2018-04-27T12:03:41-05:00 2017-06-30 420714325 RSM US LLP 80 CITY SQUARE BOSTON MA 021293742 990 2016-07-01 042104327 THE INSTITUTE OF CONTEMPORARY ART INC INST 6174783100 25 HARBOR SHORE DRIVE BOSTON MA 02210 JILL MEDVEDOW DIRECTOR/EX-OFFICIO/CEO 6174783100 2018-04-27 1 LYNNE JOHNSON P00757336 6179129000 69.174.87.164 2018-04-27 13:00:57 ED P 797C4527DD8FA635CA18458D5F36AC81F3168434 3EC94109562373352E9E98DBECBB638387A64460 2016 2021-01-29 14:40:06Z ICABOSTON JILL MEDVEDOW 25 HARBOR SHORE DRIVE BOSTON MA 02210 27617679 0 X WWW.ICABOSTON.ORG X 1936 MA SEE SCHEDULE O FOR DESCRIPTION.THE MISSION OF THE INSTITUTE OF CONTEMPORARY ART IS TO SHARE THE PLEASURES OF REFLECTION, INSPIRATION, PROVOCATION, AND IMAGINATION THAT CONTEMPORARY ART OFFERS THROUGH PUBLIC ACCESS TO ART, ARTISTS, AND THE CREATIVE PROCESS. 33 32 249 189 -58592 -58592 10552512 20951011 2225144 1806806 645280 852947 140396 81901 13563332 23692665 0 0 0 0 6634474 7105236 26000 25262 1215581 11293051 8033481 17953525 15163979 -4390193 8528686 83133157 94045182 5764522 5752963 77368635 88292219 X THE MISSION OF THE INSTITUTE OF CONTEMPORARY ART IS TO SHARE THE PLEASURES OF REFLECTION, INSPIRATION, PROVOCATION, AND IMAGINATION THAT CONTEMPORARY ART OFFERS THROUGH PUBLIC ACCESS TO ART, ARTISTS, AND THE CREATIVE PROCESS. 0 0 6566815 993770 ART EXHIBITIONS: GALLERY PRESENTATIONS: THE ICA PRESENTED THE FOLLOWING 14 CONTEMPORARY ART EXHIBITIONS FEATURING PAINTING, DRAWING, SCULPTURE, VIDEO, INSTALLATION, AND MORE. ATTENDANCE FOR THE GALLERY EXHIBITS TOTALED 139,761 VISITORS, AND TOTAL PROGRAMMING ATTENDANCE WAS 207,303 IN FY17.GEOFFREY FARMERAPR 13 - JUL 17, 2016, PAUL AND CATHERINE BUTTENWIESER AND FOTENE DEMOULAS GALLERIESGEOFFREY FARMER (B. 1967, VANCOUVER) IS BEST KNOWN FOR HIS INSTALLATIONS AND LARGE-SCALE, SCULPTURAL PHOTO COLLAGES. THIS IMMERSIVE SURVEY OF THE ARTIST'S RECENT MAJOR "PAPER WORKS" PRESENTS ROOM-SIZED INSTALLATIONS COMPOSED OF HUNDREDS OF SMALL SCULPTURES MADE OF CUTOUT PHOTOGRAPHS, FABRIC, AND VARIOUS SUPPORTS. IN THESE RECENT WORKS, PROCESSIONS OF FIGURES ASSEMBLED FROM FRAGMENTS OF BOOK AND MAGAZINE PHOTOGRAPHY AND ILLUSTRATION MANIFEST THE ARTIST'S INTEREST IN THE CROSS-POLLINATION OF HISTORICAL AND VERNACULAR IMAGERY. EACH SPECTACULAR COMPOSITION BEGINS TO CHART THE HISTORICAL CONTOURS OF OUR IMAGE-SATURATED CONTEMPORARY CULTURE, AND SUGGEST THE RECURRING CULTURAL THEMES AND FORMAL PATTERNS. FARMER USES MOVEMENT, SOUND, ANIMATION, PUPPET CHARACTERS, AND A PANOPLY OF HIGHLY CHOREOGRAPHED BODIES AND CHARACTERS TO INVESTIGATE WORLD HISTORY FROM THE DIFFERENT ANGLES OF ITS PHOTOGRAPHIC AND SCULPTURAL ACCOUNTS.ORGANIZED BY DAN BYERS, MANNION FAMILY SENIOR CURATOR, WITH JESSICA HONG, CURATORIAL ASSOCIATE.UGO RONDINONE: MOONRISE SCULPTURESMAY 17 - SEP 11, 2016, INSTALLED OUTSIDE OF THE ICABEST KNOWN FOR HIS LARGE-SCALE SCULPTURES AND INSTALLATIONS, UGO RONDINONE (BORN 1964, BRUNNEN, SWITZERLAND) WORKS IN A DIVERSE RANGE OF MEDIA, INCLUDING DRAWING, PAINTING, PHOTOGRAPHY, AND VIDEO. RONDINONE'S SERIES MOONRISE-HIS FIRST FIGURATIVE SCULPTURES-ARE EIGHT-FOOT-HIGH BUSTS DERIVED FROM MASKS. MODELED IN CLAY BEFORE BEING CAST IN ALUMINUM AND PAINTED, THE SCULPTURES SHOW THE ENDURING MARKS OF THE ARTIST'S HAND. RONDINONE HAS LONG BEEN INTERESTED IN THE SUBJECT OF TIME, AND HE REPRESENTS IT HERE BY THE RELATIONSHIP BETWEEN MOON, TIDE, AND CALENDAR: EACH OF THE TWELVE SCULPTURES IN THE SERIES WAS MADE IN HOMAGE TO THE MOON AND IS NAMED AFTER A MONTH OF THE CALENDAR YEAR. TWO OF THE TWELVE ARE ON VIEW HERE. THESE MONUMENTAL VISAGES, WITH PLAYFULLY DISTORTED FACES THAT SMILE AND GRIMACE, CONVEY A KIND OF UNCANNY ROMANTICISM, WELCOMING WONDER AND EMPATHY IN EQUAL MEASURE.ORGANIZED BY DAN BYERS, MANNION FAMILY SENIOR CURATOR.LIZ DESCHENESJUN 29 - OCT 16, 2016, WEST GALLERYDESCHENES (B. 1966, BOSTON), IS KNOWN FOR HER LUSHLY BEAUTIFUL AND MEDITATIVE WORK IN PHOTOGRAPHY AND SCULPTURE, AND SINCE THE EARLY 1990S HAS PRODUCED A SINGULAR AND INFLUENTIAL BODY OF WORK THAT PROBES THE RELATIONSHIP BETWEEN THE MECHANICS OF SEEING, IMAGE-MAKING PROCESSES, AND MODES OF DISPLAY. THE FIRST MID-CAREER SURVEY DEDICATED TO DESCHENES'S WORK, THIS EXHIBITION WILL FEATURE 20 YEARS OF HER ART, INCLUDING EXPLORATIONS OF VARIOUS PHOTOGRAPHIC TECHNOLOGIES, RICH AND NUANCED WORK WITH PHOTOGRAMS (A TYPE OF PHOTOGRAPHIC IMAGE MADE WITHOUT A CAMERA), AND SCULPTURAL INSTALLATIONS THAT REFLECT THE MOVEMENTS AND LIGHT WITHIN A GIVEN SPACE AND RESPOND TO A SITE'S UNIQUE FEATURES.ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JESSICA HONG, CURATORIAL ASSOCIATE.NALINI MALANI: IN SEARCH OF VANISHED BLOODJUN 29 - OCT 16, 2016, WEST GALLERYNALINI MALANI (B. 1946, KARACHI) IS INDIA'S FOREMOST VIDEO AND INSTALLATION ARTIST AND A COMMITTED ACTIVIST FOR WOMEN'S RIGHTS. CURRENTLY LIVING AND WORKING IN MUMBAI, MALANI CAME TO INDIA AS A REFUGEE DURING THE 1947 PARTITION OF INDIA AND PAKISTAN, AN EXPERIENCE THAT DEEPLY INFORMS HER WORK. THIS EXHIBITION CENTERS ON MALANI'S SIGNATURE MULTIMEDIA INSTALLATION, IN SEARCH OF VANISHED BLOOD (2012), THE TITLE OF WHICH COMES FROM A POEM BY THE REVOLUTIONARY PAKISTANI POET FAIZ AHMED FAIZ. THE INSTALLATION IS INSPIRED BY EAST GERMAN WRITER AND CRITIC CHRISTA WOLF'S 1984 NOVEL CASSANDRA, ABOUT A STRUGGLING FEMALE ARTIST AND VISIONARY. COMBINING IMAGERY FROM EASTERN AND WESTERN CULTURES, WITH SOUND, PROJECTED IMAGE, AND LIGHT, IN SEARCH OF VANISHED BLOOD IS AN ENTHRALLING, IMMERSIVE EXPERIENCE. THE WORK COMPRISES SIX 11-MINUTE VIDEO PROJECTIONS STREAMED AROUND THE ROOM THROUGH FIVE CLEAR MYLAR CYLINDERS, HAND-PAINTED WITH A VARIETY OF CULTURAL AND HISTORICAL ICONOGRAPHY, WHICH HANG IN THE CENTER OF THE ROOM. AS THE MYLAR CYLINDERS ROTATE, THE COLORFUL AND LAYERED IMAGERY IS PROJECTED ONTO THE WALLS, CREATING A MAGICAL ENVIRONMENT REMINISCENT OF LANTERN SLIDE PRESENTATIONS AND OTHER PROTO-CINEMA EXPERIMENTS IN THE 18TH AND 19TH CENTURIES. THE PRESENTATION OF MALANI'S IMMERSIVE VIDEO INSTALLATION WILL BE ACCOMPANIED BY A SELECTION OF RELATED WORKS ON PAPER.ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JESSICA HONG, CURATORIAL ASSOCIATE.FIRST LIGHT: A DECADE OF COLLECTING AT THE ICAAUG 17, 2016 - JAN 16, 2017, PAUL AND CATHERINE BUTTENWIESER, FOTENE DEMOULAS, AND KIM AND JIM PALLOTTA GALLERIESCOINCIDING WITH THE TEN-YEAR ANNIVERSARY OF ICA'S MOVE TO ITS ICONIC WATERFRONT BUILDING, THIS EXHIBITION WILL CELEBRATE THE MUSEUM'S FIRST DECADE OF COLLECTING. DRAWN ENTIRELY FROM ICA'S COLLECTION AND FEATURING MULTIPLE THEMATIC, ARTIST-SPECIFIC, AND HISTORICAL SECTIONS, THE EXHIBITION WILL BRING TOGETHER BOTH NEW ACQUISITIONS AND FAVORITES FROM THE PERMANENT COLLECTION. CONCEIVED AS A SERIES OF INTERRELATED AND ROTATING STAND-ALONE EXHIBITIONS, THIS PRESENTATION WILL HIGHLIGHT MAJOR SINGULAR WORKS FROM THE COLLECTION, SUCH AS A NEWLY ACQUIRED MONUMENTAL CUT-PAPER SILHOUETTE TABLEAU BY KARA WALKER, AS WELL AS THE BARBARA LEE COLLECTION OF ART BY WOMEN, GROUPINGS OF WORK BY ARTISTS HELD IN DEPTH SUCH AS LOUISE BOURGEOIS AND NAN GOLDIN, AND THEMATIC AND ART-HISTORICAL GROUPINGS. A NEW MULTIMEDIA WEB PLATFORM WILL BE CREATED TO MARK THE OCCASION.ORGANIZED BY ICA'S CURATORIAL DEPARTMENT UNDER THE LEADERSHIP OF EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JESSICA HONG, CURATORIAL ASSOCIATE.THE BARBARA LEE COLLECTION OF ART BY WOMEN, PART OF FIRST LIGHT: A DECADE OF COLLECTING AT THE ICAAUG 17, 2016 - JAN 16, 2017, KIM AND JIM PALLOTTA GALLERIESTHE BARBARA LEE COLLECTION OF ART BY WOMEN FEATURES ART BY WOMEN WHO HAVE MADE SIGNIFICANT CONTRIBUTIONS TO THE VISUAL FIELD IN THE LAST FORTY YEARS. IT WAS ESTABLISHED BY VISIONARY ACTIVIST AND ICA/BOSTON BOARD MEMBER BARBARA LEE, WHO IS COMMITTED TO EMPOWERING WOMEN IN POLITICS AND ART. THE BARBARA LEE COLLECTION OF ART BY WOMEN REFLECTS LEE'S COMMITMENT TO GENDER EQUALITY AND HER BELIEF IN THE POWER OF TELLING WOMEN'S STORIES. IT BRINGS TOGETHER PAINTING, SCULPTURE, INSTALLATION, AND PHOTOGRAPHY BY ICONIC MODERN AND CONTEMPORARY ARTISTS WHOSE WORK AND IDEAS HAVE CHANGED THE COURSE OF ART HISTORY. GUIDED BY A DISCERNING EYE AND DEDICATION TO ART THAT SPEAKS TO THE MOST PRESSING ISSUES OF OUR TIME, LEE ASSEMBLED A SINGULAR COLLECTION THAT INCLUDES BOTH CANONICAL ARTISTS AND OVERLOOKED FIGURES. LEE SHARES THE ICA'S BELIEF IN THE POWER OF ART TO ENRICH AND TRANSFORM LIVES, AND HAS BEEN A STEADFAST SUPPORTER OF THE MUSEUM, LAUNCHING ITS COLLECTION OVER A DECADE AGO WITH THE PROMISED GIFT OF CORNELIA PARKER'S MONUMENTAL SCULPTURE HANGING FIRE (SUSPECTED ARSON), 1999. THE COLLECTION INCLUDES WORK BY TARA DONOVAN, MARLENE DUMAS, JENNY HOLZER, RONI HORN, SHERRIE LEVINE, MARISOL, CINDY SHERMAN, KIKI SMITH, AND KARA WALKER. WITH THIS INAUGURAL EXHIBITION, THE BARBARA LEE COLLECTION OF ART BY WOMEN NOW FORMS A VITAL PART OF THE CULTURAL FABRIC OF BOSTON.ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR.SOFT POWER, PART OF FIRST LIGHT: A DECADE OF COLLECTING AT THE ICAAUG 17, 2016 - JAN 16, 2017, PAUL AND CATHERINE BUTTENWIESERROPE, THREAD, CORD, HEMP, STRING, TAPE, PINS, PAINT, AND FABRIC. FORMED BY FLEXIBLE MATERIALS, THE WORKS IN SOFT POWER DERIVE THEIR PRESENCE AND POWER FROM, ON THE ONE HAND, THE SEDUCTIVE QUALITIES OF FIBER AND FABRIC, AND ON THE OTHER, THEIR SOCIAL AND CULTURAL CONNOTATIONS. THE MULTIGENERATIONAL GROUP OF ARTISTS REPRESENTED IN THIS DISPLAY EMPLOY SOFTNESS AS A PHYSICAL FACT AND AS A METAPHOR FOR THE BODY. OFTEN, THEY APPROPRIATE CLOTHING, OBJECTS FROM POPULAR CULTURE, AND OTHER EVERYDAY MATERIALS WE BRING CLOSE TO OURSELVES. TRADITIONAL DICHOTOMIES-INSIDE AND OUTSIDE, SURFACE AND DEPTH, PROTECTION AND EXPOSURE-DISSOLVE IN EACH WORK AS IT CONJURES THE HUMAN BODY THROUGH LAYERS OF MATERIAL AND SUGGESTIVE FORMS.ORGANIZED BY DAN BYERS, MANNION FAMILY SENIOR CURATOR.QUESTION YOUR TEASPOONS, PART OF FIRST LIGHT: A DECADE OF COLLECTING AT THE ICAAUG 17, 2016 - OCT 02, 2016, FOTENE DEMOULAS GALLERYFOR ARTISTS, ESPECIALLY WOMEN ARTISTS, THE HOME HAS LONG SERVED AS A SITE FOR THE CREATION OF WORK, PROVIDING A MEANINGFUL ALTERNATIVE TO THE MORE CELEBRATED LOCALES OF THE ARTIST'S STUDIO AND THE PUBLIC SPHERE. 1399300 159084 PERFORMING AND MEDIA ARTS:THE ICA PRESENTS SOME OF THE MOST TALENTED AND FORWARD LOOKING CHOREOGRAPHERS, MUSICIANS, FILMMAKERS, THEATER COMPANIES AND GENRE BENDING ARTISTS FROM BOSTON AND THE REST OF THE WORLD. IN FY17 WE PRESENTED 73 PRESENTATIONS OF 39 INDIVIDUAL PROGRAMS (PERFORMING ARTS AND FILM). ATTENDANCE TOTALED 21,264.WE PRESENTED 46 PERFORMANCES BY THE FOLLOWING PERFORMERS, ARTISTS AND ENSEMBLE COMPANIES. ATTENDANCE AT THESE PERFORMANCES TOTALED 18,910. DANCE/THEATER - MARIA HASSABI: WORK IN PROGRESS PRESENTATION OF STAGED - BIG DANCE THEATER: SHORT FORM - SUSAN SGORBATI: SEEING, BEING SEEN, BEING - BILL T. JONES/ARNIE ZANE COMPANY: A LETTER TO MY NEPHEW - ON DISPLAY: A MOVEMENT INSTALLATION BY HEIDI LATSKY - ALESSANDRO SCIARRONI: FOLK-S, WILL YOU STILL LOVE ME TOMORROW? - MARIA HASSABI: STAGED? - BETH GILL: BRAND NEW SIDEWALK - WORLD MUSIC/CRASHARTS PRESENTS - RAPHAEL XAVIER - BALLETX - ODC/DANCE - GALLIM DANCE - BODYTRAFFIC - MAUREEN FLEMINGMUSIC -HARBORWALK SOUNDS: - LULA WILES - NOE/MAR|CO - RICKEXPRESS - SELAH POITIER - SUDACAS - CHOROBOP & +55 GROUP - SLEEPING LION / IIVES - NIYA NORWOOD - NIU RAZA + THE WILDER PROJECT -DJ NIGHTS: - DEEP DIVES: REGGAE (DJ BUD E. GREEN, DJ WARLOCK, JUNIOR RODIGAN) - TUNE-YARDS - DEEP DIVES: HIP-HOP (DJS KNIFE, 7L, MADSOL DESAR) - DEEP DIVES: DISCO (DJS ALFREDO, NITE TRAIN, SAUCY LADY) - DJ WINDOWS 98 (WIN BUTLER) - BEIRUT - GRACE JONES OUTDOOR FILM SCREENING W/ DJ SET BY LIGHT ASYLUM - RY X - MEREDITH MONK AND ANNE WALDMAN - TALEA ENSEMBLE - DAYME AROCENA (CO-PRESENTED WITH WORLD MUSIC/CRASHARTS)IN FY17 WE PRESENTED 27 SCREENINGS OF THE FOLLOWING FILMS. ATTENDANCE AT THESE SCREENINGS TOTALED 2,354. FILM - 2016 BRITISH ARROWS - OTTAWA INTERNATIONAL ANIMATION FESTIVAL - SUNDANCE FILM FESTIVAL SHORTS - 2017 OSCAR NOMINATED SHORT FILMS - BOSTON LGBT FILM FESTIVAL OPENING NIGHT 1486411 65167 EDUCATION, TEENS, ADULTS:ADULT & INTERPRETIVE PROGRAMS: ADULT PROGRAMS SERVED A TOTAL OF 4,928 PEOPLE, INCLUDING GALLERY TALKS, POP UP TALKS, LECTURES (THE ARTIST'S VOICE, ICA FORUMS, ICA READS), AND OTHER PROGRAMS. SELECT LECTURES IN FY17 WERE DOCUMENTED AND MADE AVAILABLE THROUGH ICA'S WEBSITE AMONG OTHER RESOURCES. VIEWERS AND LISTENERS ACCESSED THESE RESOURCES ONLINE VIA ICA'S WEBSITE, MOBILE GUIDE, AND/OR ONSITE COMPUTERS (PARTICIPATION NOT QUANTIFIABLE). AN ADDITIONAL 12,168 INDIVIDUALS PARTICIPATED IN GUIDED AND SELF GUIDED TOURS AT THE ICA.ADULT PROGRAMSEXHIBITION RELATED PROGRAMSICA COLLECTION: TRANSCENDING MATERIALJUL 23, 2015 - JUL 17, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENTGEOFFREY FARMERAPR 13 - JUL 17, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIOUGO RONDINONE: MOONRISE SCULPTURESMAY 17 - SEP 11, 2016 - PUBLIC TOURSRACHEL PERRY: KARAOKE WRONG NUMBERMAY 24 - SEP 12, 2016 - PUBLIC TOURS - ICA-PRODUCED AUDIOETHAN MURROW: SEASTEADJULY 11, 2015 - NOV 