Seventh Regiment Armory Conservancy Inc

“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.”

“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.”

“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.”

“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.”

“The organization's governing documents, conflict of interest policy, and financial statements are made available to the public upon request.”

“In 2024, the Wade Thompson Drill Hall PRESENTED epic, relevant, and collaborative works by diverse artists, such as choreographer Justin Peck, playwright Jackie Sibblies Drury, and singer-songwriter Sufjan Stevens; director Peter Sellars with an intercontinental and interdisciplinary cast of world-class performers and sound projectionist Kathinka Pasveer; choreographer Sharon Eyal with creative partners Gai Behar, Caius Pawson, and Ben UFO; composer, filmmaker, and choreographer Meredith Monk with her Vocal Ensemble; and choreographer Kyle Abraham. Complementing major Drill Hall works, the Historic Rooms hosted intimate performances and artistic gatherings with soprano Jeanine De Bique, tenor Matthew Polenzani, multidisciplinary artist EJ Hill, poet Claudia Rankine, dancer Shamel Pitts, performance artist Dorian Wood, and more. WADE THOMPSON DRILL HALL PRODUCTIONS: Opening the 2024 Season was Armory Co-Commission, Illinoise (March 2-26, 2024), a movement-theater production based on singer-songwriter Sufjan Stevens's acclaimed indie folk-rock concept album of the same name. Tony Award-winning choreographer Justin Peck and Pulitzer Prize-winning playwright Jackie Sibblies Drury created an ecstatic performance rooted in dance, theater, folk storytelling, and live music. In its New York City premiere, the production was re-envisioned for the Wade Thompson Drill Hall with a new assembly of 16 dancers, ten musicians, and three vocalists who brought to life a new orchestration of Stevens's score ranging in style from folk and live indie rock to ambient electronics to joyous marching bands. The Armory's presentation of Illinoise was named a Critic's Pick by The New York Times and transferred to Broadway following its lauded Drill Hall run. Shall We Gather at the River (May 21, 2024), directed by Peter Sellars, was a musical and choreographic call to action on climate change, co-presented with the Asia Society's COAL + ICE: Inspiring Climate Action through Art and Ideas, an exhibition of photographs documenting the consequences triggered by our continued reliance on fossil fuels. This multidisciplinary production merged the Black American spiritual tradition with the poetic, sacred texts of Bach's cantatas. The Oxford Bach Soloists and The Choir of Trinity Wall Street, under the music direction of Tom Hammond-Davies, were joined by countertenor Reginald Mobley, tenor Nick Pritchard, sheng player Wu Tong, choreographer Reggie (Regg Roc) Gray, and FLEXN dancers. Inside Light (June 5-14, 2024) presented selections of electronic music from legendary composer Karlheinz Stockhausen's monumental seven-cycle opera Licht, in an innovatively designed immersive environment. Named a Critic's Pick by The New York Times, the production's North American premiere was performed by Kathinka Pasveer, one of Stockhausen's original collaborators, a sound projectionist, and Director of the Stockhausen Foundation for Music. Pasveer led presentations of five electronic compositions of the cycle on separate nights, with two rare marathon stagings of all parts over five hours. Audiences were offered traditional theater and informal back-jack seating, with free movement throughout the Wade Thompson Drill Hall encouraged. Original abstract lighting and video projections by noted lighting designer Urs Schnebaum fully realized these works in a relaxed setting true to Stockhausen's original vision. Award-winning choreographer and former Batsheva Dance Company member Sharon Eyal, her creative partner Gai Behar, and Caius Pawson and DJ Ben UFO of London-based multi-arts organization Young presented the North American Premiere of a new Armory Co-Commission, R.O.S.E. (September 5-12, 2024). Dissolving the boundaries between dancer, musician, and audience member, R.O.S.E. celebrated the freedom and energy of club culture that Eyal draws inspiration from in her work. Originally premiering at Manchester International Festival, R.O.S.E. reconfigured conventional notions of”

