Monroe&Co 10-Year Anniversary Impact Book 28pp

10 years of

George Jackson Academy

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$500 to inspire imaginations with 50 new library books $100 to ignite one boy’s creativity with a year of art supplies

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100% graduate from high school.

Name Name Name Name Address 1 95% graduate college.

Addressfrom 2 City City, ST ZIP 100% are GJA brothers for life.

I/We pledge $ Pledges should be completed by December 31st.

Please help us open the doors My employer will match my gift. to opportunity.

Employer Name

Please contact me about making a credit card gift via phone.

My gift is in Memory/Honor of

George Jackson Academy Believing in boys.

Donors make the difference.

Annual budget: $2.7m 2% Endowment 8%

Unlike most independent schools whose budgets are built on tuition income, GJA is funded almost entirely through contributions. Our $25,000 tuition represents the annual cost of each student’s 11-month education at a 12:1 student/teacher ratio—$1,600 less per year than the per-student cost of NYC public schools at a 32:1 ratio.

Tuition & draw govt funds

22%

Foundations

67%

Individual donations

With the as-yet-unknown economic impact of COVID looming, we are bracing for funding challenges and are engaged in long-term financial planning to ensure a sustainable future.

What George Jackson Academy needs right now: Major Annual Gifts.

We are focused on growing a loyal base of major annual individual, corporate and foundation donors.

Our Story 2021

Hope is being able to see that there is light despite all of the darkness.

as little as $250/yr tuition

100% graduate from high school

Graduates earn $1m+/yr in high school financial aid

most from highlyranked colleges

104 St. Mark’s Place NY, NY 10009 212-228-6789 gjacademy.org

“This pandemic has taken away connections.

During these challenging times, GJA has built a safe, virtual place to meet with my GJA brothers and teachers for work... and play.”

RJ, CLASS OF 2021

most from very selective schools

Help us shine our light even brighter.

Volunteers.

We need committed friends to conduct mock high school interviews, give feedback on admission essays, tutor and teach weekly enrichment classes.

“GJA was one of the most transformative experiences of my life.

Having a community of brothers, staff and faculty really shaped me into the person I am today. I owe a lot of my upbringing as a young man to GJA—I learned how to conduct myself as a student, a professional and a person.” Mandeep Singh, Class of 2007, Tech Company Founder

DESMOND TUTU

Families pay what they can

95% graduate from college

New Trustees.

Our Board is diverse in profession, skill and race.

We seek trustees who have a passion for our mission, an ability to see over the horizon and a drive to motivate others philanthropically.

Hope is being able to see that there is light despite Our Impact all of the darkness. GJA put me

Our Impact

DESMOND TUTU

Endowment Growth.

To achieve long-term stability, our endowment and operating reserves need to grow tenfold to sustain our program for years to come.

to the test.

My old school wasn’t really difficult; this school has helped 100% me learn graduate and grow.

Everybody from high knows each school other and most from very everyone selective schools is a friend.

Jelani, GJA ‘21

Families pay what they can

“This GJA opened uppan m hasthat tak opportunities connec I don’t think I’d ha During as little as gotten elsewhere challeng $250/yr tuition I’m a language art teacher inGJA NYC,has vir and taughtsafe, at GJA to meet for 3 summers. my GJA Our students and tea embody GJA’s values—infor thewor

CLASS classroomRJ, and in their work ethic.

Lazaro Sanchez, GJA ‘07

George School ‘12, GraduatesSyracuse ‘16 earn $1m+/yr

in high school financial aid

95% graduate from boys Help us shine our GJA’s 120 college Compose poetry; draw self-portraits; play trumpet; make software.

To set up a recurring gift or one-time donation,•visit 90% of our funding is from private donations.

Your gift allows us to educate tomorrow’s leaders of color in today’s difficult times and beyond.

Please help us shine our light even brighter in 2021.

light even brighter.

gjacademy.com/donate

George Jackson Academy Believing in boys.

(212) 228-6789 • gjacademy.org 104 St. Mark’s Place • NY, NY 10009

Photos: Matt Stokes Photography Design: Monroe&Co.

$1,000 to buy a new computer

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George Jackson Academy

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Joy invites you in.

most from highly-

• 77% live below poverty line for NYC. Families pay what they can, ranked colleges as little as $15/month, of the $20K/year cost to educate their sons.

• 100% are African-American, Hispanic, Asian-American, Multi-racial, or North African/Middle Eastern.

• GJA’s class of 2019 earned $1.5M in financial aid to high schools like Andover, Cate, Groton, Peddie, Thacher.

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Gala suites

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The Harkness Foundation for Dance is a private grant-making foundation dedicated to invigorating and supporting the dance art form, predominantly in New York City and the greater metropolitan area.

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Dance/ NYC

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PAG E 62

3

ESSAY

The mission of Jiva Performing Arts in NYC is to develop and present new voices in the classical arts of India and increase the visibility of these arts for all communities.