27, 2016 - PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENTNALINI MALANI: IN SEARCH OF VANISHED BLOODJUN 29 - OCT 16, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO - ART TALK: MIEKE BAL AND EVA RESPINI ON NALINI MALANI - ICA FORUM: HISTORY, WOMEN, AND MODERN INDIA WITH HARLEEN SINGH AND EVA RESPINILIZ DESCHENES JUN 29 - OCT 16, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO AND VIDEO TOUR CONTENT - GALLERY TALK: MAGGIE WESSLING ON LIZ DESCHENES - GALLERY TALK: DANIEL RANALLI ON LIZ DESCHENES - THE ARTIST'S VOICE: LIZ DESCHENES (X2)FIRST LIGHT: A DECADE OF COLLECTING AT THE ICAAUG 17 - JAN 16, 2017 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - GALLERY TALK: MARCIE BEGLEITER ON EVA HESSE - GALLERY TALK: TREVA LINDSEY ON ELLEN GALLAGHER - CURATOR TOUR: JESSICA HONG AND JEFFREY DE BLOIS ON FIRST LIGHT - GALLERY TALK: SARAH PARRISH ON FRANCOISE GROSSEN - THE ARTIST'S VOICE: NICHOLAS NIXON AND ABELARDO MORELL WITH EVA RESPINI - THE ARTIST'S VOICE: KARA WALKER WITH EVA RESPINI - STAFF PICKS: FIRST LIGHT (X6)THE ARTIST'S MUSEUMNOV 16, 2016 - MAR 26, 2017 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - CURATOR TOUR: DAN BYERS ON THE ARTIST'S MUSEUM - GALLERY TALK: JEREMY MELIUS ON RACHEL HARRISON - GALLERY TALK: SANDY ALEXANDRE ON XAVIERA SIMMONS - THE ARTIST'S VOICE: CAROL BOVE WITH GREG WILLIAMS AND DAN BYERSICA COLLECTION: NEW ACQUISITIONS FEB 15, 2017 - FEB 25, 2018 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - CURATOR TOUR: RUTH ERICKSON ON NEW ACQUISITIONS - GALLERY TALK: BERYL LIPTON ON JENNY HOLZERSTEVE MCQUEEN: ASHESFEB 15, 2017 - FEB 25, 2018 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENTJAMES AND AUDREY FOSTER PRIZE 2017FEB 15 - JUL 9, 2017 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT AND VIDEO TOUR CONTENT - FOSTER TALKS: VERENA PARAVEL AND LUCIEN CASTAING-TAYLOR WITH DENNIS LIM - FOSTER TALKS: LUCY KIM WITH MELISSA DOFT - FOSTER TALKS: JENNIFER BORNSTEIN WITH RHEA ANASTAS - FOSTER TALKS: SONIA ALMEIDA WITH ULRIKE MULLER GILLIAN WEARING: ROCK 'N' ROLL 70DEC 9, 2016 - JAN 1, 2018 - PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - GALLERY TALK: LUCAS BLALOCK ON GILLIAN WEARINGNARI WARD: SUN SPLASHEDAPR 26 - SEP 4, 2017 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT AND VIDEO TOUR CONTENT - GALLERY TALK: PETRINA DACRES ON NARI WARD - CURATOR TOUR: RUTH ERICKSON ON NARI WARD - GALLERY TALK: POETIC RESPONSES TO NARI WARD WITH NICOLE TEREZ DUTTON, KRYSTEN HILL, EMMANUEL OPPONG-YEBOAH, AND AMANDA TORRES - THE ARTIST'S VOICE: NARI WARD AND TANIA BRUGUERA WITH RUTH ERICKSON - NARI WARD NATURALIZATION TABLE ACTIVATION (X5) - NATURALIZATION CEREMONYNARI WARD: LANDAPR 26 - SEP 4, 2017 - PUBLIC TOURSADULT PROGRAMS / OTHER:ICA READS: KINDRED: A GRAPHIC NOVEL ADAPTATION BY DAMIAN DUFFY AND JOHN JENNINGS - THE ARTIST'S VOICE: DAMIAN DUFFY AND JOHN JENNINGS WITH KIMBERLY JUANITA BROWNOTHER ADULT PROGRAMS - WIKIPEDIA EDIT-A-THON - HARVARD GRADUATE SCHOOL OF EDUCATION - AIGA/ICA LECTURE: NANCY SKOLOS AND THOMAS WEDELL - TEACHER WORKSHOP: CONTEMPORARY ART IN THE CLASSROOM - SITES OF CONSCIENCE TRAININGFAMILIES: FAMILY PROGRAMS SERVED 5,395 VISITORS THROUGH PLAY DATES AND BOOKS AND LOOKS. AN ADDITIONAL 6,192 INDIVIDUALS PARTICIPATED IN ARTIST CREATED ACTIVITIES IN THE BANK OF AMERICA ART LAB. AN UNQUANTIFIABLE NUMBER OF INDIVIDUALS UTILIZED GALLERY GAMES.FAMILY PROGRAMS- BOOKS + LOOKS- GALLERY GAMES- FAMILY POP UP TALKS - PLAY DATES - IMAGINATION FEST - SEASIDE ADVENTURES - ENJOYING COLLECTING - CONTEMPORARY CREATIVE EXPRESS - REIMAGINING OUR WORLD - FAMILY FILM PROGRAM - PAUSE, LOOK, AND LISTEN - COMMUNICATING THROUGH ART - UNCOVERING ARTISTS' STORIES - RHYTHM AND HUES - MAKING BRIDGES TOGETHER- VACATION WEEKS - DECEMBER HOLIDAY WEEK - FEBRUARY VACATION WEEK - APRIL VACATION WEEK- MAKE/MADE ART LAB - THE ART OF BUILDING (JUL-NOV 2016) - COLLECTIONS CONNECTION (DEC 2016-MAR 2017): SUSANNAH LAWRENCE - FISH OUT OF WATER (APR-JUN 2017): BENNIE FLORES ANSELLCOMMUNITY PROGRAMS & PARTNERSHIPS (SELECT):THE ICA COLLABORATED WITH NUMEROUS ORGANIZATIONS THROUGHOUT FISCAL YEAR 2017. BELOW IS A LIST OF SELECT PARTNER ORGANIZATIONS. PROGRAMS INCLUDE, FOR EXAMPLE, FREE FUN FRIDAY (2,682 PARTICIPANTS); BOSTON CHILDREN'S HOSPITAL (135 PARTICIPANTS); AND MAKE/MADE, A PROGRAM IN COLLABORATION WITH ARTISTS SUSANNAH LAWRENCE AND BENNIE FLORES ANSELL (4,963 PARTICIPANTS). COMMUNITY PROGRAMS & PARTNERSHIPS (SELECT)- SITES OF CONSCIENCE- DECORDOVA MUSEUM & SCULPTURE PARK- MUSEUM OF FINE ARTS BOSTON- MASSART BAKALAR & PAINE GALLERIES- MIT LIST VISUAL ARTS CENTER- PEABODY ESSEX MUSEUM- SUSANNAH LAWRENCE- BENNIE FLORES ANSELL- ETHAN AND VITA MURROW- THE TRIVENI SCHOOL OF DANCE- PETER DIMURO- PUBLIC DISPLAYS OF MOTION- AARON LARGET-CAPLAN- URBANITY DANCE- BOSTON CHILDREN'S CHORUS- SR9 TRIO- I'M STILL HERE FOUNDATION- ROGERSON HOUSE- HIGHLAND STREET FOUNDATION- TRIANGLE INC.- ROSIE'S PLACE- BOSTON CHILDREN'S HOSPITAL- SOCIEDAD LATINA- INQUILINOS BORICUAS EN ACCION- MASS LEAP- ZUMIX- HYDE SQUARE TASK FORCE- BOSTON PUBLIC SCHOOLS 361758 585383 MEMBERSHIPS: MEMBERSHIP CONTRIBUTIONS HELP THE ICA PRESENT EXHIBITIONS, PERFORMANCES, AND PROGRAMS FOR TEENS, FAMILIES AND ADULTS, CREATING A PLACE WHERE PEOPLE OF ALL AGES AND BACKGROUNDS CAN SHARE THE EXCITEMENT OF NEW ART AND IDEAS. IN FISCAL YEAR 2017 THE MEMBERSHIP DEPARTMENT SERVED NEARLY 6,000 HOUSEHOLDS PROVIDING THE PRIMARY BENEFITS OF FREE MUSEUM ADMISSION, PERFORMANCE TICKET DISCOUNTS, DISCOUNTS IN THE ICA STORE AND WATER CAFE, EXHIBITION PREVIEWS, FIRST FRIDAYS, OPENING EXHIBITION RECEPTIONS AND A SUBSCRIPTION TO THE ICA MAGAZINE "NEW". THE ICA HAD OVER 15,806 MEMBER VISITS TO THE GALLERIES, PERFORMANCES AND EVENTS IN FY17. 891471 849925 EARNED INCOME ACTIVITIES: TRAVELING EXHIBITS: - THE ICA-ORGANIZED EXHIBITION, LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933-1957 TOURED TO THE HAMMER MUSEUM FROM 2/21/16 - 5/15/16, AND TO THE WEXNER CENTER FOR THE ARTS FROM 9/17/16 - 1/1/17. ART TRIPS: IN FY17 THE ICA SPONSORED FOUR ART TRIPS TO:REYKJAVIK, KASSEL, MUNSTER, AND ATHENS, SAN FRANCISCO AND SONOMA, AND MIAMI.EVENT SPACE RENTALS: THE ICA HAD 52 EVENT SPACE RENTALS IN FY17 THAT WERE ATTENDED BY 8,655 VISITORS WHO GOT THE OPPORTUNITY TO VIEW THE ICA'S AWARD WINNING ARCHITECTURAL DESIGN AND EXHIBITIONS. 