Creative Time Inc.

“The drafted 990 was circulated to the audit committee of the board for review and approval prior to filing.”

“Board members review the policy and sign off on it every year.”

“The organization does not make it's governing documents, conflict of interest policy and financials statements available to the public.”

“Creative time brings ambitious, socially engaged art to the publicfree and open to all. We partner with artists to address the most pressing issues of our times, and foster dreams for our collective future. We aim to transcend the barriers that too often define whose art is considered important and which audiences engage with art. Since 1974, creative time has produced over 350 public art projects, led by the conviction that art acts as a powerful means to envision change in our communities.”

“The previous year was one of challenges and triumphs, grief and celebration, as we navigated the ever changing landscape of presenting public art. Creative time reaffirmed our commitment to creating art that addresses the most pressing issues of our time through lenses of joy, care, and community. Programming 30 days of performance art for red stage was an incredible opportunity to engage with and give back to the vibrant arts community in our own neighborhood. Staging a project in astor place, a major thoroughfare that tens of thousands of people pass through on a daily basis, allowed red stage to reach well beyond the traditional creative time audience. The joy of serendipitously happening upon a performance at red stage was expressed time and again by members of the public who paused their day to watch a performance or even take the stage for people's platform hours. Kamala sankaram's the last stand allowed us to engage with our natural neighbors, and provided the opportunity to welcome and introduce a multi-generational and multi-species audience to creative time and kamala's message of interdependence. The last stand was sited in prospect park and experienced through a multi-channel speaker array encircling a cast of trees. The story was also told via vibrations felt through a seating system built from reclaimed wood from the new york region. We were also proud to work with an accessibility consultant whose methodology included working in consultation with six artists whose work engages deaf culture and the artistry of accessibility. The creative time think tanka group of nine boundary-pushing thinkers, each bringing distinct and varying perspectives from the fields of art, organizing, theory, and cultural productionconvened to think and imagine together over the course of the past ten months. Adapting the "think tank" model, the cohort spent 2021 exploring their practices and new methodologies to dismantle exclusionary and colonialist modes of artistic creation and presentation and propel us into new forms of cultural praxis. The cohort was non-sited and spread over the country, meeting virtually over zoom, and consisted of la tanya s. Autry, caitlin cherry, che gossett, kevin gotkin, sonia guiansaca, emily johnson, prerana reddy, namita gupta wiggers, hentyle yapp. From the beginning we committed to our role as facilitators, allowing the space for the cohort to organically move through this process. The cohort's time together concluded at the end of october 2021. Invitations toward re-worlding, the think tank's public output launched on february 22, 2022. Presented as a series of "programming scores," invitations toward re-worlding can be best understood as a series of administrative interventions, led from the premise that the distinction between artistry and administration is tenuous, if not entirely illusory. Invitations toward re-worlding offers a constellation of instructions, conjurings, and provocations, intended to move us towards a future organized around an infrastructure of care, within arts and cultural production and beyond. The scores include, among others, emily johnson's decolonization rider, che gossett's abolition aesthetics, and prerana reddy's compositional notes for making a with/against institutional budget. Working with the cohort through their hours of conversation and development of invitation toward re-worlding has deepened creative time's commitment to working with artists at the forefront of social justice and decolonial practices. In centering the perspectives of the cohort members within the infrastructure of our organization, we have already begun to adopt and implement the work of the cohort into our own practices and will continue these initiatives in 2022 and beyond.”