIONAL ART GALLERY PROVIDES FOR MORE LEARNING OPPORTUNITIES. EXPANDING THE GALLERIES MEANT THE TAMPA MUSEUM OF ART WAS FOR THE FIRST TIME ABLE TO DISPLAY MORE OF ITS PERMANENT COLLECTION YEAR-ROUND AND FOR LONGER PERIODS OF TIME AND EXPAND OUR SCHOOL TOUR PROGRAMS. THIS ALSO GAVE TEACHERS THE OPPORTUNITY TO BUILD CURRICULUM AROUND LONG-TERM EXHIBITIONS THAT STUDENTS CAN VISIT IN-PERSON. TAMPA MUSEUM OF ART - ADDITIONAL OUTREACH AND PROGRAM DETAILS ART THERAPY FOR MENTAL HEALTH DISORDERS: IN PARTNERSHIP WITH THE UNIVERSITY OF SOUTH FLORIDA, TMA'S CONNECTIONS PROGRAM PROVIDES 100 UNIQUE THREE-HOUR CLASSES AFFILIATED WITH 17 COUNTY-WIDE AGENCIES FOCUSED ON MENTAL HEALTH THROUGH ART AND ARTMAKING AND PROVIDING TRAINING TO UNDERGRADUATE STUDENTS WHO FACILITATE INTERACTIONS WITH WORKS OF ART FOR INDIVIDUALS WITH MEDICAL CONDITIONS SUCH AS DEMENTIA, EARLY ONSET ALZHEIMER'S DISEASE, DEPRESSION, SUBSTANCE ABUSE DISORDERS AND PTSD. IMPACT: THE PROGRAM WILL GROW FROM 1,300 TO 10,500 PARTICIPANTS ANNUALLY. VICTIMS OF HUMAN TRAFFICKING & DOMESTIC VIOLENCE, CHILDREN AGING OUT OF FOSTER CARE, AND MORE: IN PARTNERSHIP WITH USF, THE UNIVERSITY OF TAMPA, THE SPRING OF TAMPA BAY (DOMESTIC VIOLENCE), REDEFINING REFUGE (HUMAN TRAFFICKING), THE PORTICO (HOMELESS POPULATIONS), THE CHILDREN'S HOME NETWORK AND THE HILLSBOROUGH COUNTY DEPARTMENT OF CHILDREN SERVICES (AT-RISK TEENS AGING OUT OF FOSTER CARE), THE ART SPACE PROGRAM ENGAGES AT-RISK CHILDREN AND ADULTS IN THERAPEUTIC ART SESSIONS WHILE PROVIDING ART THERAPY EDUCATION FOR UNDERGRADUATE AND GRADUATE STUDENTS MAJORING IN PRE-MED, BEHAVIORAL HEALTH, PSYCHOLOGY AND THE LIKE. IMPACT: THIS PROGRAM EXPANDED OVER THE YEARS FROM 300 TO 1,200 PARTICIPANTS ANNUALLY IN 2023 AND CONTINUED AT THIS EXPANDED REACH IN 2024. K-12 SCHOOL TOURS & STUDIO CLASSES: THE K-12 SCHOOL TOUR PROGRAM CURRENTLY SERVES OVER 197 SCHOOLS IN THE REGION WITH APPROXIMATELY 30% OF THOSE SCHOOLS CATEGORIZED AS TITLE 1 IN DISTRICTS WITH THE HIGHEST STUDENT CONCENTRATION OF POVERTY. TMA IS THE ONLY CULTURAL ASSET THAT PROVIDES SCHOOL TOURS FREE OF CHARGE AND PAYS TO BUS STUDENTS FROM LOCAL SCHOOLS TO THE MUSEUM. IN PARTNERSHIP WITH HILLSBOROUGH COUNTY, NON-PROFIT ORGANIZATIONS AND RECREATION CENTERS, THE MUSEUM'S STUDIO ART PROGRAM PROVIDES ON- AND OFF-SITE ART INSTRUCTION TO CHILDREN, ADULTS, AND TEENS ACROSS THE TAMPA BAY REGION. IMPACT: TMA CURRENTLY HOSTS APPROXIMATELY 6,000 STUDENTS A YEAR FOR K-12 SCHOOL TOURS AND ANTICIPATES AN INCREASE OF UP TO 40,000 STUDENTS BY 2025. ON AND OFF-SITE STUDIO PROGRAM ATTENDANCE IS PROJECTED TO INCREASE FROM 1,200 TO 5,500 ANNUALLY. BLUE STAR PROGRAM: THE MUSEUM CURRENTLY OFFERS FREE GENERAL ADMISSION FOR ACTIVE MILITARY AND VETERANS FROM MEMORIAL