1197421 PROGRAM MARKETING AND COMMUNICATIONS: DEVELOPED AND IMPLEMENTED MARKETING, ADVERTISING, SOCIAL MEDIA, AND PUBLIC RELATIONS STRATEGIES THAT PROMOTED THE EXPERIENCE OF THE ICA INCLUDING EXHIBITIONS, PERFORMANCES, AND EDUCATIONAL COMMUNITY AND SOCIAL PROGRAMS, AND FREE HOLIDAY MONDAYS TO THE PUBLIC AND ICA MEMBERS. THESE STRATEGIES ALLOWED THE ICA TO ACHIEVE 207,303 IN TOTAL VISITORS TO THE ICA IN FISCAL YEAR 2017. 2450650 1435308 11903176 1 1 0 0 0 0 0 1 0 1 1 0 0 0 1 1 1 0 0 0 0 0 0 1 1 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 1 228 0 1 249 1 1 1 0 0 0 0 1 1 0 0 0 0 X 33 32 0 0 0 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 1 0 MA X MICHAEL TAUBENBERGER 6174783192 25 HARBOR SHORE DRIVE BOSTON MA 02210 LORI FIREMAN BALDWIN TRUSTEE 1.00 X 0 0 0 CHARLES BRIZIUS PRESIDENT 1.00 X X 0 0 0 DR PAUL BUTTENWIESER TRUSTEE 1.00 X 0 0 0 KAREN SWETT CONWAY TRUSTEE 1.00 X 0 0 0 STEVEN D CORKIN TRUSTEE 1.00 X 0 0 0 ROBERT DAVOLI TRUSTEE 1.00 X 0 0 0 FOTENE DEMOULAS VICE PRESIDENT 1.00 X X 0 0 0 JOHN DESPREZ III TRUSTEE (ON LEAVE) 1.00 X 0 0 0 MARY SCHNEIDER ENRIQUEZ TRUSTEE 1.00 X 0 0 0 BRIDGITT EVANS TRUSTEE 1.00 X 0 0 0 OLIVER EWALD TRUSTEE 1.00 X 0 0 0 GERALD FINEBERG TRUSTEE 1.00 X 0 0 0 JAMES C FOSTER CHAIR 1.00 X X 0 0 0 ERICA GERVAIS PAPPENDICK TRUSTEE 1.00 X 0 0 0 VIVIEN HASSENFELD TRUSTEE 1.00 X 0 0 0 HAL HESS VICE CHAIR 1.00 X X 0 0 0 ALLISON JOHNSON TRUSTEE 1.00 X 0 0 0 CHARLA JONES TRUSTEE 1.00 X 0 0 0 BARBARA F LEE VICE CHAIR 1.00 X X 0 0 0 KENT LUCKEN TRUSTEE 1.00 X 0 0 0 TRISTIN MANNION VICE CHAIR 1.00 X X 0 0 0 RONALD O'HANLEY TRUSTEE 1.00 X 0 0 0 JAMES PALLOTTA TRUSTEE 1.00 X 0 0 0 ELLEN M POSS MD TRUSTEE 1.00 X 0 0 0 DAVID PUTH TRUSTEE 1.00 X 0 0 0 CHARLES RODGERS TRUSTEE 1.00 X 0 0 0 MARIO RUSSO TRUSTEE 1.00 X 0 0 0 MARK SCHWARTZ TREASURER/SECRETARY/CLERK 1.00 X X 0 0 0 JONATHAN SEELIG TRUSTEE 1.00 X 0 0 0 ANTHONY TERRANA DMD TRUSTEE 1.00 X 0 0 0 CHARLOTTE WAGNER VICE PRESIDENT 1.00 X X 0 0 0 MICHAEL WILENS TRUSTEE 1.00 X 0 0 0 NICK WINTON TRUSTEE (ON LEAVE) 1.00 X 0 0 0 NICOLE ZATLYN EX-OFFICIO 1.00 X 0 0 0 JILL MEDVEDOW DIRECTOR/EX-OFFICIO/CEO 40.00 X X 489583 0 49140 MICHAEL TAUBENBERGER CFO & COO 40.00 X 188923 0 18632 EVA RESPINI CHIEF CURATOR 40.00 X 186510 0 29324 DAVID HENRY DIR. OF PERFORMING ARTS & MEDIA ARTS 40.00 X 154644 0 32123 KELLY GIFFORD DIR. OF EXTERNAL RELATIONS 40.00 X 143180 0 28236 KATHRYN GREENBERG MAYSHAK DIRECTOR OF DEVELOPMENT 40.00 X 146089 0 22492 MONICA GARZA DIRECTOR OF EDUCATION 40.00 X 114574 0 26451 DANIEL BYERS SENIOR CURATOR 40.00 X 104349 0 12726 1527852 0 219124 8 0 1 0 ANMAHIAN WINTON ARCHITECTS 650 CAMBRIDGE STREET CAMBRIDGE MA 02141 ARCHITECTURAL SERVICES 316545 AMERICAN CLEANING COMPANY INC PO BOX 390702 CAMBRIDGE MA 02139 CLEANING SERVICES 290391 ALLIED BARTON SECURITY PO BOX 828854 PHILADELPHIA PA 19182 SECURITY SERVICES 283923 ARTEX INC 8712 JERICHO CITY DRIVE LANDOVER MD 20785 SHIPPING SERVICES 252584 WOLFGANG PUCK CATERING 25 HARBOR SHORE DRIVE BOSTON MA 02210 CATERING SERVICES 180897 12 1164888 377013 19409110 1976795 20951011 ADMISSIONS AND PROGRAM FEES 900099 1038487 1038487 MEMBERSHIP DUES 900099 585383 585383 EXHIBITIONS 900099 179036 179036 TRIP AND TOURS 900099 3900 3900 1806806 452501 452501 598097 656689 -58592 -58592 -58592 2825795 2425349 400446 400446 400446 117600 1164888 515215 -397615 -397615 752146 327761 424385 424385 FOOD SERVICES 722210 93879 93879 OTHER REVENUE 900099 19844 19844 113723 23692665 2251035 -58592 549211 962112 962112 5072909 3931195 339777 801937 169060 127100 10059 31901 430806 335485 31987 63334 470349 334784 78665 56900 9763 3004 6759 55686 55686 25262 25262 107778 94819 12959 775480 660021 113509 1950 335582 334543 905 134 26304 13778 9377 3149 89459 52172 14930 22357 767456 671626 60923 34907 511277 439852 19338 52087 15323 7575 2197 5551 144912 95702 47365 1845 1827568 1754575 39167 33826 112699 61350 51349 ART ACQUISITIONS 797900 797900 RENTAL AND EQUIPMENT 708389 651020 19108 38261 SHIPPING & STORAGE 571719 571719 ARTIST FEES 508327 477006 2100 29221 667859 582769 85090 15163979 11903176 2045222 1215581 2688337 4640003 11796814 16337007 289119 127973 312318 328882 349111 217928 62031400 18904790 44068086 43126610 23062515 28735264 501200 531515 65657 0 83133157 94045182 788906 852627 66667 45833 4208949 3604503 700000 1250000 5764522 5752963 X 40358661 40106350 7648352 12610201 29361622 35575668 77368635 88292219 83133157 94045182 X 8528686 2364583 30315 X 0 1 X 1 0 X 11064748 16473594 11499610 10522512 20951011 70511475 11064748 16473594 11499610 10522512 20951011 70511475 13354158 57157317 204024 223606 321791 402230 452501 1604152 3281 9208 12489 156592 201874 197407 227565 211479 994917 73123033 13099357 0.78170 0.75030 X RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X 0 23668861 3951001 3122711 1125000 29617573 21210871 3692065 -299075 935000 23668861 16495334 4914708 528829 728000 21210871 13042861 1992263 2035210 575000 16495334 10292117 2105639 1150105 505000 13042861 0.92770 0.07230 1 0 56553900 14692521 41861379 5477500 4212269 1265231 43126610 LINE OF CREDIT 1250000 1250000 X 27537042 2364583 44633 -64504 2344712 25192330 -1499665 -1499665 23692665 16613458 44633 1499665 1544298 15069160 94819 94819 15163979 PART III, LINE 1A: COLLECTIONS CONSIST OF WORKS OF ART, HISTORICAL TREASURES AND SIMILAR ASSETS HELD AS PART OF A COLLECTION FOR THE PURPOSES OF EDUCATION, RESEARCH OR PUBLIC EXHIBITION, RATHER THAN FOR SALE OR FINANCIAL GAIN. COLLECTIONS, WHICH WERE ACQUIRED THROUGH PURCHASES AND CONTRIBUTIONS SINCE THE ICA'S INCEPTION, ARE NOT RECOGNIZED AS ASSETS ON THE STATEMENT OF FINANCIAL POSITION. PURCHASES OF COLLECTION ITEMS ARE RECORDED AS DECREASES IN UNRESTRICTED NET ASSETS IN THE YEAR IN WHICH THE ITEMS ARE ACQUIRED, OR AS A DECREASE IN TEMPORARILY RESTRICTED NET ASSETS IF THE ASSETS ARE USED TO PURCHASE THE ITEMS ARE RESTRICTED BY DONORS. CONTRIBUTED COLLECTION ITEMS ARE NOT REFLECTED ON THE FINANCIAL STATEMENTS. PROCEEDS FROM DEACCESSIONS OR INSURANCE RECOVERIES ARE REFLECTED AS INCREASES IN THE APPROPRIATE NET ASSET CLASSES. THE COLLECTIONS ARE SUBJECT TO A POLICY THAT REQUIRES PROCEEDS FROM THEIR SALES TO BE USED TO ACQUIRE OTHER ITEMS FOR COLLECTIONS. THE INSTITUTE OF CONTEMPORARY ART, INC. PURCHASED 16 PIECES OF ART FOR THE PERMANENT COLLECTIONS DURING THE YEAR ENDED JUNE 30, 2017. THE ICA PURCHASED 13 PIECES OF ART FOR THE PERMANENT COLLECTIONS DURING THE YEAR ENDED JUNE 30, 2016. PART III, LINE 4: IN ACCOMPLISHING THE ORGANIZATION'S MISSION IN ART EDUCATION, CONTEMPORARY ARTWORKS FROM VARIOUS ARTISTS ARE EXHIBITED TO THE GENERAL PUBLIC. PART V, LINE 4: THE ORGANIZATION'S ENDOWMENT FUNDS ARE FOR THE