Queens Museum of Art New York City Building
Queens Museum of Art New York City Building
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About this organization
Mission
The Queens Museum features exhibitions that range from historical to contemporary, focus on material culture to social justice, and include site-specific temporary commissions relevant to local and global issues. Our visitor engagement agents speak multiple languages (Spanish, Mandarin, Bengali, Hindi, Urdu, French and German) and are also trained to engage visitors with special needs. Over the last year, the museum has seen continued growth in our exhibitions, education and public programs for students seniors, community members, and artists. The museum hosts two major exhibition openings each year, one in the fall and one in the spring.
About
Exhibitions in spring 2017, QM opened several new exhibitions, several of which featured prominent female contemporary artists including Marinella Senatore: Piazza Universale / Social Stages (April 9 - July 30, 2017) and Anna K.E.: Profound Approach and Easy Outcome (April 9, 2017- February 18, 2018). The year continued with a diverse range of exhibitions which appealed to and engaged our equally diverse audiences, detailed below. Patty Chang: The Wandering Lake (September 17, 2017 - March 4, 2018) Patty Chang, a performance and video artist most known for probing taboos, stereotypes, and cultural myths, utilizes elements of humor and shock to challenge assumptions and examine humanity through her work. In September 2017, QM opened the artist's The Wandering Lake. A new multimedia installation of Chang's most extensive project to date, The Wandering Lake redefined the role of artists, images, and performance through the way stories are told. Consisting of video, installation, photography, and other ephemeral documentation of Chang's recent work, the exhibition highlighted issues of personal evolution and environmental justice. The Wandering Lake included films of the artist performing ritual washings of a deserted boat from the Aral Sea - once the fourth largest inland sea before the Soviets attempted to convert the area into cotton production fields, and a beached whale corpse off the coast of Newfoundland - a thriving fishing fleet before overfishing ceased operations. These films, as well as Chang's other interventions, reflect radically changing landscapes and examine how humanity's pursuit of industrial capitalism increasingly affects nature. To complement the exhibition, on October 8, 2017 the artist engaged in a conversation with artist, theorist, and historian Jill Casid about the exhibition and the eponymous artist book, the two distinct representations of narrative and performance that organically inform and construct each other. Casid, a professor of visual studies at the University of Wisconsin-Madison, has written extensively on landscape and performance. The exhibition was well received by the public and press, gaining a great deal of recognition in major publications, including The New York Times, Art in America, and Hyperallergic, and influencing QM to extend the run of the show by two weeks from February 18 to March 4. Louis Bury of Hyperallergic expressed '[The book] as a whole, evocatively integrates the project's multitude of discursive registers. If the exhibition is like a partially completed jigsaw puzzle, then the book, with its imbricated layers of image and text, is an image of the completed puzzle.' Sable Elyse Smith: Ordinary Violence (September 17, 2017 - February 18, 2018) Sable Elyse Smith's project continued her ongoing exploration of the trauma and emotional violence inflicted upon incarcerated individuals and their loved ones. Mining her own experiences of visiting her father in prisons for the past 19 years, Smith presented a combined media installation involving video, neon and lightbox sculptures, wall-collage, and text elements to visualize the ways an impersonal bureaucratic system of incarceration takes effects on the bodies and minds of the extended network of people bound to it. We also presented two performances in conjunction with the exhibition's opening. First, artist Devin Kenny performed If I Don't Laugh/ Tarda..., a powerful sonic performance incorporating music and spoken word that addresses the role of social media in the widened access to images of 'black suffering that directly results from the machinations of white supremacy: the U.S. prison industrial complex and police state, and the aftermath of colonialism and chattel slavery.' Kenny's performance called into question the economy that has developed around the circulation of these images as internet content, exploring the sinister aspects of this increased visibility, including issues of appropriation and exploitation. In the second performance, Bonita Oliver of electronic music duo French Leave, and musician Simone Tyson livescored Smith's nine channel video work, Untitled: Father Daughter Dance, 2013 - 2017, using voice, meter, pitch, pause, and in the artist's own words, 'the texture of a weight which resides in the bodyafter which, just the silence will remain.' The exhibition received a number of reviews in accredited publications such as Bomb, Hyperallergic, and Artnews. Smith also earned the title of 'Artist to Watch' by The New York Times and one of the 30 under 35 young artists to watch in 2018 by Cultured. Rabia Ashfaque of Bomb wrote, 'Smith painstakingly investigates the effects of captivity and submission to authority, both on the incarcerated and their loved ones, while also exploring notions of laborphysical and mentaland the toll they take on both parties.' In addition to this press recognition, a number of Smith's pieces were purchased. In fact, two photo collage works from the show, 7665 Days (2017) and 7665 Nights (2017), were acquired by the Whitney Museum of American Art. Since the QM exhibition, Smith has also participated in Trigger at the New Museum, Fictions at the Studio Museum, and Glass Ceiling: Art of Resilience and Fragility at Agnes Varis Art Center. Smith was also selected to participate in the Sessions program at Recess Art. Julia Weist: 17.