AANA s 44%

atasets

Artistic Leadership is More Diverse than the Wider Field

SONALI SKANDAN, Artistic Director, Jiva Performing Arts

haded light gray, light purple, or ncluding zip code 10036 in midtown nty-six zip codes include one survey

Workforce ngagement oreshadow a ended goals the African,

HERITAGE, ETHNICITY & RACE

The Conundrum of an ALAANA dance maker

PHOTO: RUSSELL HAYDN

Our dance-making highlights the accessibility of these art forms, and often addresses and relates our classical works to modern society and the diverse urban atmosphere in which we live. Our dancers, staff and board have come from diverse backgrounds including: Asian, African, European, Indigenous and across religions from Christian to Hindu and Muslim.

This diversity is reflected in the work we produce and believe in, such as our most recent evening-length dance production, The Four Horsemen, which shows that western thought can be merged with Indian classical dance, music and poetry.

By merging ideologies of East and West, we tackle themes and ideas that are not clearly evident and show the universality of human experience and narratives.

Through this kind of work we hope to redefine the narrow vision of specific “dancegenres.” We also use ideas of modern dance staging and formations within the work we create. Our works often include talkbacks and interactive sessions, to allow the untrained viewer and new audiences into our process and art form.

Of survey respondents, 57% identifies as White (non-Hispanic), 18% as Black/African American, 8% as more than one race or ethnic identity, 8% as Hispanic/Latina/o/x, 8% identifies as Asian and 1% as Indigenous. Respondents who identify as Middle Eastern and North African (MENA) respondents are included as White in these figures for comparison to New York City. While the U.S. Census Bureau considers these identities White (non-Hispanic), Dance/NYC recognizes these identities as ALAANA. With 48% ALAANA (African, Latina/o/x, Asian, Arab, and Native American) representation, “small-budget” artistic leadership is more diverse than the field-wide nonprofit dance workforce studied in 2016, which was 32% ALAANA. Specifically, 18% is Black/African American as compared to 8% of the nonprofit dance workforce.

It is also more diverse than the NYC Cultural Affairs Workforce, which was 33% ALAANA (10% Black/African American). However, “small-budget” dance artistic leadership is significantly less diverse than the City’s population, which is at least 68% ALAANA. And, again, that figure is conservative because the US Census includes Middle Eastern and North African (MENA) respondents as White.

PAG E 61

Segmentation analysis by borough shows that a higher percentage of ALAANA respondents, 14%, reside in the Bronx, compared to 6% percent of the full sample, and in Brooklyn, 33%, compared to 27% of the full sample. The following maps locate survey respondents by ALAANA identity and organizational zip code, showing that ALAANA respondents are distributed through the Bronx, Manhattan (22% of respondents in Upper Manhattan are ALAANA) and Brooklyn (86% of respondents in South Brooklyn are ALAANA.) White respondents tend to be concentrated in Manhattan and North Brooklyn.

2013

FIGURE: ETHNICITY & RACE: ALAANA by ZIP Code Number of ALAANA respondents The Bronx

1

Manhattan New Jersey Queens

Nearly Half Identify as ALAANA

57%

8% 1%8%

18%

68%

New York City Nonprofit Dance Workforce (2016)

66% New York City Cultural Affairs Workforce (2018)

32%

New York City (2017)

29%

2%

11% 5% 1%

5% 1%

8% 6%

11% 10% 6%

22%

Brooklyn

8%

“Small-Budget” Dance Artistic Leadership (January 2020)

Staten Island 'Small-Budget' Dance Artistic Leadership data is valid as of January 2020.

Alt text: This bird’s-eye map of Manhattan, Brooklyn, and the surrounding areas uses color saturation to show the geographical distribution of ALAANA survey respondents. Neighborhoods are outlined in black, and each area is shaded light grey, light purple, or deep purple depending on the number of ALAANA respondents from that area. Light gray indicates one respondent from the area, and deep purple indicates three respondents. In Lower Manhattan, zip code 10003 includes three survey respondents. In midtown Manhattan zip code 10018 includes two respondents. Two zip codes in South Brooklyn, 11226 and 11230, each have two respondents. There are 34 different zip codes around The Bronx, Central/North Brooklyn, Manhattan, Queens, New Jersey, and Long Island that include one ALAANA survey respondent.

14%

White (non-Hispanic)

More than One Race or Ethnic Identity

Hispanic/Latina/o/x

Black /African American

Asian

ETHNICITY & RACE (n=90 survey respondents)

Does not include respondents who declined to self-identify their race or ethnic identity since there is no equivalent in the U.S. Census data for New York City. All groups are mutually exclusive.

