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RECESS ACTIVITIES Organization Name provided in the GuideStar Exchange* as of 11/08/2014: RECESS ACTIVITIES

Organization Name as listed in the IRS Business Master File as of 10/17/2014: RECESS ACTIVITIES

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AKA  Recess
New York, NY
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GuideStar Summary

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&1002; Registered with IRS Legitimacy information is available
&1002; Financial Data Annual Revenue and Expense data reported
&1002; Forms 990 2012, 2011, and 2010 Forms 990 filed with the IRS
&1002; Mission Objectives Mission Statement is available
&1002; Impact Summary Impact Summary from the nonprofit and Charting Impact Report are available
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Basic Organization Information

RECESS ACTIVITIES Organization Name provided in the GuideStar Exchange* as of 11/08/2014: RECESS ACTIVITIES

Organization Name as listed in the IRS Business Master File as of 10/17/2014: RECESS ACTIVITIES

* The GuideStar Exchange allows nonprofits to regularly update key information directly to GuideStar. It provides richer and broader information about their programs, impact, finances, people and more.
Also Known As: Recess
Physical Address: New York, NY 10013 
EIN: 27-1109399
Web URL: www.recessactivities.org 
Blog URL: recessanalog.org/ 
NTEE Category: A Arts, Culture, and Humanities
A20 Arts, Cultural Organizations - Multipurpose
S Community Improvement, Capacity Building
S20 Community, Neighborhood Development, Improvement
Ruling Year: 2010 
How This Organization Is Funded: Odyssey Fund - $35,000
The Silverweed Foundation - $40,000
National Endowment for the Arts - $20,000


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Mission Statement

Recess’s mission is to support the rigorous process of the contemporary artist by creating a space for productive activity that initiates a partnership with the public. Our model combines studio and exhibition platforms, offering artists flexible space in which to generate new work.  With agency to determine the visibility of their project and the parameters of its presentation, Recess artists realize ambitious goals in dialogue with an inquisitive audience. Free and open to the public, Recess offers critical exposure for the artists we support while fostering an approachable environment that promotes valuable visual and intellectual interactions.

Legitimacy Information

This organization is registered with the IRS.

This organization is required to file an IRS Form 990 or 990-EZ.

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Annual Revenue & Expenses

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Fiscal Year Starting: January 1, 2013
Fiscal Year Ending: December 31, 2013

Total Revenue $300,428
Total Expenses $283,839

Revenue & Expenses

(GuideStar Exchange,
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Fiscal Year Starting: January 1, 2013
Fiscal Year Ending: December 31, 2013

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Balance Sheet (IRS Form 990)

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Forms 990 Received from the IRS Additional Information
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Financial Statements

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Annual Reports

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Leadership

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Allison Freedman Weisberg

Profile:

Allison Freedman Weisberg grew up in Palisades, New York and has been living in New York City since 2005. She received a BA with honors from Wesleyan University, where she was elected to Phi Beta Kappa, and she earned an MA with honors in Visual Culture from New York University. Before founding Recess, she worked in the Education Department at the Museum of Modern Art and then became Senior Coordinator of Youth and Community Programs at the Whitney Museum of American Art. Her work uniting artists and audiences in New York’s principal art museums lead her to start Recess in 2009, where she continues to challenge traditional contexts for art making and its reception. She has given lectures on contemporary artists and alternative art spaces at venues such as Exit Art, Brooklyn College, and the New Museum. As an artist, educator, and cultural producer, Allison enjoys a unique personal connection to the contemporary arts that informs every aspect of her practice as Executive Director of Recess.

Board Chair (GuideStar Exchange,
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Board Co-Chair

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Board Leadership Practices (GuideStar Exchange,
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?

GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section, which enables organizations and donors to transparently share information about essential board leadership practices.

Board Orientation & Education ?
Why does this matter? Without clarity around their responsibilities and expectations, board members are not positioned to succeed. They may find themselves challenged to fulfill their governance responsibilities or frustrated by the expectations that the organization has set for them. BoardSource recommends that every new board member participate in a formal orientation process, and that all board members sign a pledge or agreement committing to their board service and to all of the responsibilities and expectations that come with service. Ideally, board members also should participate in a formal governance training program prior to serving on a board.

