Moma Annual Report 2016

2016

The Museum of Modern Art

The Museum of Modern Art

ANNUAL REPORT

TABLE OF CONTENT

1.HISTORY

T R O P E R S ’ R O T I 2.AUD

T N E M E T A T S N O I S S I 3.M

T N E M E T A T S L A I C N A N S N 4.FI O I T I B I H X E T N 5.CURRE 6.NEW INICIA TIVES

In the late 1920s, three progressive and influential patrons of the arts, Miss Lillie P. Bliss, Mrs. Cornelius J. Sullivan, and Mrs. John D. Rockefeller, Jr., perceived a need to challenge the conservative policies of traditional museums and to establish an institution devoted exclusively to modern art. They, along with additional original trustees A. Conger Goodyear, Paul Sachs, Frank Crowninshield, and Josephine Boardman Crane, created The Museum of Modern Art in 1929. Its founding director, Alfred H. Barr, Jr., intended the Museum to be dedicated to helping people understand and enjoy the visual arts of our time, and that it might provide New York with “the greatest museum of modern art in the world.”

The public’s response was overwhelmingly enthusiastic, and over the course of the next 10 years the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of the building it still occupies in midtown Manhattan. Upon his appointment as the first director, Barr submitted a plan for the conception and organization of the Museum that would result in the Museum’s multi-departmental structure, with departments devoted for the first time to Architecture and Design, Film and Video, and Photography, in addition to Painting and Sculpture, Drawings, and Prints and Illustrated Books. Subsequent expansions took place during the 1950s and 1960s, planned by the architect Philip Johnson, who also designed The Abby Aldrich Rockefeller Garden. In 1984, a major renovation designed by Cesar Pelli doubled the Museum’s gallery space and enhanced visitor facilities.

The rich and varied collection of The Museum of Modern Art constitutes one of the most comprehensive and panoramic views into modern art. From an initial gift of eight prints and one drawing, The Museum of Modern Art’s collection has grown to include over 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. MoMA also owns approximately 22,000 films and four million film stills, and MoMA’s Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists. The Museum Archives contains primary source material related to the history of MoMA and modern and contemporary art.

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We have audited the accompanying consolidated financial statements of The Museum of Modern Art (the “Museum”), which comprise the consolidated statements of financial position as of June 30, 2015 and 2014, and the related consolidated statements of unrestricted revenues, expenses and changes in unrestricted net assets, of changes in net assets and of cash flows for the years then ended.

Management’s Responsibility for the Consolidated Financial Statements Management is responsible for the preparation and fair presentation of the consolidated financial statements in accordance with accounting principles generally accepted in the United States of America; this includes the design, implementation, and maintenance of internal control relevant to the preparation and fair presentation of consolidated financial statements that are free from material misstatement, whether due to fraud or error.

Auditor’s Responsibility Our responsibility is to express an opinion on the consolidated financial statements based on our audits.

We conducted our audits in accordance with auditing standards generally accepted in the United States of America. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether the consolidated financial statements are free from material misstatement.

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the consolidated financial statements. The procedures selected depend on our judgment, including the assessment of the risks of material misstatement of the consolidated financial statements, whether due to fraud or error. In making those risk assessments, we consider internal control relevant to the Museum’s preparation and fair presentation of the consolidated financial statements in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Museum’s internal control. Accordingly, we express no such opinion. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of significant accounting estimates made by management, as well as evaluating the overall presentation of the consolidated financial statements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion.

Opinion In our opinion, the consolidated financial statements referred to above present fairly, in all material respects, the financial position of The Museum of Modern Art at June 30, 2015 and 2014, and their changes in net assets and cash flows for the years then ended in accordance with accounting principles generally accepted in the United States of America.

October 7, 2015

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AUDITOR’S REP0RT 6

MISSION

Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world.

Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit.

Central to The Museum of Modern Art’s mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves.

To achieve its goals The Museum of Modern Art recognizes: • That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today.

• That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era.

• That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum’s varied collection.

• That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present.

• That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art.

• That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum’s tradition, which encourages openness and a willingness to evolve and change.