“HISTORIC ROOMS PROGRAMMING: Park Avenue Armory's Historic Rooms programming provides an intimate counterpart to the epic scale of the Wade Thompson Drill Hall. In the Board of Officers room, the Recital Series programmed works by Hahn, Burleigh, Britten, and Caribbean folk songs performed by soprano Jeanine De Bique and pianist Warren Jones (February 12 & 14, 2024); selections from Schubert, Finzi, Schumann, and Ives performed by tenor Matthew Polenzani and pianist Ken Noda (May 20 & 22, 2024); a collection of folk songs and proverbs from various cultural and religious traditions, from American and Yiddish to Jamaican, Swahili, and others performed by soprano Leah Hawkins with pianist Kevin Miller (September 13 & 15, 2024); a program examining the relationship of East and West from Monteverdi, Britten, and Purcell to Takemitsu, Layale Chaker performed by tenor Karim Sulayman with guitarist Sean Shibe (October 8 & 10, 2024); and, finally, works by Scriabin, Messiaen, and Zorn performed by soprano and conductor Barbara Hannigan with pianist Bertrand Chamayou (December 12, 2024). Curated by jazz pianist, visual artist, and MacArthur fellow Jason Moran, the Artists Studio presents experimental jazz and multidisciplinary artistic interventions in the Veterans Room. This past season, Moran curated new works by artist and musician Jasper Marsalis, exploring the intersection of popular music and avant-garde performance (March 27-28, 2024); an evening rooted in industrial, electronic, noise, punk, and hip hop by poet, musician, and activist Moor Mother, accompanied by her band IE, a free-jazz and experimental punk quintet (May 18, 2024); a program of song, storytelling, and sonic exploration by artist EJ Hill, who uses writing, music, painting, and sculpture to bring to light untold stories (September 20-21, 2024); and an artistic happening envisioned by filmmaker, writer, and curator Maori Karmael Holmes, whose work seeks to uplift Black, Brown, and Indigenous expression (November 18-19, 2024).”

“ARTS EDUCATION: The Armory's Production-Based Programming, Partner Schools residencies, and Youth Corps internships continued to adapt to the changing needs of New York City public school students, while engaging them with the Armory's work and offering opportunities to think creatively and trust their own judgment. Through Production-Based Programming offered at no cost to students and schools, participants are exposed to the work and creative processes of world-class artists in free matinees, open rehearsals, and artist talks; they explore epic works through creativity-based workshops in their classrooms led by experienced Teaching Artists; and they express their own interpretations in a second art form. In 2024, 5,000 New York City public school students will have attended student-only matinees of Armory productions in the Wade Thompson Drill Hall and Historic Rooms. With each production, the Armory's 20-member teaching team has also facilitated hundreds of pre- and post-show workshops in schools across the city that offered students an opportunity to dive deeper into the art forms and themes therein. The Armory works closely with eight New York City public schools to design and facilitate intensive Partner Schools residencies that address curricular and community goals. Residencies deepen students' engagement with Armory artistic resources and aim to provide tangible connections to classroom studies through a variety of art forms. In 2024, the Armory hosted the Art Party, an onsite event that celebrated student creativity with visual art and performances by young people taking over the Armory spaces. Offered for the first time since 2019, the event hosted 300 students and teachers, inviting Partner Schools to not only present work created during Armory residencies but also include art created in their core classrooms and afterschool clubs. In addition to residencies, the Armory has provided customized support to Partner Schools in response to feedback from students and teachers, such as additional career development workshops for high school students, after-school support for students completing Performance-Based Assessment Tests (PBATs) as well as those applying for entry into Specialized Arts High Schools, and professional development opportunities focused on arts instruction for Partner School teachers. This past year, the Youth Corps employed 100 students and graduates from five New York City public schools. Through more than 14,000 paid hours of mentored employment, participants were encouraged to engage in creative thinking and explore various career paths in the cultural sector, while being exposed to world-class artists whose practices span many art forms. Interns collaborated on a Capstone project inspired by an Armory production, gained access to curated artistic explorations at other New York City cultural institutions, participated in hands-on workshops with Armory artists, received training as Front of House staff, gained meaningful work experiences through administrative shifts with other departments, and participated in Teaching Demonstrations with Armory Teaching Artists.”