Does the board conduct a formal orientation for new board members and require all board members to sign a written agreement regarding their roles, responsibilities, and expectations?
Yes
CEO Oversight ?
Why does this matter? Oversight and management of the chief executive is one of the board’s most important legal responsibilities. The CEO or executive director is the board's single employee, and - just like any other employer/employee relationship - regular and written assessment is critical to ensuring that the chief executive and board are communicating openly about goals and performance. BoardSource recommends that boards conduct formal, written reviews of their chief executives on an annual basis, which should include an in-person discussion with the chief executive and distribution of the written evaluation to the full board.

Has the board conducted a formal, written assessment of the chief executive within the past year?
No
Ethics & Transparency ?
Why does this matter? A commitment to handling conflicts of interests is essential to creating an organizational culture of transparency. Boards should create and follow a policy for identifying and handling conflicts of interest, whether real or perceived. BoardSource recommends that organizations review the conflict-of-interest statement and require signed disclosures from all board members and senior staff on an annual basis.

Have the board and senior staff reviewed the conflict-of-interest policy and completed and signed disclosure statements within the past year?
Yes
Board Composition ?
Why does this matter? The best boards are composed of individuals who bring a variety of skills, perspectives, backgrounds, and resources to tackle the complex and strategic challenges confronting their organizations. BoardSource recommends that boards commit to diversity and inclusion by establishing written policies and practices, which include strategic and intentional recruitment of diverse board members, continual commitment to inclusivity, and equal access to board leadership opportunities.

Does the board ensure an inclusive board member recruitment process that results in diversity of thought and leadership?
Yes
Board Performance ?
Why does this matter? Boards need to regularly assess their own performance. Doing so ensures that they are being intentional about how they govern their organization, which is a critical component of effective board leadership. BoardSource recommends that a board conduct a self-assessment of its performance a minimum of once every three years to ensure that it is staying on track with its roles and responsibilities.

Has the board conducted a formal, written self-assessment of its performance within the past three years?
No

Officers for Fiscal Year (IRS Form 990)

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Highest Paid Employees & Their Compensation (IRS Form 990)

Highest Paid Employee data is not available for this organization.

People information was last updated by the nonprofit in November 2014

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Programs

Program: Session (GuideStar Exchange,
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November 2014)

Budget:
--
Category:
None
Population Served:
Adults
None
None

Program Description:

Session, Recess's signature program, creates a space for emerging and contemporary artists to engage with the New York City public in a way that no other space provides. Though similar to a residency program, Session goes beyond the traditional structure to offer sustained interactive space for our resident artists to develop and expand their creative goals while directly engaging with their City-as-audience. Session supports the creation of new work by giving artists approximately two months to work in our public storefront. During their time at Recess, artists have agency to determine the degree to which Recess is a studio, exhibition space, or hybridized new grounds. Generally, artists' residencies sustain reclusive endeavors, with little to no interaction between the artists and their viewers. Alternatively, Recess grows from the concept that art making is most dynamic when it is presented as a dialogue, allowing the artist to have meaningful interactions with their active audience throughout the creative process.

Program Long-Term Success:

Program Short-Term Success:

Program Success Monitored by:

Recess uses several rubrics to ensure that Session is achieving these goals. Artists are asked to provide insight into their project and the strengths and weaknesses of Recess at the midpoint and at the end of their Session via evaluation form, as well as throughout their residency during close and ongoing interactions with Recess staff. Recess staff carefully tracks our progress, monitoring quantity of constituents and quality of programming. Recess staff meets regularly to internally evaluate Session, making small programmatic adjustments to improve overall artist and visitor experience. For instance, our first Session artist asked that we stay open late one night each week. We found this suggestion extremely valuable and now look forward to late-night Thursdays when we can welcome new constituents who can now visit outside of typical working hours. Recess’s rotating Artist Review Panel, which selects artists for the Session program, offers valuable feedback regarding the population of artists we reach. Along with experts in the field, the panel is partially composed of past Session participants. Their unique perspective prioritizes proposals that will most successfully operate in the Session structure and meet programmatic goals. Members of Recess’s Board of Directors also play an important role in evaluating Recess’s program. Board members hold leadership positions throughout New York City and provide the organization with a diverse set of skills and professional networks. Jacob Buchdahl is a seasoned attorney at Susman Godfrey LLP and provides Recess with specialized legal assistance and expertise relevant to our programs. After leaving a prominent position at Goldman Sachs to start his own private equity firm, Josh Koplewicz provides Recess with invaluable financial advice specific to emerging institutions. Jan Postma is the CFO at the Museum of Modern Art and offers unique insight into the financial and fundraising concerns of nonprofit arts organizations. He has assisted with fundraising, business plans, and year-end 990 filings. Andrea Stern offers a connection to Hartz Mountain Industries that has led to strategic partnerships and fundraising events at the Tribeca Grand and SoHo Grand Hotels. She is also a talented artist who contributes insight into the contemporary arts landscape. Corin Hewitt, our first Session artist, works in a manner in line with our mission, and keeps us focused on the ever-evolving concerns of the contemporary artist. Berry Stein offers connections to an invaluable pool of young philanthropists interested in contemporary art, while her work at the Whitney Museum strengthens many aspects of Recess’s programs.

Program Success Examples:

Yve Laris Cohen & Park McArthur: September 27 – December 1, 2012 Yve Laris Cohen and Park McArthur’s project explored issues of care and physical dependency through site-specific movement and critical written response. McArthur is a wheelchair user, and Laris Cohen is transgendered; both artists called on their unique relationships to their bodies to create an environment in response to their own needs and interdependent relationship. For this project, Recess funded several important physical changes to our space to accommodate these exceptional artists. Importantly, these renovations also made our public space more accessible to all people with disabilities. Like all endeavors at Recess, this project partnered audiences with working artists to consider new perspectives, thereby creating a more inclusive and vibrant community. Rutherford Chang. January 15 - March 9, 2013 Chang has collected 600 first-pressing copies of The Beatles’ The White Album. His ultimate goal is to collect each of the 3 million serialized White Albums from the original pressing. Over the course of his Session, the artist, interested in obsessive and exhaustive cataloging, will create an archive, listening library, and anti-store to house and grow his collection of the Beatles’ iconic record. Chang will create a record store that stocks only White Albums. With an eye on consumer culture, Chang will solicit sales proposals from others who own the original pressing rather than selling the album from Recess. Visitors will be encouraged to listen to tracks from different pressings, and the artist will digitally record every album played during the Session period. He will additionally take a photo of the cover of each of the albums, layering these into a composite image. Similarly, at the end of his Session, Chang will press a new double-LP of all of these recordings layered upon each other, using his composite image as its cover. Due to variation in wear and playback speed of the original vinyl, each side of the composite recording will begin synched, with phase-shifting effects increasing over time, leading to relative chaos towards the end of each side. Riitta Ikonen and Karoline Hjorth: Eyes As Big As Plates, February 15 - April 26, 2013, Red Hook Over the course of their Session, Ikonen and Hjorth created costumes, settings, and performance programs for senior residents of New York who showed a marked connection to their national and cultural roots. The artists explored their subjects’ mental landscapes by playing with personifications of nature, while developing a series of photographs and performances. From Recess’s project room in Red Hook, Ikonen created a series of personalized costumes using organic scavenged materials, and developed from interviews and activities with the senior participants. Working with residents from the Hamilton-Madison House – City Hall Senior Center in Manhattan, participants were encouraged to contribute ideas and stories for the photographs and to lend their own personality to Ikonen’s costumes. Hiorth shot selected stories in locations around New York, particularly amongst Red Hook’s waterways. Nancy Nowacek: Citizen Bridge May 10-July 30, 2013 Red Hook Nancy Nowacek's work with Recess began a new chapter in her project Citizen Bridge. Over the course of her Session, Nowacek will design, create and test a series of prototypes for an eventual footbridge that crosses the Upper New York Bay waterway between Red Hook, Brooklyn and Governor’s Island. The bridge will cross the waterway known as Buttermilk Channel. Now one of New York’s major shipping channels, this waterway was once accessible to dairy farmers and their livestock during low tide. A love song to Brooklyn’s waterfront, Nowecek’s work seeks to restore this pathway. Citizen Bridge pays tribute to the city’s past and draws connections to the lives of contemporary Brooklynites. The bridge aspires to reclaim the waterfront and empower New Yorkers, offering them the opportunity to step from solid ground onto water. Since Hurricane Sandy this symbolic act of waterfront reclamation has gained a new urgency. As Nowacek investigates the physical properties of her prototype, she will also navigate the opaque realm of city planning and government agencies. The bureaucratic web through which Nowacek has guided the project over the past year will not only play a practical role in the project’s approval but will serve as conceptual fodder in considering access to urban space. At stages throughout her Session, Nowacek will ceremoniously transport her prototypes from the Recess project room to the Red Hook waterfront in order to test the bridge. Through these projects and experiments, Nowacek will produce a fully realized design by the end of her Session.