In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.

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FY16 REVENUES $24.9 M

15%

OTHER EARNED INCOME $ 3.8M

8%

29%

13% 35%

ADMISSIONS $ 1.9M MEMBERSHIP $ 3.2M MEMBERSHIP & DEVELOPMENT $ 1.8M

10%

15%

61%

9%

2,586

2,269

1,997

1,792

1,548

FY16 EXPENSES $19.6 M

INVESTMENT INCOME $ 7.3M

5 YEARS FINANCIAL SUMMARY

2012 2013 2014 2015 2016

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REVENUES AND SUPPORT

4%

MOMA PROGRAMS $ 12.0M PS1 PROGRAMS $ 1.9M MANAGMENT & GENERAL $ 3.2M MEMBERSHIP & DEVELOPMENT $ 1.8M ART ACQUISITIONS $ 0.7M

FINANCIAL STATEMENTS 660,000 Visitors

250,00 Members

3,558 Exhibitions

90 Events 20,924 Artists

100,000+ Objects from the collection available on the MoMA website.

200,000 works of modern and contemporary art. More than 72,000 works are currently available online.

THE 2016 IN NUMBERS

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CURRENT

Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction Through Jan 6, 2017

A Revolutionary Impulse: The Rise of the Russian Avant-Garde Through May 10, 2017

Insecurities: Tracing Displacement and Shelter

One and One Is Four: The Bauhaus Photocollages of Josef Albers Through Sep 12, 2017

Teiji Furuhashi: Lovers Through sep 20, 2017

Tony Oursler: Imponderable Through sep 27, 2017

Through April 16, 2017

Kai Althoff: and then leave me to the common swifts Through July 2, 2017

Nan Goldin: The Ballad of Sexual Dependency

The Shape of Things: Photographs from Robert B. Menschel Through Nov 3 2017

Collection Galleries 1880s–1950s Through Nov 14, 2017

Through July 25, 2017

Mark Leckey: Containers and Their Drivers MoMA PS1 Through Aug 19, 2017

Sculpture from the Collection 1960–1969 Through Dec 5, 2017

From the Collection: 1960–1969 Through Oct 8, 2017

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How do programs for people with dementia and their caregivers fit into MoMA’s overall educational program?

The Museum of Modern Art is committed to enabling all visitors to experience its unparalleled collection of modern and contemporary art. MoMA recognizes the diversity of the general public’s abilities and needs, and offers a variety of programs and services to ensure the accessibility of the Museum and its collection. Through its Access Programs, each year the Museum serves over 10,000 individuals who have physical, learning, emotional, behavioral, or developmental disabilities, or are partially sighted, blind, hard of hearing, or deaf. Due to the staggering number of people affected by Alzheimer’s disease, in 2006 MoMA decided to develop programming for this particular audience, and was one of the first museums in the country to do so.

What types of programs does MoMA offer for people with dementia and their caregivers?

MoMA’s offerings for individuals with dementia and their care partners include by-request programs for groups coming from care organizations, such as assisted-living facilities, nursing homes, and adult-care centers. These programs incorporate lively discussions of artworks as well as art-making components, and take place at the Museum and/or off-site at the organization. The Museum also offers Meet Me at MoMA, a monthly interactive gallery-discussion program for individuals with dementia and their family or professional care partners (preregistration required). Specially trained Museum educators facilitate all program offerings.

What is The MoMA Alzheimer’s Project?

The MoMA Alzheimer’s Project was the national and international expansion of the Museum’s education programs for individuals living with Alzheimer’s disease and other forms of dementia and their care partners. It was a special initiative in the Museum’s Department of Education, which took place from 2007 to 2014. Funded by a major grant from MetLife Foundation, The MoMA Alzheimer’s Project broadened the reach of MoMA’s programming through the development of resources that can be used by museums, assisted-living facilities, and other community organizations serving people with dementia and their care partners.

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NEW

“ART IS MUCH LESS IMPORTANT THAN LIFE, BUT WHAT A POOR LIFE WITHOUT IT” 19

Robert Motherwell