ORGANIZATION'S OPERATING EXPENSES AS DESIGNATED BY DONOR. PART X, LINE 2: THE ICA IS GENERALLY EXEMPT FROM FEDERAL AND STATE INCOME TAXES UNDER THE PROVISIONS OF SECTION 501(A) OF THE INTERNAL REVENUE CODE AS ORGANIZATIONS DESCRIBED IN SECTION 501(C)(3) AND 501(C)(2), RESPECTIVELY. ACCORDINGLY, NO PROVISION FOR INCOME TAXES HAS BEEN RECORDED IN THE ACCOMPANYING FINANCIAL STATEMENTS. THE ICA RECOGNIZES A TAX BENEFIT FROM AN UNCERTAIN TAX POSTION ONLY IF IT IS MORE LIKELY THAN NOT THAT THE TAX POSITION WILL BE SUSTAINED ON EXAMINATION BY TAXING AUTHORITIES. MANAGEMENT EVALUATED THE ICA'S TAX POSITIONS AND CONCLUDED THAT THE ICA HAD NO MATERIAL UNCERTAINTIES IN INCOME TAXES AS OF JUNE 30, 2017 AND 2016. WITH FEW EXCEPTIONS, THE ICA IS NO LONGER SUBJECT TO INCOME TAX EXAMINATIONS BY THE U.S., FEDERAL, STATE OR LOCAL TAX AUTHORITIES FOR FISCAL YEARS BEFORE 2014. THE ICA WILL ACCOUNT FOR INTEREST AND PENALTIES RELATED TO UNCERTAIN TAX POSITIONS, IF ANY, AS PART OF TAX EXPENSE. PART XI, LINE 2D - OTHER ADJUSTMENTS: INVESTMENT EXPENSES NETTED WITH INVESTMENT REVENUE ON AUDITED FS -94,819. GAIN SPLIT INTEREST AGREEMENT 30,315. PART XI, LINE 4B - OTHER ADJUSTMENTS: COST OF GOODS SOLD REPORTED ON FORM 990, PART VIII, LINE 10B -327,761. SPECIAL EVENTS DIRECT EXPENSES REPORTED ON FORM 990, PART VIII, LINE 8B -515,215. RENTAL EXPENSES REPORTED ON FORM 990, PART VIII, LINE 6B -656,689. PART XII, LINE 2D - OTHER ADJUSTMENTS: SPECIAL EVENTS DIRECT EXPENSES REPORTED ON FORM 990, PART VIII, LINE 8B 515,215. RENTAL EXPENSES REPORTED ON FORM 990, PART VIII, LINE 6B 656,689. COST OF GOODS SOLD REPORTED ON FORM 990, PART VIII, LINE 10B 327,761. PART XII, LINE 4B - OTHER ADJUSTMENTS: INVESTMENT EXP. NETTED WITH INVESTMENT REV. ON AUDITED FS 94,819. X X X X X X X 1 SUSAN COURTENMANCHE 40 POWDER HORN HILL ROAD WILTON CT 06897 FUNDRAISING STRATEGY 0 0 25262 -25262 25262 -25262 MA GALA 934488 852488 82000 79158 7178 267236 WINE DINNER 348000 312400 35600 44518 117125 1282488 1164888 117600 123676 7178 384361 515215 -397615 X X X X 0 0 0 0 0 0 0 1 0 JILL MEDVEDOW DIRECTOR/EX-OFFICIO/CEO 449583 0 40000 0 0 0 25729 0 23411 0 538723 0 0 0 MICHAEL TAUBENBERGER CFO & COO 186423 0 2500 0 0 0 9986 0 8646 0 207555 0 0 0 EVA RESPINI CHIEF CURATOR 184010 0 2500 0 0 0 7496 0 21828 0 215834 0 0 0 DAVID HENRY DIR. OF PERFORMING ARTS & MEDIA ARTS 152144 0 2500 0 0 0 8438 0 23685 0 186767 0 0 0 KELLY GIFFORD DIR. OF EXTERNAL RELATIONS 140680 0 2500 0 0 0 7680 0 20556 0 171416 0 0 0 KATHRYN GREENBERG MAYSHAK DIRECTOR OF DEVELOPMENT 143589 0 2500 0 0 0 7996 0 14496 0 168581 0 0 0 PART I, LINE 7 ALL BONUSES ARE DISCRETIONAL (NONE ARE GUARANTEED BY A CONTRACT). THE CEO'S BONUS IS APPROVED BY THE COMPENSATION COMMITTEE OF THE BOARD OF TRUSTEES. BONUSES FOR SENIOR STAFF ARE DETERMINED BY THE CEO IN CONSULTATION WITH THE COMPENSATION COMMITTEE. A MASSACHUSETTS DEVELOPMENT FINANCE AGENCY 043431814 2012-05-03 6408949 REFUNDING ISSUE 0 0 0 A 2750000 6408949 96449 6312500 2006 1 0 1 1 A 0 0 1 1 0 0.01120 0.00500 0.01620 0 0 1 A 0 0 0 0 1 0 0 0 1 A 1 X 11 X 23 1933477 FAIR MARKET VALUE X 10 14380 FAIR MARKET VALUE X FLOWERS 1 18088 FAIR MARKET VALUE X AUCTION ITEMS: DINNERS/CLASSES 7 10850 FAIR MARKET VALUE 0 1 0 PART I, LINE 33: CONTRIBUTED ART COLLECTION ITEMS ARE NOT REFLECTED ON THE FINANCIAL STATEMENTS AS PERMITTED UNDER SFAS 116 (ASC 958). SCHEDULE M, PART I, COLUMN (B): THE NUMBER OF STOCK CONTRIBUTIONS IS BASED ON THE NUMBER OF GIFTS RECEIVED. THE NUMBER OF ART CONTRIBUTIONS IS BASED ON THE NUMBER OF GIFTS OF ARTWORK. THE NUMBER OF FOOD INVENTORY AND OTHER CONTRIBUTIONS IS BASED ON THE NUMBER OF CONTRIBUTORS. FORM 990, PART III, LINE 4A THROUGH MATERIALS, SUBJECT MATTER, AND AESTHETICS, ARTISTS DERIVE INSPIRATION FROM THE PLACES THEY LIVE AND THEIR OWN DAILY DOMESTIC PATTERNS. THIS EXHIBITION EXPLORES THE DOMESTIC SPHERE, IDENTIFYING A SHIFT IN FOCUS AND SCALE THAT ALLOWS THE PERSONAL, THE INTIMATE, AND THE PERIPHERAL TO BECOME THE LOCUS OF MEANING IN ART. ITS TITLE IS TAKEN FROM THE FRENCH WRITER GEORGES PEREC, THE GREAT CATALOGUER OF EVERYDAY LIFE, WHO CHALLENGED READERS TO SCRUTINIZE THE ORDINARY. TO "QUESTION YOUR TEASPOONS" IS TO PAY ATTENTION-AND A NEW KIND OF ATTENTION-TO THE QUOTIDIAN, TO STUDY LIFE IN ORDER TO LIVE IT DIFFERENTLY. ORGANIZED BY RUTH ERICKSON, ASSOCIATE CURATOR. RINEKE DIJKSTRA / NAN GOLDIN, PART OF FIRST LIGHT: A DECADE OF COLLECTING AT THE ICA AUG 17, 2016 - OCT 2, 2016, FOTENE DEMOULAS GALLERY RINEKE DIJKSTRA AND NAN GOLDIN ARE TWO ARTISTS REPRESENTED IN DEPTH IN THE ICA/BOSTON COLLECTION. BOTH HAVE A HISTORY WITH THE MUSEUM, WHICH HOSTED DIJKSTRA'S FIRST U.S. SURVEY AND WAS ONE OF THE FIRST TO EXHIBIT GOLDIN'S WORK. TAKING DISTINCTIVE APPROACHES, BOTH ARTISTS PROBE THE SHIFTING NATURE OF IDENTITY AND SELF THROUGH THE GENRE OF PORTRAITURE. RINEKE DIJKSTRA IS KNOWN FOR HER STARKLY DIRECT AND STRIKING PHOTOGRAPHIC PORTRAITS OF INDIVIDUALS EXPERIENCING PERIODS OF TRANSITION. HER SUBJECTS, WHICH INCLUDE NEW MOTHERS AND CHILDREN GROWING INTO ADOLESCENCE OR ADULTHOOD, ARE AT THE CUSP OF AN UNPREDICTABLE CHAPTER IN THEIR LIVES. THE ARTIST USES A MEDIUM-FORMAT 4 X 5 CAMERA THAT PRESENTS HER SUBJECTS IN SHARP DETAIL EVEN WHEN ENLARGED TO THE NEARLY LIFE-SIZE SCALE OF HER PRINTS. DIJKSTRA EMPHASIZES TEMPORALITY, SOMETIMES CAPTURING A MEANINGFUL THOUGH FLEETING ENCOUNTER WITH A SITTER AND AT OTHER TIMES PHOTOGRAPHING THE SAME SITTER OVER MANY YEARS. FOR THE SERIES ALMERISA, THE ARTIST FIRST RECORDED BOSNIAN-BORN ALMERISA AS A SIX-YEAR-OLD GIRL LIVING AT A REFUGEE CENTER IN THE NETHERLANDS, AND MOST RECENTLY AS A NEW MOTHER IN HER DUTCH HOME. OVER THE COURSE OF THESE ELEVEN PICTURES-TAKEN FROM 1994 TO 2008-ALMERISA TRANSITIONS FROM CHILD TO ADULT AND FROM TENTATIVE EASTERN EUROPEAN REFUGEE TO CONFIDENT WESTERN EUROPEAN CITIZEN. DIJKSTRA'S SUSTAINED ENGAGEMENT WITH HER SUBJECTS PRODUCES NUANCED AND RESONANT PSYCHOLOGICAL PORTRAITS. THE ARTIST NOTES, "I TRY TO STRIKE A BALANCE BETWEEN WHAT PEOPLE WANT TO SHOW, AND WHAT THEY SHOW IN SPITE OF THEMSELVES." NAN GOLDIN TAKES INSPIRATION FROM HER OWN LIFE, AS SEEN IN HER INTIMATE PORTRAITS OF FRIENDS, FAMILY, AND LOVERS FORMING PART OF THE NEW YORK CITY DEMIMONDE IN THE 1970S AND '80S. THE ARTIST OFTEN CAPTURES FORTUITOUS MOMENTS AND GESTURES THAT EXPRESS HER SUBJECTS' PERSONAL RELATIONSHIPS OR EXPLORE THEIR VARIOUS GENDER IDENTITIES. GOLDIN STUDIED IN BOSTON AT THE SCHOOL OF THE MUSEUM OF FINE ARTS AND IS NOW KNOWN AS A MEMBER OF THE SO-CALLED BOSTON SCHOOL, WHICH