Program: Analog (GuideStar Exchange,
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November 2014)

Budget:
$10,000
Category:
None
Population Served:
Adults
General Public/Unspecified
None

Program Description:

Analog, our online residency program compliments and parallels our signature program, Session. Analog provides a sustained, virtual space that expands upon Recess’s mission to support contemporary artists working outside traditional models. This program also allows Recess to continue supporting the creative process of contemporary artists while reaching out to online, international audiences.  Projects can be found at recessanalog.org

Program Long-Term Success:

Program Short-Term Success:

Program Success Monitored by:

Program Success Examples:

Kenya Robinson July 1, 2011-July 1, 2013 For the inaugural Analog residency, Kenya (Robinson) has begun work on a 2-year project entitled Remitting Default: a Psycho-Economic Performance. The project commenced August 30, 2011, the first day of fall matriculation. For Remiting Default, the artist records her two-year experience as a black MFA student at Yale University, struggling to maintain her personal finances and secure fiscal support. (Robinson) posts a daily record of the available balance in her personal checking account, turning personal information into a durational performance of the mundane. This fully accessible information is published daily online, rendering her private education public. (Robinson), a performance artist with a background in graphic design, has restricted herself to a clean layout and a purely numerical format. Her data will transform over time and will accumulate for as long as her grad school experience does. This "bank" of information will serve as a database that (Robinson) will analyze and manipulate for use in expanded creative and academic projects at Yale. On July 6, 2012, Kenya reported back from the midway point of her online residency. She again transcended privatized aspects of culture and language in an attempt to present her own “personal fiscal rhythm,” , She invited five artists to translate her year’s worth of numerical data into sound. These collaborators presented audio material that references the dichotomies of vulnerability and empowerment, digital and analog.

Program: Critical Writing (GuideStar Exchange,
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November 2014)

Budget:
$1,000
Category:
None
Population Served:
General Public/Unspecified
Adults
None

Program Description:

In fall of 2011, Recess launched a new critical writing component in conjunction with our signature program, Session. This program commissions emerging writers to pursue the underlying theory and contemporary criticism that informs individual Session projects, initiating a meaningful exchange between artists and writers while facilitating the mutual production of new work.  We are particularly interested in conversations that traverse disciplines, and we welcome related commentary from writers engaged in film, music, science, architecture, etc. The structure and argument of the written piece is determined by the writer, and upon completion, the piece is made available in print at our space and through our website.  Each finished piece is approximately 2000 words, kept short to encourage dialog from onsite readers.  Eventually, Recess will organize these writings into a publication.

Program Long-Term Success:

Program Short-Term Success:

Program Success Monitored by:

Program Success Examples:

Sara Roffino produced a short work in parallel with Molly Dilworth’s Session Date the Time. Roffino explores the ways in which we respond to and interpret our modern, digital world and draws comparisons to how Susan Sontag and Robert Irwin dealt with visual culture in their own time. Roffino details the contemporary proliferation of images: “Immersed, as we are, in this culture of visual images and symbols, we face a daily barrage of overt (and covert) attachment of meaning to physical form. Sifting through images in order to process, perceive, and understand them becomes impossible. Observing light and form is secondary to consuming more, producing more, scrolling through more. Lines, shapes, and colors — many layers removed from their fundamental existence — become the diplomats of ideologies, brands, and sentiments. Our ability to perceive and understand images diminishes in a direct and inverse relationship to the increasing oversaturation.” Recess staff worked with Roffino on several drafts of her written piece before publishing it on our website and distributing it to our audiences. Roffino, more accustomed to journalistic writing used this opportunity to step outside her comfort zone and experiment with more critical, longer-form content. Likewise, artist Molly Dilworth had the opportunity to discuss the theoretical underpinnings of her work, and see their implications addressed in writing. Bethany Ides, produced a short piece of creative critical writing in response to our Session, Leila Hekmat: The Four Chambered Heart. Ides' piece-both heavily researched and intensely personal-focused on contemporary perceptions of ambient audio, and more specifically on "hearing" silence. The final sentiment of the essay, reflecting on silence lost, is hauntingly indefinite: "Inside, it would seem, the story is still so deafeningly present and yet just beyond it, moving outward in radial waves, there are other stories, other chatter, other husbands and wives. And still beyond that - somehow, somewhere - there is silence. I can hear it."

Program: Series (GuideStar Exchange,
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November 2014)

Budget:
--
Category:
None
Population Served:
None
None
None

Program Description:

In between Sessions, Recess hosts performances and event series at our main Soho space. Through these, Recess supports contemporary artists, encourage civic engagement among artists and the local community, and advance an inclusive cultural network. These shorter programs allow us to serve new artists and audiences while presenting new work that compliments the durational, process-based Sessions. These projects are experimental in nature; past participant Daniel Turner called these events "dream projects" that would never happen anywhere else.

Program Long-Term Success:

Program Short-Term Success:

Program Success Monitored by:

Program Success Examples:

Ongoing: The Supper Club A performance series led by artist Elia Alba and launched in 2012, The Supper Club explores the roles of 50 leading contemporary artists of color. The project began as a series of private dinners, held at discrete venues in New York City. These dinners were “hosted” by performance artist Wanda Ortiz (aka Chuleta). Participants were curated with a total of 12-15 artists per dinner. Chuleta steered conversations and fueled discussion during the meal, which featured cross-generation artists at different stages in their careers. These conversations were documented and recorded, and portions will be transcribed and published (at discretion of the artist) in a final public platform. Participants include LaToya Ruby Frazier, Irvin Morazan, Michlaene Thomas, Simone Leigh, Lorraine O'Grady, Saya Woolfalk, Clifford Owens, Kalup Linzy, Shinique Smith, Nicholas Dumit Estevez, Dawit Petros, Derrick Adams, Michael Paul Britto, and many more. Alba will continue to photograph and document conversations amongst participants, eventually working towards an online platform that invites the public to engage in the artists’ critical writing, conversations, and experiences. Past: Feedback In this six-part series, Christine Sun Kim performs auditory investigations that initiate a slippage of audio into visual. The artist, deaf since birth, uses non-vocal methods of dialogue to converse with visitors and collaborators, creating layered aural perceptions through the use of bodies in motion, microphones, delay pedals, and other aural elements. As a result, the series engages modes of collaborative communication and the implicit improvisation that occurs the moment an idea is conceived. Be Black Baby: Recess organized and produced Be Black Baby, along with Simone Leigh, series founder and curator. For each iteration, Leigh selected a co-curator. Recess hosted the inaugural Be Black Baby on March 13, 2010. This first evening of performance responded to Brian DePalma's satirical film "Hi Mom" (1970). From here, events in the series continued to problematize conventions of cultural politics including racial and queer identity. Be Black Baby extends from Recess's mission to highlight the path from idea to fruition. Celebrating the confident individual voice and body, the series takes on a question that may not find an immediate answer. Each event's playful yet rigorous intellectual undertaking concluded with a dance party. Re:S Known as "a curious confluence of constituents," Re:S introduces unexpected creative players into experimental avant-garde projects in an unexpected commercial setting. Co-organized with curator and scholar Howie Chen, the series is presented in conjunction with Grand Life Hotels. In the past, Cory Archangel presented audio-visuals with the concept-band Title TK, Jason Kakoyiannis and Issac Sinclair offered scent lecture and perfuming demonstrations, and poet and Ubu-Web founding editor Kenny Goldsmith gave a reading. Here She Comes: Julia Sherman Julia Sherman presented research in the form of photographs, videos, drawings performance, and remnants. These artifacts and new works resurfaced and continued conversations that began at the 1968 Miss America Beauty Pageant and the Women’s Liberation intervention that occurred during the ceremony. Sherman’s primary sources became raw material for inciting contemporary reflection on a shared history. Here, the events surrounding the 1968 Miss America Pageant were abstracted and collaged, misinterpreted and re-imagined. These composite gestures asked the viewer to consider how this historicized, yet little known, narrative of the Women’s Liberation Movement as well as the history of the pageant, continue to be relevant as we look to define contemporary forms of resistance and appropriation. Sherman initiated conversations with several 1968 Miss America candidates, collecting details about their talent show performances, recollections of the event, and their contemporary views on beauty pageants and the 1968 intervention. Her findings blurred a seemingly distinct social picket line, complicating notions of The Beauty Queen and The Activist alike. Julia Sherman employed unwieldy and untraditional research methods, feminist theory, and her own personal anxieties to create a view of the contemporary and historicized beauty queen through the soft focus of forgotten resistance.

