named programs · 3 · from sources
What they call their work
AGENCY Program
Supports individual artists and informal groups by providing administrative relief, funding mechanisms, and professional development to help them advance their projects
LUV Pavilion
Pop-up event center and workspace in Ridgewood, Queens that hosts performances, screenings, and discussions on love-related themes, created in partnership with Royal Osiris Karaoke Ensemble
The Future at the End of the World
Immersive, interdisciplinary group performance featuring ten site-specific micro-performances in a decommissioned post office, exploring themes of time, space, and futurism
activities · 3 groups
What they do
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Curated Art Exhibitions and Public Displays 1 activity
- Hosts public events and pop-up programmingOperates a pop-up event center and workspace in Ridgewood, Queens for the development and presentation of thematic projects such as The Art of LUV, including performances, screenings, discussions, and interactive offerings like free couple portraits and a public relaxation station, culminating in multidisciplinary closing events like CATCH 69.
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Experimental Circus and Immersive Theater Production 1 activity
- Produces hybrid multidisciplinary artworksCreates and stages experimental, hybrid works of art that integrate performance, dance, film, sculpture, and architecture, often in site-specific or immersive formats. Examples include adaptations of literary works like William Faulkner’s As I Lay Dying and original performances such as "The Assassins Chase Pinocchio" and "Doesn’t Everybody Do It In Paris?" presented in full productions or work-in-progress showings.
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Artist Residencies and Studio Programs 1 activity
- Provides production and professional support to artistsOffers commissions, residencies, fiscal sponsorship, administrative support, and development opportunities to diverse artists in New York City through programs like AGENCY. This includes structured collaboration initiatives and resource-sharing frameworks to advance independent artists’ projects.
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financials · form 990 · fy2024
revenue
Total revenue$232K
Contributions & grants$143K62%
Program service revenue$89K38%
Investment income$00%
Other revenue$147
expenses
Total expenses$242K
Program expenses92%
Admin / overhead8%
Fundraising0%
Salaries & benefits$126K
Grants paid out$23K
Largest expense lineCompensation
balance sheet
Total assets$100K
Cash$33K
Investments$0
Liabilities$8K
Net assets$93K
Liquid reserves1.6 mo
6 years on record · 2019–2024 · YoY revenue +13.8%
leadership · form 990 part vii · fy2024
Who runs it
paid leadership · 2
| Name | Title | Hours/wk | Compensation |
|---|---|---|---|
| John Lind | Artistic Director | 3 | $41K |
| Lisa Clair | Board Secretary | 2 | $3K |
board members · 6
- Brady Jenkins — Board Member
- Guy Penini — Board Member
- Maki Takenouchi — Board Member
- Michelle Preston — Board Member
- Sascha Puritz Owen — Board Member
- Sheila ParekhBlum — Board Member
relationships · 27
Who they work with
- 2014 Chicago International Puppet Theater Festival Partner — Presented David Commander's politically-charged toy theater pieces
- A.R.T./New York Funder — Provides public funds through the Nancy Quinn Fund to support the LUV Pavilion project.
- AUNTS Partner — Collaborated with AUNTS to co-present a performance event in Brooklyn.
- Actors’ Equity Association Government — Provided courtesy representation for performer Hugh Sinclair in the production.
- Andrew Horwitz Partner — Guest curator who collaborated on artist selection and performance design.
- Baryshnikov Art Center Partner — Hosted Jim Findlay's residency for _Vine of the Dead_
- CAC New Orleans Partner — Hosted Blake Carrington's solo exhibition _The Year We Make Contact_
- CATCH Partner — Collaborated with CATCH to co-present a performance event in Brooklyn.
- CATCH Partner — Collaborating with Rob Ramirez on a curated karaoke media extravaganza
- CATCH/COIL Partner — Will present 7 minutes of New Saloon's new piece _TROPES_
- Clemente Soto Velez Cultural & Education Center Partner — Hosted the full production of "The Assassins Chase Pinocchio" in April/May 2011.
- Elizabeth Harney Partner — Hosts a Self Defense Speed Dating event at LUV Pavilion.
- Gibney Dance Partner — Supports Royal Osiris Karaoke Ensemble through its Performance Lab
- IRT Theater Partner — Presented a work-in-progress version of "The Assassins Chase Pinocchio" as part of the IRT 3B Development Series.
- IRT Theater Partner — Presented the work at IRT Theater and hosted its development through the 3B Development Series.
- Incubator Arts Project Partner — Presented Jillian Sweeney and Jeffrey Cranor's dance theater work _Vulture-Wally_
- Invisible Dog Partner — Will present New Saloon's full-length version of _TROPES_
- JJ Lind Partner — Collaborates on multimedia performances exploring Cherokee history.
- Maria Baranova Partner — Photographer documenting the production
- New York City Department of Cultural Affairs Government — Provides public funding to support the LUV Pavilion project.
- New York State Council for the Arts Government — Provides public funding to support the LUV Pavilion project.
- Performance Space 122 Partner — Hosts Royal Osiris Karaoke Ensemble through the RAMP residency program
- Royal Osiris Karaoke Ensemble Partner — Collaborates on performance projects, including a homage to Aphrodite.
- Royal Osiris Karaoke Ensemble Partner — Hosts and operates LUV Pavilion as a workspace and event venue for their artistic projects.
- The Georges Partner — Performs at LUV Pavilion as part of the event series.
- Under the Radar Festival Partner — Presented Royal Osiris Karaoke Ensemble's _The Art of Luv (Part 1)_ in the Incoming! Series
- University Settlement Partner — Hosts Lisa Clair's curation of The Performance Project
strategies · 5
How they approach the work
Named approaches extracted from this org’s sources. Where others share an approach, follow it to see the full set of orgs running it.
- Collective Producing Model for Artist Empowermentmethodology: collective_producing_modelBy using a collective producing model, the organization enables diverse artists to create hybrid works of art through shared resources and collaborative structures, because reducing administrative burdens and fostering cooperative support increases artistic autonomy and innovation.
- Historical Remediation Through Hybrid Storytellingmethodology: historical_remediationBy combining traditional Cherokee storytelling, 19th-century source material, and contemporary technology, the organization reframes historical narratives about Native identity, because integrating ancestral and modern forms creates a restorative and speculative dialogue with the past.
- Interdisciplinary and Immersive Curation for Thematic Explorationmethodology: interdisciplinary_curationBy curating immersive, interdisciplinary performances that integrate multimedia, experimental theater, and speculative narratives, the organization engages diverse audiences in complex themes such as identity, transformation, and emotional disconnection, because hybrid artistic forms enable deeper engagement with challenging cultural and personal narratives.
- Intergenerational and Experimental Performance Pedagogymethodology: experimental_theater_for_childrenBy creating experimental performances accessible to both children and adults, using non-traditional techniques like gibberish, masks, and live video, the organization challenges assumptions about audience capacity, because believing young children can engage meaningfully with complex art leads to more inclusive and transformative artistic experiences.
- Radical Generosity as Organizational Philosophymethodology: radical_generosityBy practicing radical generosity—prioritizing unconditional giving and minimizing organizational self-interest—the organization strengthens trust and support for artists, because transparent and generosity-based relationships foster resilient creative communities.