Phoenix Art Museum

“The museum has a membership program that currently has 7,909 members.”

“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.”

“Made in brazil - latin art, past/future/present: the fruit of a collaboration between the phoenix art museum (in arizona, us) and mam (museu de arte moderna de so paulo), the exhibition past/future/present arrived in the state capital of so paulo on 01/22 with a selection of 72 works and is the product of the joint efforts of two curators: the north american, vanessa davidson, and the brazilian, cau alves. With pieces produced between 1990 and 2010, the show was first staged in the united states in 2017, displaying brazilian works of contemporary art to the country's public, and represented the first exhibition dedicated to mam's collection in the us. The exhibition is organized around five themes: the body/social body; shifting identities; landscape, reimagined; impossible objects; and the reinvention of the monochrome. The participating artists include: adriana varejo, beatriz milhazes, tunga, dora longo bahia, waltercio caldas, carlito carvalhosa, leda catunda, jos damasceno, rosngela renn, anna bella geiger, carmela gross and nelson leirner. The choice of names represents the varied styles, themes and media present in brazilian contemporary art, demonstrating that the concept of "brazilianness" cannot be defined merely in geographic terms. "with this show, we reveal a brazil to foreigners that they were not familiar with. For the brazilian public, we want to create the same sense of surprise with contemporary works by renowned artists and also by less well known ones", states the curator cau alves. Historical moments in the country's past, social norms, indigenous myths and transgressions reveal how brazilian artists have adapted to the reality of globalization: "they speak artistic languages fluently with a focus on the global scene, at the same time that their art, imbued both with local specificity and universal resonance, has itself become an international point of reference", explains vanessa davidson. Participating artists: albano afonso, keila alaver, efrain almeida, rafael assef, dora longo bahia, rodrigo braga, waltercio caldas, rogrio canella, carlito carvalhosa, leda catunda, lia chaia, sandra cinto, felipe cohen, rochelle costi, jos damasceno, lenora de barros, antonio dias, iran do esprito santo, marcius galan, anna bella geiger, carmela gross, tadeu jungle, lucia koch, nelson leirner, jac leirner, jos leonilson, artur lescher, laura lima, antonio manuel, cinthia marcelle, marepe, rodrigo matheus, cildo meireles, beatriz milhazes, odires mlszho, marcelo moscheta, pedro motta, vik muniz, ernesto neto, rivane neuenschwander, nazareth pacheco, rosana paulino, paz, penna prearo, florian raiss, caio reisewitz, rosngela renn, eryk rocha & tunga, thiago rocha pitta, regina silveira, valeska soares, ana maria tavares, tunga, adriana varejo, cssio vasconcellos, laura vinci, carlos zilio, and marcelo zocchio.”

“Iris van herpen - transforming fashion: iris van herpen: transforming fashion surveys 15 collections of the dynamic, innovative work of dutch designer iris van herpen. Renowned for her use of 3-d printing, van herpen is widely considered one of contemporary fashion's most progressive creators, and is a favored designer of style icons, including beyonce, lady gaga, bjork, cara delevingne, and others. Featuring 45 ensembles created from 2008 - 2015, the minimalistic installation will also include a selection of her fantastical shoe designs and runway show footage. A featured work is the dress from her 2014 collection biopiracy, on view for the first time since it was purchased by arizona costume institute to celebrate the 50th anniversary of the fashion design collection and the museum. Since her first collection in 2007, van herpen has made a name for herself within and beyond the fashion world by combining tradition with radical innovation. Unparalleled in her multidisciplinary approach to creation, she has collaborated with artists, architects, and scientists such as philip beesley, jolan van der wiel, and bart hess, as well as teams at the european organization for nuclear research (cern) and massachusetts institute of technology. In 2011, time magazine included her 3-d printed dresses on its list of 50 best inventions.”

“Valeska soares - any moment now: valeska soares: any moment now is a mid-career survey exhibition of soares' (b.1957) work, the first at a u.s. Museum since 2003. The exhibition features approximately 45 multi-media works, sculptures, videos, and installations created by the brazilian artist during the past two decades. This project represents a landmark partnership between phoenix art museum and the santa barbara museum of art as part of the getty-led pacific standard time: la/la initiative. Valeska soares creates polished, minimalistic artworks that encourage visitor participation. Through installation and assemblage, she engages with international art traditions and world literature. In her multifaceted art, she demonstrates a fascination with space and time, as well as what occurs beyond their perceived limits. Her works directly engage visitors' subjectivities, cultivating both personal experience and universal knowledge and how each of these affects the other. Soares's environmental installations incorporate the effects of reflection, light, entropy, and even scent. Such experiential qualities are rendered through the incorporation of suspended mirrors, light fixtures, perishing flowers, and vessels of perfume and liquor that slowly evaporate over the course of the exhibition. She also often creates installations of book pages, covers, and bindings to weave meanings between disparate texts that viewers connect conceptually by association. Past and future simultaneously permeate her installations and objects, suggesting an underlying narrative that is often cyclical. Weaving together the themes of memory, time, and the sensorial, soares creates poetic works that fuse and expand upon the languages of post-minimalism and conceptual art. As fellow brazilian artist vik muniz has stated: "through a seemingly inexhaustible range of techniques, themes and strategies, soares' work oscillates between materiality and memory, desire and decay, sensation and intoxication."”

“Dues and subscriptions: program service expenses 66,707. Management and general expenses 32,035. Fundraising expenses 38,105. Total expenses 136,847. Miscellaneous: program service expenses 79,806. Management and general expenses 39,340. Fundraising expenses 9,146. Total expenses 128,292. Honoraria: program service expenses 118,939. Management and general expenses 0. Fundraising expenses 5,500. Total expenses 124,439. Repairs and maintenance: program service expenses 55,768. Management and general expenses 55,811. Fundraising expenses 0. Total expenses 111,579. Fundraising expenses: program service expenses 8,898. Management and general expenses 33,868. Fundraising expenses 29,344. Total expenses 72,110. Bad debt expense: program service expenses 651. Management and general expenses 13,710. Fundraising expenses 25,500. Total expenses 39,861. Collections conservation: program service expenses 23,616. Management and general expenses 0. Fundraising expenses 0. Total expenses 23,616. Collections management: program service expenses 18,387. Management and general expenses 0. Fundraising expenses 0. Total expenses 18,387. Fundraising expenses moved to statement of revenue: program service expenses 0. Management and general expenses 0. Fundraising expenses -767,817. Total expenses -767,817.”

“Acquisition of fine art -1,272,437.”

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