Alt text: This graph shows the distribution of Ethnicity & Race among survey respondents (n=90) in comparison to State of NYC Dance & Workforce Demographics (2016) data, DCLA Workforce data, and New York City data: Survey Respondents – Asian (8%), Black/African American (18%), Hispanic/Latina/o/x (8%), Indigenous (1%), More than One Race or Ethnic Identity (8%), White (non-Hispanic) (57%); State of NYC Dance & Workforce Demographics (2016) – Asian (6%), Black/African American (8%), Hispanic/Latina/o/x (5%), Indigenous (1%), More than One Race or Ethnicity (11%), White (non-Hispanic) (68%); DCLA Workforce 2018 – Asian (6%), Black/African American (10%), Hispanic/Latina/o/x (11%), Indigenous (1%), More than One Race or Ethnicity (5%), White (non-Hispanic) (66%); New York City – Asian (14%), Black/African American (22%), Hispanic/Latina/ o/x (29%), Indigenous (0.2%), More than One Race or Ethnicity (2%), White (non-Hispanic) (32%). Does not include respondents who declined to self-identify their race or ethnic identity since there is no equivalent in the U.S. Census data for New York City. All groups are mutually exclusive.

Performing Disability.

Dance.

Artistry.

PAG E 5 0

GENRE

Majority of “Small-Budget” Dance Makers Focus on Modern or Contemporary Dance

PAG E 51

Dance/NYC’s Board of Directors invites you and leading dance patrons to

Cocktail Reception at the Home of JODY and JOHN ARNHOLD

“Small-budget” dance includes a vast set of genres. The 108 open-ended responses included 28 different genres, which were then classified into larger categories, revealing that 56% of respondents primarily work in contemporary or modern dance.

Immigrants. Dance. Arts.

Inmigrantes. Danza. Artes. 移民。舞蹈。藝術。

3

FIGURE

Indigenous

Jiva also has a vibrant educational focus, where we train the next generation of dancers and musicians. In the Indian Classical tradition, dance is often seen as the embodiment of the music, and therefore our programming and education go hand in hand.

STATE OF NYC DANCE

PAG E 6 0

Celebrating PATRONS FOR DANCE Thursday, February 9, 6:00–8:00pm Upper West Side

The next largest genre is national origin/ethnicity-specific dance (12%), which includes 11 different sub-genres reflecting classical, traditional and folk dance practice from around the globe as follows: • Bomba-Afro-Caribbean • Indian classical dance • Butoh • Latin • Ecuadorian folklore • North Indian classical Kathak dance • Flamenco/Spanish Dance • Puerto Rican Folklore • Folk • Traditional world dance • Georgian Traditional Dance

Please join us for a memorable evening with leading artists and patrons of dance and dance education. This exclusive occasion marks the fourth year of Dance/NYC’s activities as an independent nonprofit organization, created to advance the New York dance community and the city’s role as a dance capital. Dance/NYC will share plans for the future, introduce a NEW YORKERS FOR DANCE video campaign, and invite guests who wish to film their own video to do so at the event. Please arrive camera-ready to lend your voices as advocates for the art form.

FIGURE

RSVP by January 26 Please also invite a friend to join us

National Origin/Ethnicity-Specific is Third Largest Genre

specialevents@dance.nyc / 212.966.4452 / by mail Email with inquiries about accessibility

Data on NYC Dance 2018 GENRE (n=107 respondents) Alt text: The pie charts displays the distribution of Genres among survey respondents (n=107): Ballet (11%); Contemporary (32%); Experimental (3%); Hip-Hop (1%); Ice dance (1%); Interdisciplinary/Multi-genre (10%); Jazz (1%); Modern (24%); National Origin/Ethnicity-Specific (12%); Site-Specific (2%); Street dance (1%); Tap (2%).

JAAMIL KOSOKO PERFORMANCE. PHOTO: HOLLY LYNCH

er of White Hispanic) ndents

PAG E 63

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ALESSANDRO PORTELLI

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Join us at www.ERFA.nyc

International Coalition Transforming Stories into Action of Sites of Conscience Celebrating 20 Years to create dialogue “on pressing social Memory issues andof promoting humanitarian and democraticto values as Action a primary function.”

In 1999, our founder, Ruth Abram was searching for believers.

She faxed over a hundred historic sites around the globe asking if they believed in the power

of history to change the world.

Eight replied. They founded the International Coalition of Sites of Conscience (ICSC) agreeing

Now, 20 years and over 275 Sites in 65 countries later, ICSC continues to bear witness to historical struggles and their modern legacies, using dialogue about the past as a starting point for communities to shape a just future. As a platform for these voices, we are building a global movement to prevent acts of hatred and exclusion, continuing to find visionaries for programs that today affect millions of people, supporting them to take action to prevent recurrence at the very sites where these events took place.

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AND HERE.

Our neighborhood urgently needs protection through better zoning

FRAGMENTS OF A POLITICAL DISCOURSE OF THE MEDITERRANEAN IN 19TH-CENTURY ITALY FOUR CLASSES WITH PROFESSOR GILLES PÉCOUT

“A story in memory can be a witness when there are no witnesses.”

AND HERE.

AND HERE.

DEPARTMENT OF ITALIAN STUDIES

MONDAYS: MARCH 31, APRIL 7, 14 & 21 4:00–5:30 PM CASA ITALIANA ZERILLI-MARIMÒ 24 WEST 12TH STREET ITALIAN.DEPT@NYU.EDU OR 212-998-8730

AND HERE.