ALSO INCLUDES PHILIP-LORCA DICORCIA, MARK MORRISROE, AND JACK PIERSON. SHE RENDERS HER BOLD IMAGES, TAKEN OVER THE COURSE OF SEVERAL DECADES, IN LUSH COLORS THAT ENHANCE THEIR EMOTIONAL RESONANCE. FROM A CONTEMPLATIVE SELF-PORTRAIT TO A DRAG QUEEN LOUNGING AT HOME, GOLDIN AND HER SUBJECTS APPEAR COMFORTABLE WITH HER EVER-PRESENT CAMERA LENS. ALSO INCLUDED IN THIS EXHIBITION ARE CANDID IMAGES THE ARTIST TOOK ON TOKYO'S STREETS THAT DEMONSTRATE HER SPIRITED STYLE AND REFLECT HER ABILITY TO CREATE CONNECTIONS WITH SUBJECTS IN A RANGE OF CONTEXTS. GOLDIN'S DIARISTIC WORKS ARE VIBRANT, POWERFULLY EMOTIVE, AND CHARGED WITH PSYCHOLOGICAL INTENT. ORGANIZED BY JESSICA HONG, CURATORIAL ASSISTANT. VIDEO WORKS, PART OF FIRST LIGHT: A DECADE OF COLLECTING AT THE ICA AUG 17, 2016 - JAN 16, 2017, KIM AND JIM PALLOTA + FOTENE DEMOULAS GALLERIES IN 1966, ANDY WARHOL STAGED A PUBLIC PERFORMANCE OF THE LANDMARK MULTIMEDIA WORK EXPLODING PLASTIC INEVITABLE AT THE ICA/BOSTON. PRESENTED IN CONJUNCTION WITH AN EXHIBITION OF THE ARTIST'S WORK, THE PSYCHEDELIC EVENT FEATURED MUSIC BY THE VELVET UNDERGROUND AND NICO, AND MOVEMENT BY DANCERS PERFORMING WITH WARHOL'S FILMS PROJECTED AROUND THEM. THIS EVENT WAS A PRESCIENT EXAMPLE OF THE ICA'S LONGSTANDING COMMITMENT TO EXPERIMENTAL ART PRACTICES IN A VARIETY OF MEDIUMS, ESPECIALLY VIDEO. FROM THE PROJECTED IMAGE, A 1967 EXHIBITION THAT SURVEYED THE EARLY HISTORY OF MOVING IMAGE WORK, TO THE CONTEMPORARY ART TELEVISION FUND, ESTABLISHED IN 1983 AS A SPECIAL COLLABORATIVE PROJECT WITH THE WGBH NEW TELEVISION WORKSHOP TO COMMISSION, PRODUCE, AND DISTRIBUTE INNOVATIVE MOVING IMAGE WORKS, THE ICA HAS CONSISTENTLY SUPPORTED ARTISTS WORKING IN VIDEO. THE VIDEO WORKS FROM THE COLLECTION REPRESENT A CROSS-SECTION OF THE APPROACHES THAT ARTISTS TAKE TO THE MEDIUM TODAY, INCLUDING DIGITAL ANIMATION, CINEMA VERITE-STYLE DOCUMENTARY, AND ELEGIAC PORTRAITURE. DRAWN ON A COMPUTER AND PROJECTED ONTO THE GALLERY FLOOR FOR THE DURATION OF THE EXHIBITION, PAUL CHAN'S DIGITAL ANIMATION 1ST LIGHT, 2005, SHOWS THE VIEW FROM A WINDOW OF A WORLD THAT UNRAVELS OVER THE COURSE OF A DAY. SET AGAINST A BACKDROP OF SHIFTING LIGHT AND COLOR THAT VISUALLY TRACES THE PASSAGE FROM DAWN TO DUSK, A PROCESSION OF SILHOUETTED BODIES FALL TOWARD THE GROUND WHILE EARTHLY OBJECTS FLOAT UP TO THE SKY, INVERTING THE BIBLICAL STORY OF THE RAPTURE. ON VIEW FROM AUGUST 17, 2016, THROUGH OCTOBER 2, 2016, SHARON HAYES'S RICERCHE: THREE, 2013, INSPIRED BY PIER PAOLO PASOLINI'S 1963 CINEMA VERITE FILM COMIZI D'AMORE (LOVE MEETINGS), FEATURES THE ARTIST INTERVIEWING A GROUP OF MOUNT HOLYOKE COLLEGE STUDENTS ON ISSUES OF GENDER AND SEXUAL IDENTITY. RECORDING DISCUSSION AND DISAGREEMENT, THE FILM CREATES A UNIQUE PORTRAIT OF INDIVIDUAL VIEWPOINTS IN A COLLECTIVE CONTEXT. ON VIEW FROM OCTOBER 8, 2016, THROUGH JANUARY 16, 2017, RAGNAR KJARTANSSON'S THE MAN, 2010, SHOWS AMERICAN BLUES MUSICIAN PINETOP PERKINS SITTING AT AN UPRIGHT PIANO IN A FIELD NEXT TO AN ABANDONED FARMHOUSE, CYCLING THROUGH SONGS INTERSPERSED WITH COMMENTARY. THE VIDEO DOCUMENTS AN UNEDITED PERFORMANCE BY THE MUSICIAN TOWARD THE END OF HIS LIFE, WHILE ACKNOWLEDGING THE COMPLEX HISTORY OF THE CELEBRATION AND EXPLOITATION OF BLACK MUSICIANS BY WHITE PEOPLE. ORGANIZED BY JEFFREY DE BLOIS, CURATORIAL ASSISTANT. THE FREEDOM OF INFORMATION, PART OF FIRST LIGHT: A DECADE OF COLLECTING AT THE ICA OCT 8, 2016 - JAN 16, 2017, FOTENE DEMOULAS GALLERY THE FREEDOM OF INFORMATION IS A CONCISE EXHIBITION OF ARTWORKS THAT EMPLOY STRATEGIES OF APPROPRIATION, FROM REPURPOSING OR REPHOTOGRAPHING MASS MEDIA IMAGES TO REFERENCING OR COPYING OBJECTS FROM ART HISTORY AND CONSUMER CULTURE. THE EXHIBITION TRACES A LINEAGE OF ARTISTIC APPROPRIATION THAT ACCOUNTS FOR THE VARIETY OF ITS DIFFERENT HISTORICAL AND CONTEMPORARY MODELS. HERE, AN INTERGENERATIONAL GROUP OF ARTISTS "TAKE" MATERIALS, OFTEN WITHOUT PERMISSION, FROM SOURCES SUCH AS BOOKS, POSTCARDS, TELEVISION, OR ART-SPECIFIC CONTEXTS AND MANIPULATE THEM WITH CAMERAS, PRINTERS, SCANNERS, OR OTHER MODES OF REPRODUCTION AND DISPLAY. WHILE THESE ARTISTIC STRATEGIES DATE BACK TO AT LEAST THE EARLY TWENTIETH CENTURY (SEE THE READYMADE, COLLAGE, AND MONTAGE), IT WAS IN THE 1970S AND '80S THAT THE CRITICAL TERMS OF THESE IDEAS WERE ESTABLISHED IN THE CONTEXT OF A NEW GENERATION OF INFLUENTIAL ARTISTS. THROUGH LANDMARK EXHIBITIONS SUCH AS PICTURES, AN EXHIBITION HELD AT THE ARTIST-RUN GALLERY ARTISTS SPACE IN NEW YORK IN 1977 THAT HELPED DEFINE THIS GROUP AS THE SO-CALLED PICTURES GENERATION, OR ENDGAME: REFERENCE AND SIMULATION IN RECENT PAINTING, ORGANIZED BY THE ICA/BOSTON IN 1986, ARTISTIC APPROPRIATION WAS THEORIZED AS A MEANS TO ACCOUNT FOR THE CHANGING STATUS OF THE IMAGE AND THE OBJECT, ESPECIALLY IN RELATION TO RADICAL SHIFTS IN THE ECONOMY AND CULTURE. CRITICAL THEORY WAS CENTRAL TO THE DISCOURSE ON POSTMODERNISM AT THAT TIME-TEXTS THAT HAD RECENTLY BEEN TRANSLATED INTO ENGLISH SUCH AS ROLAND BARTHES'S "THE DEATH OF THE AUTHOR" (1967) AND JEAN BAUDRILLARD'S SIMULACRA AND SIMULATION (1981) WERE INFLUENTIAL-AND ARTISTS AND CRITICS INVESTED IN THIS DISCOURSE MADE APPROPRIATION A DOMINANT STRATEGY. IN THIS CONTEXT, DIFFERENT APPROPRIATIVE MODES WERE USED TO QUESTION IDEAS ABOUT ORIGINALITY AND AUTHENTICITY, AND IN THE PROCESS SOUGHT TO REVEAL AND CRITIQUE POWER STRUCTURES UNDERLYING SOCIAL AND CULTURAL DYNAMICS. THE LONG HISTORY OF ARTISTIC APPROPRIATION CONTINUES TODAY, NOW AS A SET OF DIVERGENT PRACTICES FULLY EMBEDDED IN CONTEMPORARY ART, WHOSE FORMS ARE SHIFTING WITH NEW URGENCY THANKS ESPECIALLY TO THE MASSIVE DISSEMINATION OF IMAGES ON THE INTERNET. LIKEWISE, INSTANCES OF CULTURAL APPROPRIATION, THE USE OR MISUSE OF ELEMENTS FROM ONE CULTURE BY ANOTHER, TAKE ON NEW SIGNIFICANCE IN RAPIDLY CHANGING SITUATIONS THAT REQUIRE THOUGHTFUL CONSIDERATION. ORGANIZED BY JEFFREY DE BLOIS, CURATORIAL ASSISTANT. FORM 990, PART III, LINE 4A LOUISE BOURGEOIS, PART OF FIRST LIGHT: A DECADE OF COLLECTING AT THE ICA OCT 8, 2016 - JAN 16, 2017, FOTENE DEMOULAS GALLERY ONE OF THE MOST INFLUENTIAL ARTISTS OF THE TWENTIETH CENTURY, LOUISE BOURGEOIS WORKED FOR OVER SEVENTY YEARS IN A WIDE VARIETY OF MATERIALS, INCLUDING BRONZE, FIBER, MARBLE, RUBBER, AND WOOD, TO CREATE A DISTINCTIVE AND EXPANSIVE BODY OF WORK. BOURGEOIS DELVED INTO CHILDHOOD MEMORIES AND THE STRUGGLES OF EVERYDAY LIFE TO MAKE PERSONALLY CATHARTIC OBJECTS THAT REFERENCE THE BODY, SEXUALITY, FAMILY, TRAUMA, AND ANXIETY. SINCE PRESENTING THE MAJOR EXHIBITION