Phoenix Art Museum

“The museum has a membership program that currently has 8,031 members. Regular members and circles members, each get one vote”

“Members of the governing body (board of trustees) are nominated by the museum's nominating committee and then are voted upon by the museum membership.”

“The return will be provided to each board member to read and each will be given the opportunity to ask questions.”

“The museum's guidelines for professional practices questionnaire and compliance agreement is required to be completed and signed by trustees, presidents of support organizations, museum director, division heads, department heads, and all accounting staff annually. This process is done every year in september. The completed and signed agreements are reviewed by human resources manager for completeness. Any question that arises is discussed with the individual signing the agreement.”

“Data from other museums is used to evaluate compensation for the ceo, including from the american association of museum directors. The executive committee makes the decision. Decisions made during budget process. Last performed march 2017. For determining the compensation of other officers or key employees, comparisons are made with other museums. Decisions made during budget process by the ceo. Last performed march 2017.”

“The organization financial statements are available on the website and the organization makes its governing documents and conflict of interest policy available upon request.”

“Phoenix art museum is a vibrant destination connecting people to great art from around the world to enrich their lives and communities. This vision is supported by four strategic pillars which are: 1. Exceptional art - to celebrate the highest quality visual art through outstanding exhibitions, acquisitions and collection stewardship. 2. Enrichment and learning - to create a nationally recognized model for enhancing experience of the visual arts through interpretation, engaged learning, and enrichment. 3. Broad audience - to attract the broadest possible audience to the museum as consistent and enthusiastic participants. 4. Fiscal stability and organizational excellence - to achieve and maintain a strong financial foundation.”

“Kehinde wiley: a new republic: kehinde wiley is one of the leading american artists to emerge in the last decade and he has been ingeniously reworking the grand portraiture traditions. Since ancient times the portrait has been tied to the representation of power, and in european courts and churches, artists and their patrons developed a complex repository of postures and poses and refined a symbolic language. This language, woven into all aspects of a portrait, described the sitter's influence and power, virtue and character, or profession. In his consideration of portrait traditions, wiley has been especially drawn to the grand aristocratic portraits of the 18th century. The artist began his first series of portraits in the early 2000s during a residency at the studio museum in harlem. He set out to photograph and recast assertive and self-empowered young men from the neighborhood in the style and manner of traditional history painting. Since then he has also painted rap and sports stars but for the most part his attention has focused on ordinary men of color in their everyday clothes. Trained at yale in the 1990s, wiley was steeped in the discussions concerning identity politics during this decade and he brings his personal insights and theoretical studies to his practice. Wiley's portraits are highly stylized and staged, and draw attention to the dialectic between a history of aristocratic representation and the portrait as a statement of power and the individual's sense of empowerment. The works presented in kehinde wiley: a new republic raise questions about race, gender, and the politics of representation by portraying contemporary african american men and women using the conventions of traditional european portraiture. The exhibition includes an overview of the artist's prolific fourteen-year career and features sixty paintings and sculptures. Through the process of "street casting," wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting's figure. By inviting the subjects to select a work of art, wiley gives them a measure of control over the way they're portrayed, allowing them to have a voice in the telling of their individual, unique story.”

“Samurai: armor from the ann and gabriel barbier-mueller collection: takes visitors on a journey back in time to discover the life, culture, and pageantry of the revered and feared japanese samurai warriors through remarkable objects from one of the best and largest collections in the world. The exhibition, organized by the ann & gabriel barbier-mueller museum in dallas, texas, features more than 140 objects of warrior regalia, with full suits of armor, helmets and masks, weapons, horse tack, and other battle gear. It traces the evolution of the distinctive appearance and equipment of the samurai through the centuries and examines the warriors' history through works of consummate craftsmanship and exquisite design. During the centuries covered by the exhibition, warfare evolved from combat between small bands of equestrian archers to the clash of vast armies of infantry and cavalry equipped with swords, spears, and even matchlock guns. Arms and armor were needed in unprecedented quantities, and craftsmen responded with an astonishingly varied array of armor that was both functional and visually spectacular, a celebration of the warrior's prowess. Even after 1615, when the tokugawa military dictatorship brought an end to battle, samurai families continued to commission splendid arms and armor for ceremonial purposes. Because the social rank, income, and prestige of a samurai family were strictly determined by the battlefield valor of their ancestors, armor became even more sumptuous as the embodiment of an elite warrior family's heritage. The exhibition is accompanied by a fully-illustrated catalog, art of armor: samurai armor from the ann and gabriel barbier-mueller collection, with essays by leading japanese samurai armor experts.”

“Emphatics: avant-garde fashion, 1963-2013: last year, phoenix art museum acquired a rare archive of avant-garde contemporary fashions and ephemera collected by james and karin legato who owned and operated emphatics, an exclusive boutique in pittsburgh. This comprehensive archive features fashions and accessories by renowned designers such as alexander mcqueen, issey miyake, thierry mugler, john galliano, romeo gigli, alaia and jean paul gaultier with original runway show invitations, videos and other materials and accessories. On view together for the first time, this exhibition celebrates the enormous creativity of fashion from 1963-2013 in a dynamic, multi-media installation.”

“Acquisition of fine art acquisition of fine art -34,845.”

“The organization has not changed its oversight process for the audit or its selection process for independent auditors during the year.”