The Agdz Castle in Morocco was used through the 1970s and is one of the sites documented in ICSC’s Digital Mapping and Documentation Project in the Middle East and North Africa.

Through the Women of Conscience Initiative, ICSC launched a mentoring program that supports newly elected women officials in post-conflict countries to share their stories with other women in ICSC’s network who can help strengthen their self-confidence, communication skills and effectiveness as leaders.

ICSC is leading a series of public events forefronting the vital role cultural organizations can play in elevating women’s voices and showcasing their unique needs and strengths, particularly following atrocity or conflict. With participants from the United Nations, the New York Historical Society and global member sites, ICSC works to end the silencing of women that has been pervasive for far too long.

To counter extremism and the erasure of memory, Sites of Conscience in the Middle East and North Africa are virtually preserving sites of detention and torture that are at risk of destruction. Locations and details of these sites are uploaded onto a Regional Digital Map that includes testimonies from survivors and other documentation of violations, laying the foundation for future justice and accountability processes.

In the face of rising—often violent— xenophobia the world over, ICSC is convening a global network of migration museums to spark compassion across borders by highlighting the dignity and humanity of migrants past and present. In addition, through its Project Support Fund, ICSC is launching groundbreaking local projects using dialogue to foster new understanding on issues related to contemporary migration.

ICSC is working with Rohingyas in Bangladeshi refugee camps, equipping them with skills to document and share their experiences with the goal of accountability for the atrocities committed against them in Myanmar and, eventually, safe return to their homeland.

“The Coalition is a window to new approaches and methodologies.

The breeze from that window will be felt for many years to come.”

MIRIAN BLLACI, CULTURAL HERITAGE WITHOUT BORDERS, ALBANIA

Reports & catalogues

The Future of Physically Integrated Dance in the USA

exploring the arts, community improvement, disability, disaster planning & response, education equity, fiscal sponsorship, immigrants, racial justice, and workers rights

Under My Umbrella:

Fiscal Sponsorship in New York State

Conceived by AXIS Founder & Director Judith Smith Executed by AXIS Staff & Consultants Jennifer Calienes & Debra Cash Lead Funder Doris Duke Charitable Foundation Fund for National Projects Media Partner Dance/USA

SECTION

The Hudson River Museum

GOT COW?

and Didier Nolet’s The Two Individuals (1981) (fig. 51). Both dreamlike works impart an unease ameliorated by a sense of whimsy.

In the nearly monochromatic Totem, the huge cow stands precariously, wobbling on tiny jack-o’-lanterns. The applied cow hide and

CATTLE IN AMERICAN ART 1820−2 0 0 0

the presence of the tiny lamb would suggest Christianity being contrasted with paganism, but the unusual cropping of the cow and the sense of imbalance “reminds us of the significance and ceremony in the struggle for civilization.”29 The backdrop of The Two Individuals suggests a surreal stage set of a barn or manger. It is unclear if the small child is leading the cow or the reverse, although there would appear to be elements of the Christ child in the figure’s precociousness. Both are gentle beings under the ominously stormy skies, but the brown spotted cow engages the viewer with a cheeky gaze that almost invites the question, “How now?”30 “What now?” might be a better question,

for what place does the cow hold in art today? Its many appearances in American art underscore its continuing appeal to both artists and the public at large. Part of the reason for this may be that the cow’s size and shape make it an ideal canvas, as the many “Cow Parades” that have been staged in cities around the world attest. In fact, the

3. Charlotte Emans Moore, catalogue entry in Addison Gallery of American Art 65 Years—A Selective Catalogue, by Susan C. Faxon, Avis Berman, and Jock Reynolds (Andover, MA: Addison Gallery of American Art, 1996, 316.

4. Janna Q. Anderson, “‘Sodbuster’ Pays Earthy Tribute to This Region,” The Forum of Fargo-Morehead, September 17, 1982.

5. Online Wichita State University Sculpture Tour, http://webs.wichita. edu/?u=mark2&p=/sodbuster/ (accessed May 1, 2006).

6. Adrienne Baxter Bell, George Inness and the Visionary Landscape (New York: National Academy of Design, 2003), 58.

7. Mary Sayre Haverstock, An American Bestiary (New York: Abrams, 1979), 150.

10. Jeffrey H. Pettus, ed., Roads Less Traveled: American Paintings, 1833–1935 (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 1998), 27.

12. Ibid., 77.

landscape or freed from the countryside to

13. Marc Simpson, “The 1880s,” in Thomas Eakins, ed. Darrel Sewell (Philadelphia: Philadelphia Museum of Art, 2001), 112.

remains a populist animal, full of nuance, yet

14. Ronald G. Pisano, Painters of Peconic: Edith Prellwitz and Henry Prellwitz (New York: Spanierman Gallery, 2002), 12.

THE HUDSON RIVER MUSEUM

understood by all.