Program: Resource Room (GuideStar Exchange,
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November 2014)

Budget:
--
Category:
Artists' Services
Population Served:
Adults
None
None

Program Description:

Recess’s Soho storefront now houses the Resource Room, which offers visitors, artists, and curators, a site to meet, work, and engage in scholarly activity. The space includes a library of arts publications, and a program of talks, screenings and meetings, deepening Recess’s capacity for long-term, sustainable support for artists and audience. The materials are free to browse, or email us to reserve the room for private individual, group, or organizational use.

Program Long-Term Success:

Program Short-Term Success:

Program Success Monitored by:

Program Success Examples:

The Reanimation Library is a small, independent Presence Library open to the public. It is a collection of books that have fallen out of routine circulation and been acquired for their visual content. Reanimation Library guest organized a shelf of materials in the resource room from January-March 2013.

Program: Interventions (GuideStar Exchange,
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November 2014)

Budget:
--
Category:
Artists' Services
Population Served:
Adults
None
None

Program Description:

Recess partners with organizations nationally and internationally to produce programs, classes, and workshops that embrace experimentation and support the rigorous process of the contemporary artist. Often, these Interventions and collaborations serve to infuse a more established model with emerging, risk-taking content. Past Interventions and collaborations include: Print Editions with Brand X Editions, Still Moving at The James Hotel, Recess at The Museum of Modern Art’s Poprally, Seeing Voice: The Seven Tone Color Spectrum with Christine Sun Kim and the Center for Experimental Lectures, Pavilion presented at Kunsthaus Dresden, Dark Knights of the Universe in collaboration with The Public School New York, After School Special in collaboration with The Whitney Museum of American Art and the Regent Family Residence, and Juanli Carrión in collaboration with Abrons Art Center and Artium.

Program Long-Term Success:

Program Short-Term Success:

Program Success Monitored by:

Program Success Examples:

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Impact Summary from the Nonprofit Additional Information
A Charting Impact Report consists of an organization’s responses to the five questions. Helping validate this self-reported data are three reviews. Once an organization has used the online interface to complete its report, its responses will produce a document with a unique URL that will be shared on this website, on your GuideStar profile, on the reports of charities participating in BBB Wise Giving Alliance evaluations, and – in the future – with other websites and information sources about nonprofits. We encourage organizations to use this URL to share their report on their own website and through their own media channels. Participants will receive guidance about promoting their Charting Impact Report, along with other benefits, once they publish their report.

Recess impacts and defines the contemporary art community by facilitating immersive, in-depth, qualitative interactions among artists and audiences. In the words of Corin Hewitt, Recess's first Session artist and current board member, "Recess has created a new and very crucial opportunity for artists and the public to engage in a conversation that probes the nature of art production, in a context where production is emphasized over the commercial product. As a result, the public can access the complex and often impenetrable space of contemporary art making and share both time and space with artists while they are at work. I believe that Recess will lead the way in opening this crucial conversation and bring new forms of artistic production to both the public and to art.”
For more in-depth information about this organization's impact, view their Charting Impact Report.
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