BOURGEOIS IN BOSTON IN 2007, THE ICA/BOSTON HAS ACQUIRED MANY OF HER ARTWORKS. THIS FOCUSED PRESENTATION OFFERS AN OPPORTUNITY TO LOOK CLOSELY AT BOURGEOIS'S WORK IN SCULPTURE, DRAWING, AND PRINTMAKING AND TO REVEL IN THE COMPLEX DUALITIES THAT HAVE SHAPED HER OUTPUT. ORGANIZED BY RUTH ERICKSON, ASSOCIATE CURATOR. THE ARTIST'S MUSEUM NOV 16, 2016 - MAR 26, 2017, WEST GALLERY THE DESIRE TO COLLECT OBJECTS AND IMAGES OF PERSONAL SIGNIFICANCE, AND TO MAKE CONNECTIONS BETWEEN THEM, IS A NEARLY UNIVERSAL HUMAN EXPERIENCE. FOR CENTURIES, ARTISTS HAVE COLLECTED ARTWORKS, ALONG WITH DIVERSE CULTURAL ARTIFACTS AND NATURAL MATERIALS, AS VITAL SOURCES OF INSPIRATION AND TO CREATE HIGHLY INDIVIDUALIZED MODELS OF THEIR WORLD. THE ARTIST'S MUSEUM BEGINS WITH THIS IMPULSE TO COLLECT AND CONNECT, BRINGING TOGETHER LARGE-SCALE INSTALLATIONS, PHOTOGRAPHY, FILM, AND VIDEOS THAT EMPLOY ARTWORKS FROM THE PAST AS MATERIAL IN THE PRESENT, ANIMATING EXISTING ARTWORKS, IMAGES, AND HISTORIES TO REVEAL ART'S UNEXPECTED RELATIONSHIPS AND AFFINITIES. EACH OF THE ARTISTS IN THE ARTIST'S MUSEUM REIMAGINES THE LIVES OF ARTWORKS AND CHARTS RECURRING FORMS AND THEMES ACROSS CULTURES AND HISTORY. THEY TWEAK THE LANGUAGE OF MUSEUM DISPLAY AND ORGANIZATION TO ENGAGE A VARIETY OF DISCIPLINES AND SUBJECTS, FROM DANCE, MUSIC, AND DESIGN TO GENDER, SEXUALITY, AND TECHNOLOGY. WORKS IN THE EXHIBITION INCLUDE THE EARTH IS A MAGNET, 2016, A MAJOR NEW COMMISSION BY ANNA CRAYCROFT THAT BRINGS THE PHOTOGRAPHY, BIOGRAPHY, AND INVENTIONS OF BERENICE ABBOTT, FAMED FOR BOTH HER STREET PHOTOGRAPHY AND RIGOROUSLY SCIENTIFIC IMAGES MADE AT MIT, TOGETHER WITH VIDEO, SCULPTURE, AND PHOTOGRAPHY BY A GROUP OF CRAYCROFT'S PEERS, INCLUDING FIA BACKSTROM, KATHERINE HUBBARD, MATT KEEGAN, JILL MAGID, MPA, LUCY RAVEN, MIKA ROTTENBERG, A. L. STEINER, AND ERIKA VOGT. ROSA BARBA'S LUSH 35MM FILM THE HIDDEN CONFERENCE: ABOUT THE DISCONTINUOUS HISTORY OF THINGS WE SEE AND DON'T SEE, 2010, IMAGINES A NARRATIVE IN WHICH PAINTINGS AND SCULPTURES IN STORAGE AT BERLIN'S NEUE NATIONALGALERIE SERVE AS PROTAGONISTS. CHRISTIAN MARCLAY'S SIXTEEN-MONITOR VIDEO INSTALLATION SHAKE RATTLE AND ROLL (FLUXMIX), 2004, FEATURES THE ARTIST LITERALLY PLAYING THE WALKER ART CENTER'S FLUXUS COLLECTION. CAROL BOVE'S SCULPTURAL MEDITATION ON THE LATENT ENERGIES OF DISPLAY, LA TRAVERS E DIFFICILE (THE DIFFICULT CROSSING), 2008, MARSHALS RENE MAGRITTE AND GERALD HEARD AS INSPIRATIONS FOR A MINI-ENCYCLOPEDIC MUSEUM. RACHEL HARRISON'S PHOTOGRAPHIC SERIES VOYAGE OF THE BEAGLE, 2007, SURVEYS HUMAN AND ANIMAL FORMS ACROSS SCULPTURAL MANIFESTATIONS RANGING FROM TAXIDERMY TO MANNEQUINS, SIGNS, AND PUBLIC ART. MARK LECKEY'S UNCANNY MOVING-IMAGE WORK CINEMA-IN-THE-ROUND, 2008, DEVELOPS UNEXPECTED CONNECTIONS BETWEEN ARTWORKS, MEDIA TECHNOLOGY, AND POPULAR CULTURE ACROSS TIME AND SPACE, BOTH REAL AND VIRTUAL. PIERRE LEGUILLON ACCOMPANIES A COLLECTION OF ARTWORKS AND PHOTOGRAPHS OF DANCERS WITH A LIGHTSHOW AND SOUNDTRACK BY AMY WINEHOUSE IN LA GRANDE EVASION (THE GREAT ESCAPE), 2012. THE ARTIST'S MUSEUM LOCATES THESE DIVERSE WORKS WITHIN A CULTURAL MOMENT AND ARTISTIC IMPULSE BOOKENDED BY THE HISTORICAL CABINET OF CURIOSITIES AND 20TH CENTURY IMAGE LIBRARIES, AND OUR CURRENT ERA OF THE HYPERLINK AND CIRCULATION OF DIGITAL IMAGES. EACH ARTWORK RECONFIGURES ESTABLISHED NARRATIVES, ASKING EACH OF US TO FIND OUR PLACE AMONGST NEWLY IMAGINED WORLDS. A FULLY ILLUSTRATED CATALOGUE FEATURES TEXTS BY BYERS, CLAIRE BISHOP, LYNNE COOKE, AND INGRID SCHAFFNER, AS WELL AS A HISTORICAL COMPENDIUM OF INFLUENTIAL 20TH-CENTURY ARTWORKS AND EXHIBITIONS THAT PROVIDE IMPORTANT PRECEDENT TO THE WORKS IN THE EXHIBITION. THE ARTIST'S MUSEUM FEATURES WORKS BY ROSA BARBA, CAROL BOVE, ANNA CRAYCROFT, RACHEL HARRISON, LOUISE LAWLER, MARK LECKEY, PIERRE LEGUILLON, GOSHKA MACUGA, CHRISTIAN MARCLAY, XAVIERA SIMMONS, ROSEMARIE TROCKEL, AND SARA VANDERBEEK. ORGANIZED BY DAN BYERS, MANNION FAMILY SENIOR CURATOR, WITH JEFFREY DE BLOIS, CURATORIAL ASSOCIATE. 2017 JAMES AND AUDREY FOSTER PRIZE FED 15 - JUL 9, 2017, PAUL AND CATHERINE BUTTENWIESER AND FOTENE DEMOULAS GALLERIES THE JAMES AND AUDREY FOSTER PRIZE IS KEY TO THE ICA'S EFFORTS TO NURTURE AND RECOGNIZE BOSTON-AREA ARTISTS OF EXCEPTIONAL PROMISE. FIRST ESTABLISHED IN 1999, THE JAMES AND AUDREY FOSTER PRIZE (FORMERLY THE ICA ARTIST PRIZE) EXPANDED ITS FORMAT WHEN THE MUSEUM OPENED ITS NEW FACILITY IN 2006. JAMES AND AUDREY FOSTER, PASSIONATE COLLECTORS AND SUPPORTERS OF CONTEMPORARY ART, ENDOWED THE PRIZE, ENSURING THE ICA'S ABILITY TO SUSTAIN AND GROW THE PROGRAM FOR YEARS TO COME. THE 2017 PRIZE AND EXHIBITION WILL FEATURE THE WORK OF SONIA ALMEIDA, JENNIFER BORNSTEIN, LUCIEN CASTAING-TAYLOR AND VERENA PARAVEL, AND LUCY KIM-ARTISTS WORKING AT A NATIONAL AND INTERNATIONAL LEVEL WHOSE WORK HAS RECEIVED LIMITED EXPOSURE HERE IN BOSTON. IN MEDIA INCLUDING PAINTING, SCULPTURE, PRINTMAKING, FILM, AND VIDEO, AND EXPLORING A RANGE OF THEMES AND SUBJECTS, EACH OF THE ARTISTS ENGAGE THE HUMAN BODY WITH A TACTILE APPROACH TO ITS CULTURAL, PSYCHOLOGICAL, AND HISTORICAL RESONANCES. EACH OF THE ARTISTS WILL PRESENT A MAJOR WORK, OR GROUP OF WORKS, ON VIEW FOR THE FIRST TIME IN BOSTON. CENTRAL TO THE EXHIBITION, THIS ITERATION OF THE JAMES AND AUDREY FOSTER PRIZE FEATURES A NEW PROGRAM, THE FOSTER TALKS, ENABLING AUDIENCES TO ENGAGE MORE DEEPLY IN THE WORK AND PRACTICE OF THE PRIZE WINNERS. OVER THE COURSE OF THE EXHIBITION, EACH ARTIST WILL PRESENT THEIR WORK AND INVITE AN IMPORTANT WRITER, ARTIST, PERFORMER, RESEARCHER, OR OTHER CULTURAL PRODUCER WHO HAS INFLUENCED THEIR ARTWORK, OR WHOSE OWN WORK RESONATES WITH THE ARTIST'S. THE CONVERSATIONS WILL BE FOLLOWED BY A FREE RECEPTION, OPEN TO THE PUBLIC. THE FOSTER TALKS WILL CONNECT QUESTIONS AROUND CONTEMPORARY ART TO A BROAD RANGE OF CULTURAL, INTELLECTUAL, AND POLITICAL ISSUES, CREATING RELATIONSHIPS BETWEEN ART AND DIFFERENT FIELDS. ORGANIZED BY DAN BYERS, MANNION FAMILY SENIOR CURATOR, WITH JEFFREY DE BLOIS, CURATORIAL ASSOCIATE. NARI WARD: SUN SPLASHED APR 26 - SEP 4, 2017, WEST GALLERY NARI WARD: SUN SPLASHED IS THE LARGEST SURVEY OF THE ARTIST'S WORK TO DATE. EMERGING ALONGSIDE A NOTABLE GROUP OF BLACK ARTISTS IN NEW YORK CITY IN THE 1990S, NARI WARD (B. 1963 IN ST. ANDREW PARISH, JAMAICA) ACTIVELY ENGAGES WITH LOCAL SITES-THEIR HISTORIES, COMMUNITIES, AND ECONOMIES-TO CREATE SPECTACULAR, AMBITIOUSLY SCALED ARTWORKS OUT OF UNLIKELY MATERIALS. HE DERIVES INSPIRATION FROM HIS IMMEDIATE ENVIRONMENT, INCORPORATING