Bartholomew F. Bland

18. Gloria Houng, phone interview by Bartholomew Bland, May 2, 2006.

19. John Driscoll, Don Nice: The Nature of Art (San Francisco: Pomegranate, 2004), 77.

20. Patrick S. Smith, Warhol: Conversations About the Artist (Ann Arbor, MI: U.M.I. Research Press, 1988), 217.

21. Haverstock, An American Bestiary, 211.

22. Ruth E. Fine, catalogue entry in The Robert and Jane Meyerhoff Collection 1945–1955 by Mark Rosenthal (Washington, DC: National Gallery of Art, 1996), 113.

23. Arthur Tress, Fish Tank Sonata (Boston: Bullfinch Press, 2000), 52.

9. James M. Hart, quoted in All That Is Glorious Around Us: Paintings from The Hudson River School on Loan from a Friend of the Museum of Art, by John Paul Driscoll (University Park, PA: The Palmer Museum of Art, 1981).

a subordinate element on the American become a subject in its own right, the cow

17. Robert Cozzolino, With Friends: Six Magic Realists 1940–1965 (Madison: Elvehjem Museum of Art, University of Wisconsin-Madison, 2005), 58–59.

24. Ronny Cohen, Two Decades of Sculpture by Immi Storrs (New York: Spanierman Gallery, 2006).

8. Ibid., 152.

on the public’s embrace of kitsch. But whether

response to Andy Warhol’s ironic commentary

16

2. J. Lee Drexler, “Appraisal of American Primitive Folk Art Painting” (unpublished appraisal for The Hudson River Museum, November 21, 1985).

11. Annette Stott, Holland Mania: The Unknown Dutch Period in American Art and Culture (Woodstock, NY: Overlook Press, 1998), 56.

“Cow Parades” have proven to be the literal

Exhibition Images

16. Marjorie B. Searl and Ronald Netsky, Leaving for the Country: George Bellows at Woodstock (Rochester, NY: Memorial Art Gallery of the University of Rochester, 2003), 74.

1. Oto Bihalji-Merin, Modern Primitives: Masters of Naïve Painting (New York: Abrams, 1959), 85.

15. Virginia M. Mecklenburg, “Bellows Before Woodstcock,” in Leaving for the Country: George Bellows at Woodstock

by Marjorie B. Searl and Ronald Netsky (Rochester, NY: Memorial Art Gallery of the University of Rochester, 2003), 18.

25. Griffin Hansbury, “Stepping in the Cow: Looking at Damien Hirst’s ‘Some Comfort Gained . . .’

(1996, glass, steel, formaldehyde, two cows) at the Brooklyn Museum of Art,” La Petite Zine 8 (2001), http://www.lapetitezine.org/ GriffinHansbury.htm (accessed April 1, 2006)).

26. Diana Michener: Photographs (Lynchburg, VA: Maier Museum of Art, Randolph-Macon Woman’s College, 1999).

27. Gloria Houng, phone interview

by Bartholomew Bland, May 2, 2006.

Roy Lichtenstein (1923-1997) Bull I, From Bull Profile Series, 1973 Color linecut on Arjomari paper, ed. 100, 27 x 35 in.

Bull II, From Bull Profile Series, 1973 2-color lithograph/linecut on Arjomari paper, ed. 100, 27 x 35 in.

Bull III, From Bull Profile Series, 1973 6-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in.

Bull IV IV, From Bull Profile Series, 1973 5-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in.

Bull V V, From Bull Profile Series, 1973 6-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in.

Bull VI, From Bull Profile Series, 1973 5-color lithograph/silkscreen/linecut on Arjomari paper, ed. 100, 27 x 35 in.

Bull VII, From Bull Profile Series, 1973 4-color lithograph/silkscreen/linecut on Arjomari paper, ed. 26, 27 x 35 in.

28. Peter Dudek, The Paintings of Richard Deon: Paradox and Conformity (Dover Plains, NY: Deon, 2006).

29. Paul Krainack, Patricia Bellan-Gillen: (not really) Animal Stories (Edinboro, PA: Bruce Gallery of Edinboro University of Pennsylvania, 2005), 7.

30. Lanny Silverman, Didier Nolet: Dreams of a Man Awake (Chicago: City of Chicago Department of Cultural Affairs, 1990), 12.

Collection of Gemini G.E.L, Los Angeles, CA © Estate of Roy Lichtenstein / Gemini G.E.L.

17

38

Cattle in American Art 182 0 −2 0 0 0

Sanitation services, graffiti removal, street trees and their maintenance, bike racks, and recycling are managed daily by FAB FULTON. The organization also administers long-term beautification efforts, opens and closes the public plazas, and oversees their maintenance, including snow removal, clearing of illegally dumped items, and watering of trees and plants.

CLINTON HILL FORT GREENE

FU LTO N

ST

BROOKLYN

With a dedicated team of two full-time and one part-time employees plus a hard-working team of sanitation workers, FAB FULTON keeps the district safe and welcoming to all through efforts to clean up and enhance all the public space, from the sidewalks and signage to the public plazas and triangles.