(Sept) [by Weist_Sir Records]TM (September 17, 2017 - February 18, 2018) For this project, American artist Julia Weist collaborated with Cuban artist Nestor Sir to explore Cuba's the lack of accessible internet and the systemic alternatives that have developed in place of connectivity. The pair presented works created for, and also about, the most significant of these phenomenaEl Paquete Semanala 1 terabyte digital media collection, aggregated weekly and circulated across the country via in- person file sharing. The centerpiece of 17.(Sept) [by WeistSirPC]TM is a 64 terabyte server containing 52 weeks of El Paquete Semanal. It is the only formalized archive of the Paquete and its construction and deployment was designed around the legal and logistical restrictions of the changing US-Cuba relations over the last year. In order to create this 'legal Paquete' the artists sent thousands of emails to secure permission from copyright holders of content from the week of August 8, 2016 to make this distribution permissible according to U.S. copyright laws. Every third Sunday that the exhibition was on view a Paquetera, or Paquete agent/guide, was available to guide visitors through downloadable content that they can take home. Visitors were welcome to bring their own USB sticks to download content of their choosing from the catalog, or a hard drive for the entire catalog. Since the success of this show, Weist has been invited to participate in the Gwangju Biennial and both Weist and Sir were invited to produce a related project for Rhizome's ongoing series, The Download. QM has also supported Weist in conversations with institutions interested in potentially acquiring Weist's work including the Museum of Moving Image and the Benson Latin American Collection, UT Austin Libraries. In addition to this success, Weist work received a great deal of attention from the press and was written up in publications including Art in America, Mousse Magazine, and Hyperallergic. Never Built New York (September 17, 2017 - February 18, 2018) Never Built New York invited visitors to discover the New York City that might have been through original prints, drawings, models, installations, animations, and custom made ghost formations on QM's Panorama of the City of NY of potential NYC structures that were never built. Co-curated by Sam Lubell and Greg Goldin and designed by Christian Wassmann, the exhibition was organized in three parts located in the Rubin Gallery, on the Panorama, and surrounding the museum's central skylight gallery, where a 'bouncy castle' version of Eliot Noyes' Westinghouse Pavilion sat, originally intended for the 1964 World's Fair. Works displayed included potential designs for QM by Eric Owen Moss, a napkin drawing of Frank Lloyd Wright & Taliesin Associated Architects' 1959 plan for Ellis Island, a bronze model of Isamu Noguchi & Louis Kahn's 1960-1967 plan for Adele Levy Memorial Playground, and many others.Through a diverse collection of work, events, and public programs, the exhibition ignited conversations about city planning, the development of New York City, and the future of Flushing Meadows Corona Park. Making Never Built New York: Discussion, Q+A and Book Signing held October 29, 2017 drew a robust crowd of 200 attendees for a behind the scenes look into the exhibition and conversation with Joshua Jordan, Fabrication Lab Director, Columbia GSAPP; Sam Lubell, writer and co-curator; and Christian Wassmann, Principal, Studio Christian Wassmann.
Interesting data from their 2019 990 filing
The filing outlines the non-profit's goal as “The queens museum is dedicated to presenting the highest quality visual arts and educational programming for people in the new york metropolitan area, and particularly for the residents of queens, a uniquely diverse ethnic, cultural and international community.the museum fulfills its mission by designing and providing art exhibitions and educational experiences that promote the appreciation and enjoyment of art, support the creative efforts of artists, and enhance the quality of life through interpreting, collecting, and exhibiting art, architecture, and design.the queens museum presents artistic and educational programs and exhibitions that directly relate to the contemporary urban life of its constituents while maintaining the highest standards of professional, intellectual, and ethical responsibility.”.
When explaining its purpose, the activities were outlined as: “The queens museum features exhibitions that range from historical to contemporary, focus on material culture to social justice, and include site-specific temporary commissions relevant to local and global issues. our visitor engagement agents speak multiple languages (spanish, mandarin, bengali, hindi, urdu, french and german) and are also trained to engage visitors with special needs. over the last year, the museum has seen continued growth in our exhibitions, education and public programs for students seniors, community members, and artists. the museum hosts two major exhibition openings each year, one in the fall and one in the spring.”.
- As per legal reporting requirements, the state of operation for the non-profit is NY.
- The non-profit's address for 2019 is listed as NYC BLDGFLUSHING MEADOWS CORONAPARK, QUEENS, NY, 11368 in the filing.
- As per the non-profit's form, they have 148 employees as of 2019.
- Is not a private foundation.
- Expenses are greater than $1,000,000.
- Revenue is greater than $1,000,000.
- Revenue less expenses is -$794,288.
- The organization has 24 independent voting members.
- The organization was formed in 1972.
- The organization pays $3,593,881 in salary, compensation, and benefits to its employees.
- The organization pays $290,511 in fundraising expenses.
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