DAY THROUGH LABOR DAY. THE PROJECT WILL ALLOW TMA TO PROVIDE FREE GENERAL ADMISSION TO ACTIVE MILITARY AND VETERANS YEAR-ROUND. IMPACT: OVER 6,000 RESIDENTS OF MACDILL AIRFORCE BASE AND CLOSE TO 100,000 VETERANS IN HILLSBOROUGH COUNTY, OF WHICH 14.7% LIVE IN POVERTY, WILL BENEFIT FROM THIS PROGRAM. MUSEUMS FOR ALL: MUSEUMS FOR ALL IS A SIGNATURE ACCESS PROGRAM OF THE INSTITUTE OF MUSEUM AND LIBRARY SERVICES (IMLS), ADMINISTERED BY THE ASSOCIATION OF CHILDREN'S MUSEUMS (ACM), TO ENCOURAGE PEOPLE OF ALL BACKGROUNDS TO VISIT MUSEUMS REGULARLY AND BUILD LIFELONG MUSEUM-GOING HABITS. THE PROGRAM SUPPORTS FREE MUSEUM ADMISSION FOR INDIVIDUALS AND FAMILIES RECEIVING FOOD ASSISTANCE (SNAP) BENEFITS. MUSEUMS FOR ALL IS PART OF THE TAMPA MUSEUM OF ART'S BROAD COMMITMENT TO SEEK, INCLUDE, AND WELCOME ALL AUDIENCES. STUDIO 55 VITALITY ARTS PROJECT IS A NEW SIGNATURE ACCESS PROGRAM AT THE TAMPA MUSEUM OF ART DESIGNED FOR ADULTS 55 YEARS OF AGE OR OLDER TO LEARN A VARIETY OF ART MAKING TECHNIQUES, GAIN A SENSE OF ACCOMPLISHMENT, AND FORGE NEW RELATIONSHIPS. THIS PROGRAM IS SUPPORTED WITH A GRANT FROM THE E.A. MICHELSON PHILANTHROPY FOUNDATION BASED IN MINNEAPOLIS, MINNESOTA. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE FINANCE COMMITTEE OF THE BOARD OF TRUSTEES APPROVES THE FORM 990 BEFORE IT IS FILED. |
| FORM 990, PART VI, SECTION B, LINE 12C | ANNUALLY, THE MUSEUM SENDS THE CONFLICT OF INTEREST POLICY TO EACH BOARD MEMBER, WITH THE REQUIREMENT THAT IT MUST BE SIGNED AND RETURNED TO THE ORGANIZATION WITHIN 30 DAYS OF THE BOARD MEMBER'S RECEIPT OF POLICY. SERVICE ON THE BOARD IS CONTINGENT UPON THE COMPLETION OF THE FORM. |
| FORM 990, PART VI, SECTION B, LINE 15 | THE EXECUTIVE COMMITTEE OF THE BOARD OF TRUSTEES ANNUALLY EVALUATES THE PERFORMANCE OF THE EXECUTIVE DIRECTOR IN PERSON AND PROVIDES THEM WITH FEEDBACK FROM THE EXECUTIVE COMMITTEE AND THE ENTIRE BOARD OF TRUSTEES RECEIVED DURING THE COURSE OF THE YEAR. COMPENSATION IS DETERMINED BY THE EXECUTIVE COMMITTEE AND IS BASED ON PERFORMANCE AND AN ANALYSIS OF COMPENSATION PAID FOR SIMILAR POSITIONS IN SIMILAR ORGANIZATIONS AS DETERMINED BY THE EXECUTIVE COMMITTEE. |
| FORM 990, PART VI, SECTION C, LINE 18 | THE MUSEUM MAKES ITS FORM 990 AVAILABLE TO THE PUBLIC UPON REQUEST AND ON THEIR WEBSITE. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE MUSEUM ALLOWS THE PUBLIC TO VIEW ITS FORM 990 AND FINANCIAL STATEMENTS ON THEIR WEBSITE. |
| FORM 990, PART XI, LINE 9: | BAD DEBT EXPENSE -46,000. |
| FORM 990, PART XII, 2C, FINANCIAL STATEMENTS AND REPORTING: | THE PROCESS FOR OVERSIGHT OF THE AUDIT AND SELECTION OF AN INDEPENDENT ACCOUNTANT HAS NOT CHANGED FROM THE PRIOR YEAR. |
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