FAB Facts 2.5 FAB employees 1.4 miles district length 425 business and property owners represented 3 to 4 supplemental sanitation workers per day 76,999 hours logged by supplemental sanitation crew 8,455 instances of graffiti removed over the past 10 years 10

115 trash and recycling receptacles serviced by the BID, with 541,360 bags collected

Fulton Area Business Alliance 1O-Year Anniversary Report

125 bike racks installed 41 light-pole banners 45 trees planted 7% storefront vacancy rate 5 public spaces managed 30,922 people reached with annual biz guides 11

Figure 42

Figures 43-44

Mark Morris Dance Group

n g i a p m c l at i p C s l a i r e t m g n i s ar d n u f & Dance Group Fund $12 million Dance Center Fund $8 million Dance Future Fund $5 million

Sustaining Creativity Enhancing Community Programming & CapacityBuilding a Legacy & Artistic Excellence • New & Repertory Work • Capital Projects • Touring & Live Music • Community Programming • Infrastructure Support • Dance for PD®

Photos: Front and Back Covers: Mark Morris in Rehearsal, Amber Star Merkens. Inside: L’Allegro, il Penseroso ed il Moderato, Javier del Real.

Photos: Front Cover: Pure Dance Items, Stephanie Berger. Back Cover: Spring, Spring, Spring, Ken Friedman.

• Establishment of the Mark Morris Archive • Creation of a reserve of new work

Photos: Front Cover: Dance with MMDG, Florianne Jalac. Inside: Dance for PD®, Ellis Gaskell. Back Cover: Mark Morris Dance Center.

Save a stamp.

Give at mmdg.org

MARK MORRIS DANCE GROUP

MAKE IT ANOTHER BIG YEAR

3 Lafayette Avenue Brooklyn, NY 11217–1415

MARK MORRIS DANCE GROUP 3 Lafayette Avenue Brooklyn, NY 11217–1415

FRIENDS OF MARK MORRIS DANCE GROUP

A year* of great benefits at every level

FRIEND $50 ($50 tax deductible) • advance notice of MMdG events • One free adult level class at the dance center • advance ticket access to select shows

CONTRIBUTOR $120

($89 tax deductible)

above plus: • Private tour of the dance center • MMdG t-shirt

YES! I want to support MMDG with a gift of: $50 FRIEND

$1,000 PATRON

$120 CONTRIBUTOR

$2,500 LEADER

$250 SUPPORTER

$5,000 SPONSOR

$500 SUSTAINER

$10,000 DIRECTOR

Name address city

SUPPORTER $250

($219 tax deductible)

above plus: • $2 discount on adult classes at the dance center • MMdG tote bag!

Questions?

Call (718) 624–8400

state

ZiP

email Phone t-shirt size: Men’s women’s s M l xl xxl

SUSTAINER $500

($469 tax deductible)

above plus: • an autographed performance program • invitation to post-show events and receptions

i would like 100% of my donation to benefit MMdG. Please waive all gifts associated with my giving level.

PATRON $1,000

i wish for my gift to be anonymous.

($924 tax deductible)

above plus: • ViP Priority ticketing to all MMdG performances • invitation to studio showings, new work previews, and special events with the company

LEADER $2,500

($2,219 tax deductible)

above plus: • two tickets to an MMdG premiere

SPONSOR $5,000

Photos from top left: (1) Layla and Majnun world premiere tour in Seattle, October 2016. Photo: Mat Hayward. (2) Open House 2016, a day of free classes and performances for the community. Photo: Florianne Jalac. (3) Dance for PD class led by MMDG member Sam Black.

Photo: Dance for PD. (4) Mark Morris’ classic Dido and Aeneas on tour in Minneapolis, March 2016. Photo: Tim Rummelhoff. (5) Pure Dance Items world premiere at Lincoln Center’s White Light Festival, October 2016. Photo: Costas. (6) American Dance Project at PS 41, one of 40 in-school residencies offered by MMDG. Photo: Jen Dayton

Give Today

ONLINE

mmdg.org/give

CALL

(718) 624–8400 x206

MAIL

3 Lafayette Avenue Brooklyn, NY 11217–1415

($4,469 tax deductible)

above plus: • Recognition as a supporter in MMdG programs • two additional tickets to an MMdG premiere

enclosed is my check made payable to: Mark Morris Dance Group Visa

Mastercard

discover

amex

Name on card

card number exp. date signature

DIRECTOR $10,000+

($9,469 tax deductible)

above plus: • Naming opportunity in the dance center GIvE ONLINE AT mmDG.ORG/SUPPORT *YOuR MeMbeRshiP beGiNs ON the date YOuR Gift is ReceiVed aNd will ReMaiN actiVe fOR ONe caleNdaR YeaR.

Sgt. Pepper at 50 A tribute to the Beatles’ iconic album

Film titles

GERARD & KELLY P. L.

O. E.

Gerard & Kelly gratefully acknowledge the following individuals and organizations for their generous support of Modern Living.

Uri Minkoff Clelia Warburg Peters & Hugh Malone

Builders Committee Art Production Fund Luca Borghese Frank J Hutton

Patrick Hurd Cheryl Katz

Contributors Randall Bourscheidt & Josef Asteinza Joanne L Cassullo Stephanie French Edna & Haim Harel Steve & Michele Pesner Virginia Solomon Peter Speliopoulos

Charles Klein Monroe&Co Design NeueHouse Special thanks to Karen Boyer, Charles Fabius, Casey Fremont, Shannon Kirk, Kathleen Lynch, Ella Marder, Kimberli Meyer, Benjamin Millepied, Bettina Prentice, and James Welling.

in collaboration with L.A. Dance Project

Additional support for the project is provided by Uri Minkoff, NeueHouse, Graham Foundation for Advanced Studies in the Fine Arts, and Rockefeller Brothers Fund.

The Glass House is a site of the National Trust for Historic Preservation.

Modern Living

Modern Living is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts.

Gerard & Kelly

Gerard & Kelly’s Modern Living is presented by the MAK Center for Art & Architecture at the Schindler House and The Glass House and co-produced by L.A. Dance Project in association with Art Production Fund.

Solange on Saturday Night Live, Cranes drum kit graphic

Music by SOPHIE Custom suits by Uri Minkoff Costumes by Stacey Berman Production by Kim Zumpfe Curated by Cole Akers Morgan Lugo Nathan B. Makolandra Robbie Moore Rachelle Rafailedes Lilja Rúriksdóttir Performances by Stephanie Amurao Anthony Bryant Aaron Carr Julia Eichten May 13–14, 2016 The Glass House 199 Elm Street New Canaan, CT

Timelining at The Kitchen

512 West 19th Street Between 10th & 11th Aves (Under the High Line)

Event materials

Design: www.monroeand.co

A Community Forum on Violence Prevention

Providence College, Slavin Center Providence, Rhode Island

March 4, 2017

Bouncyband

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contents 03 branding 17 colors 33 typography 38 packaging 52 marketing & collateral 60 tradeshow & merch 2

Bouncyband® student edition for middle/high school chairs Kids have an outlet for excess energy while working—alleviating anxiety, hyperactivity and boredom—increasing focus and academic performance • Creative Child Magazine’s “Product of the Year” • Scholastic’s Prestigious “Best of” Award • 2017 Teacher’s Choice Award • Allows Children to Quietly Move While Working, Enabling Them to Stay on Task and Be More Productive • Conceived by a School Counselor for Sensory Stimulation Enabling Kids to Concentrate and Do Better in School • Patented Design Keeps the Bands Elevated, for Continuous and Silent Use • Simple Installation—Stretches to Fit Chairs From 17–24” Wide • Safety Tested and Latex Free Bouncyband for middle/high school chairs

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Tips for a Powerful Profile Professional Headshots A purposeful picture will outshine a grainy cellphone photo.

Always!

Describe Your Experience Go beyond just listing your work history. Outline accomplishments from previous positions to illustrate your work ethic.

Volunteer, Clubs, Awards 850 7th Avenue, Suite 1002, New York, New York 10019 MADBoots at Jacob’s Pillow

347-762-3849 STUDIO@CHRISTOPHERDUGGAN.COM CHRISTOPHERDUGGAN.COM

We are more than our jobs! Don’t forget to mention how you’ve given back to your community or call out any recognition from work or personal projects.

FALL IS HERE AND HAPPY COUPLES EVERYWHERE ARE PLANNING THEIR WEDDINGS FOR NEXT YEAR.

Education is Key

Michaela DePrince of Dance Theatre of Harlem >

Make sure to display specific courses you’ve taken by displaying all education and course history. If you’ve taken classes after graduating, make sure your alumni network knows you’re dedicated to continual learning.

Recommendations Be sure to vouch for people in your network who you believe are hard workers, and ask them to do the same for you!

Testimonials are a great way to add substance to your profile.

VISIT CHRISTOPHERDUGGAN.COM TO SEE MORE WEDDING AND DANCE PHOTOS— AND KEEP IN TOUCH!

I’D LOVE TO MEET FRIENDS & FAMILY OF YOURS WHO ARE LOOKING TO CREATE AN EASY-FLOWING WEDDING DAY & FABULOUS PICTURES, TOO.

< Michele Carter at Jacob’s Pillow

Brian Brooks & Wendy Whelan in Restless Creature

WE’VE ADDED 2 TERRIFIC PHOTOGRAPHERS TO OUR CREATIVE TEAM. SEND YOUR ENGAGED FRIENDS A LINK TO CHRISTOPHERDUGGAN.COM SOON!

What is Clean Label Project™?

Clean Label Project™ uses data and science to reveal the true contents of America’s best-selling consumer products. Products are tested in an accredited analytical chemistry laboratory for 130 harmful environmental and industrial contaminants and toxins. Results are published as Product Ratings.

Clean Label Project is a nonprofit focused on health and transparency in consumer product labeling.

Peridance at Jacob’s Pillow

The calendar is full of weddings most weekends in NYC, the Berkshires and beyond. Nel and I had an inspiring summer photographing and filming dance at

I’m so proud of Nel for the amazing films she’s created.

It was her dream to work with New York City Ballet principal Wendy Whelan. The dream came true and we made 4

Jacob’s Pillow and in Vail as always. Now we’re back in New York City and taking on more projects for the fall.

short films about her. Wendy’s one of the greatest dancers of our generation, and now we consider her a friend.

dapple® Bottle & Dish Soap

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Transitioning Q2 2018!

2018 Rebrand WORLD CUP 2014 preferred 6:1 over → WILL BE CELEBRATED previous design!

IN BRAZIL Tested during 2 full days of consumer testing in live shopping experience!

World Cup KICKS OFF JUNE 12 & ENDS ON JULY 14, 2014

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1. More contemporary look → increased purchase intent 2. Improved shelf pop → increased in-store awareness 3. Claims prove dapple efficacy → increased purchase intent 4. Increased branding → help grow total brand sales

3.2 BILLION PEOPLE (46.4% of the global population) were reached by in-home television coverage of the 2010 competition

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What differentiates Monroe&Co is the ability to merge elegant design with thoughtful, logic-based strategy.

Key deliverables

A New York City-based studio, we design branding, digital assets, and print materials for nonprofits, arts organizations, activists, creatives, and growing businesses.

Web & digital: content strategy, design, e-commerce, information architecture, navigation, social media, usability, wireframes

Clients often need not only a fresh look but help to streamline, prioritize and strategize. Beyond design that is clear, thoughtful and beautiful, they gain insight on how to plan/implement holistic solutions.

We believe it is important that even organizations with limited resources have access to effective communication design.

James Monroe has nearly two decades of experience designing and leading design projects. He is passionate about helping others learn and grow while remaining mindful of impact on society and the environment.

What’s next?

Reach out.

monroeand.co 646 926 4060 james@monroeand.co

Art direction & strategy Brand identity: logos, business cards, stationery, style guides, positioning & voice, competitive analysis, tagline, key messaging Print & publications: books, catalogs, posters, postcards, reports

Other deliverables Ads: billboards, campaigns, digital banners, marketing Event materials, gala suites, invitations, programs, projections Fundraising appeals, brochures, mailers Retail: displays, merch, packaging & tags, sales presentations, tradeshow assets Photo: shoot planning, retouching, color correction, batch processing, archiving Video assets & film titles

“ James Monroe is a true right- and left- brain thinker.

He is both creative and organized, able to plan complex projects involving multiple stages, resources and approvals, including scheduling and budgets.

James also has the interest and ability to understand how design can help meet big-picture business and communication goals. As a result, his work is both fresh and on-message. ” — VP of Prod Dev “ James, your keen design eye, consideration of our needs, and collegial style of relating to clients resulted in a beautifully lean, elegant website that perfectly captures our foundation’s aesthetic and is simple for users to navigate. We couldn’t be happier with your work and ongoing maintenance of the site! ” — Foundation Administrator “ I’ve counted on James many times over the years for graphic design and he’s always exceeded expectations. From logo conceptualization and web design to stationery, he treats big and small jobs with an exceptional level of professionalism and creativity. ” — Filmmaker “ James is a talented designer and great to work with—very amenable to some pretty strict creative demands and smart about budget constraints. ” — Arts Administrator “If oury choies ear utifl,bea so ot wil ouy ”be. tus eEpic

© 20 James oeMnr

Clients Nonprofit Brooklyn College Cancer Center (CUNY) COAF Kids East River 50s Alliance FAB Fulton Fair Tuesday George Jackson Academy Global Goods Partners JobsFirstNYC KIPP NYC New York University (NYU) Security Traders Association Sites of Conscience The Financial Clinic Trefler Foundation Arts Organizations American Opera Projects AXIS Dance Company Dance Critics Association Dance/NYC Fractured Atlas Harkness Foundation Hudson River Museum Mark Morris Dance Group Present Project Artists, Galleries & Studios AX Ahmad Author Christopher Duggan Photo Gerard & Kelly Havana Modern Film HunAw Studio Nayef Homsi Art PS Dance Film / Nel Shelby Artists: Carol Flax, Davis Thompson-Moss, Hadley Nunes, Jonathan Van Dyke, Scears Lee, Thea Little, Toby Baker

Commercial ABC Child Center BabyBjörn BariBox BigMouth Inc Bouncyband Dapple Baby Havaianas Hudson Staging LinkedIn Higher Education Poppin Quantxt Snackable Media Pro Bono & Consultations Archive of New York City Cultural Policy Childrens Radio Foundation Conversations on Dance Earsay / Warren Lehrer & Judith Sloan Green Cup Challenge Greene Hill Food Coop Itapoa Nature Preserve Juneteenth Million March La MaMa Galleria Leslie-Lohman Museum of Gay & Lesbian Art Met Council on Housing Women Empowering Women Employers & Clients Pre-2012 Skip Hop Neuberger Museum of Art The New School Alliance for the Arts Doing Art Together Greenwich Choral Society Greenwich Music Festival Moving Theater Reelblue Films Wellbuilt Company

monroeand.co 646 926 4060 james@monroeand.co