FOUND OBJECTS GATHERED IN AND AROUND URBAN NEIGHBORHOODS AND EMBRACING VARIED CULTURAL REFERENCES. WORKING IN SCULPTURE, COLLAGE, PHOTOGRAPHY, VIDEO, INSTALLATION, AND PERFORMANCE, WARD CAPTURES THE MAKESHIFT QUALITIES OF EVERYDAY LIFE AND IMBUES HIS PRODUCTION WITH A VISCERAL RELATIONSHIP TO HISTORY AND THE REAL WORLD. THE EXHIBITION INCLUDES ARTWORKS MADE FROM SODA POP, SHOELACES, SHOPPING CARTS, AND A FIRE ESCAPE, MATERIALS THAT SPEAK TO THE ARTIST'S DISTINCTIVE EXPERIMENTATION. NARI WARD: SUN SPLASHED FOCUSES ON VITAL POINTS OF REFERENCE FOR WARD, INCLUDING HIS NATIVE JAMAICA, CITIZENSHIP, AND MIGRATION, AS WELL AS AFRICAN-AMERICAN HISTORY AND CULTURE, TO EXPLORE THE DYNAMICS OF POWER AND POLITICS IN SOCIETY. ORGANIZED BY PEREZ ART MUSEUM MIAMI ASSOCIATE CURATOR DIANA NAWI. THE BOSTON PRESENTATION IS COORDINATED BY RUTH ERICKSON, ASSOCIATE CURATOR, THE INSTITUTE OF CONTEMPORARY ART/BOSTON, WITH JESSICA HONG, CURATORIAL ASSOCIATE. FORM 990, PART III, LINE 4C - UNIVERSITY OF MASSACHUSETTS BOSTON / URBAN SCHOLARS - MAPS - DEPARTMENT OF YOUTH ENGAGEMENT AND EMPLOYMENT - AMERICAN REPARATORY THEATER TOUR PROGRAMS: OUR PUBLIC AND PRIVATE TOUR PROGRAMS SERVED THE FOLLOWING NUMBER OF PARTICIPANTS IN FY17: 12,168 TEENS: TEEN PROGRAMS SERVED A TOTAL OF 3,802 THROUGH THE PROGRAMS LISTED BELOW. TEEN NIGHTS, ART HAPPENINGS ORGANIZED AND PROMOTED FOR TEENS BY TEENS, SERVED 1,965 TEENS. EDUCATIONAL RESOURCES AND STUDENT FILMS CREATED THROUGH ICA TEEN PROGRAMS WERE ALSO ACCESSIBLE VIA THE ICATEENS.ORG WEBSITE. TEEN PROGRAMS ARTIST ENCOUNTERS - GERALD L. LEAVELL II EIGHTH ANNUAL TEEN CONVENING: AFTER THE BELL FEATURING - ART INSTITUTE OF CHICAGO, CHICAGO, IL - BROOKLYN MUSEUM, BROOKLYN, NY - THE CONTEMPORARY AUSTIN, AUSTIN, TX - CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, BENTONVILLE, AR - HIGH MUSEUM OF ART, ATLANTA, GA - INSTITUTE OF CONTEMPORARY ART/BOSTON, BOSTON, MA - LOS ANGELES COUNTY MUSEUM OF ART, LOS ANGELES, CA - OGDEN MUSEUM OF SOUTHERN ART, NEW ORLEANS, LA - ARTIST: GERALD L. LEAVELL II EXTENDED TEEN PROGRAMS - ADVANCED SATURDAY PHOTO GROUP - ICA AMP: ADVANCED MUSIC PRODUCTION - ICA SLAM TEAM - FAST FORWARD ALUMNI GROUP - FAST FORWARD - THE CURRENT PLANNING COMMITTEE (FALL AND SPRING) - TEEN ARTS COUNCIL 19 STUDENTS, FROM: - BOSTON GREEN ACADEMY - URBAN SCIENCE ACADEMY - REVERE HIGH SCHOOL - ARLINGTON HIGH SCHOOL - BOSTON DAY & EVENING ACADEMY - MCKINLEY SOUTH END ACADEMY - SNOWDEN INTERNATIONAL SCHOOL AT COPLEY - BOSTON LATIN SCHOOL - SAINT JOSEPH PREPARATORY HIGH SCHOOL - PHOENIX CHARTER ACADEMY - HOMESCHOOL - BOSTON ARTS ACADEMY - BOSTON COLLEGIATE CHARTER SCHOOL TEEN NIGHTS - LOOK AT YOURSELF / OURSELVES - ASSORTED ENTERTAINMENT - COLORFUL IMPACT - FAST FORWARD SCREENING: WINDOWPAIN TRANSCENDENCE AND DIGITAL PHOTOGRAPHY EXHIBITION: LIFE OF A PHOTO THE CURRENT - RACE AND IDENTITY - FALL 2016 - REIMAGINING POSSIBLE FUTURES - SPRING 2017 TEEN NEW MEDIA WORKSHOPS - FAST FORWARD (X2) - URBAN SCHOLARS GRAPHIC DESIGN - SUMMER 2016 - URBAN SCHOLARS MUSIC PRODUCTION - SUMMER 2016 - URBAN SCHOLARS FILM - SUMMER 2016 - URBAN SCHOLARS DIGITAL PHOTOGRAPHY - SUMMER 2016 - DIGITAL PHOTOGRAPHY ADVANCED, FOCUSED FLICKS - FALL 2016 - DIGITAL PHOTOGRAPHY BEGINNER - FALL 2016 - DIGITAL PHOTOGRAPHY INTERMEDIATE - FALL 2016 - DIGITAL PHOTOGRAPHY SPECIAL FOCUS - FALL 2016 - HOME STUDIO, BEAT MAKING 201 - FALL 2016 - AMP, ADVANCED MUSIC PRODUCTION - FALL 2016 - HOME STUDIO, BEAT MAKING 101 - FALL 2016 - DJ ACADEMY 101 - FALL 2016 - DJ ACADEMY 201 - FALL 2016 - DIGITAL PHOTOGRAPHY BEGINNER - SPRING 2017 - DIGITAL PHOTOGRAPHY INTERMEDIATE - SPRING 2017 - DIGITAL PHOTOGRAPHY SPECIAL FOCUS - SPRING 2017 - HOME STUDIO, BEAT MAKING 101 - SPRING 2017 - HOME STUDIO, BEAT MAKING 201 - SPRING 2017 - MIX AND SCRATCH DJ ACADEMY 101 - SPRING 2017 - MIX AND SCRATCH DJ ACADEMY 201 - SPRING 2017 - DIGITAL STORYTELLING - FEBRUARY VACATION WEEK 2017 - FILM SCHOOL - APRIL VACATION WEEK 2017 BOSTON PUBLIC SCHOOLS ARTS CREDIT PROGRAM PARTNERS - BOSTON COMMUNITY LEADERSHIP ACADEMY - BOSTON DAY & EVENING ACADEMY - BOSTON GREEN ACADEMY - BRIGHTON HIGH SCHOOL - CHARLESTOWN HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - EXCEL HIGH SCHOOL - ENGLISH HIGH SCHOOL - FENWAY HIGH SCHOOL - NEW MISSION HIGH SCHOOL - SNOWDEN INTERNATIONAL SCHOOL AT COPLEY TEEN EXHIBITIONS - I AM. YOU ARE. WE CAN - HARVARD GRADUATE SCHOOL OF EDUCATION, MONROE C. GUTMAN LIBRARY - MAYOR'S GALLERY, BOSTON CITY HALL MISCELLANEOUS TEEN PROGRAMS - MAPS - DYEE DREAM TEAM WORKSHOP - DYEE DREAM TEAM COMMUNITY DREAM TEAM EVENT FORM 990, PART VI, SECTION B, LINE 11B FORM 990 IS REVIEWED BY THE ICA'S CFO/COO FOR COMPLETENESS AND THEN IS FORWARDED TO THE ICA'S AUDIT COMMITTEE FOR REVIEW AND DISCUSSION WITH OUTSIDE INDEPENDENT ACCOUNTANTS. THE AUDIT COMMITTEE IS RESPONSIBLE FOR APPROVING THE FORM 990 FOR SUBMITTAL TO THE IRS. PRIOR TO SENDING THE FORM 990 TO THE IRS THE ICA'S CFO/COO WILL SEND A COPY OF THE DOCUMENT TO EACH ICA TRUSTEE. FORM 990, PART VI, SECTION B, LINE 12C EACH FALL, THE ICA REQUIRES ALL ITS TRUSTEES TO DISCLOSE ANY CONFLICT OF INTEREST ON A DISCLOSURE STATEMENT. THE PURPOSE OF THE CONFLICT OF INTEREST POLICY IS TO GIVE GUIDANCE TO THE ICA'S LEADERS ABOUT AREAS OF CONFLICT OF INTEREST SO THAT CONFLICTS, REAL OR PERCEIVED, MAY BE IDENTIFIED EARLY, DISCLOSED, AND RESOLVED APPROPRIATELY. IDEALLY, THIS POLICY WILL PROTECT THE ICA'S INTERESTS WHEN IT IS CONTEMPLATING ENTERING INTO A TRANSACTION OR ARRANGEMENT THAT MIGHT BENEFIT THE PRIVATE INTERESTS OF AN OFFICER OR TRUSTEE. IN CONNECTION WITH ANY ACTUAL OR POSSIBLE CONFLICT OF INTEREST, A FIDUCIARY SHALL DISCLOSE ALL MATERIAL FACTS TO THE PRESIDENT, CHAIRPERSON OR DIRECTOR AT THE EARLIEST POSSIBLE TIME AFTER THE SITUATION BECOMES KNOWN TO THE FIDUCIARY. THE FIDUCIARY SHALL ALSO DISCLOSE SUCH MATTERS ON AN ANNUAL BASIS AT THE TIME THE FIDUCIARY SIGNS THE ANNUAL STATEMENT OF THIS POLICY, OR OTHER REPORTING AND CERTIFICATION PROCEDURES AS THE BOARD OF TRUSTEES SHALL REQUIRE FROM TIME TO TIME. AFTER DISCLOSURE OF THE FINANCIAL INTEREST AND ALL MATERIAL FACTS, AND AFTER ANY DISCUSSION WITH THE FIDUCIARY, THE EXECUTIVE COMMITTEE OF THE BOARD SHALL FINALLY DETERMINE WHETHER ANY CONFLICT OF INTEREST EXISTS. IF THE FIDUCIARY IS PRESENT FOR THIS DISCUSSION, THEN THE FIDUCIARY SHALL LEAVE THE EXECUTIVE COMMITTEE OF THE BOARD MEETING WHILE THE DETERMINATION OF CONFLICT OF INTEREST IS DISCUSSED AND VOTED UPON. IF THE EXECUTIVE COMMITTEE OF THE BOARD DETERMINES THAT A CONFLICT EXISTS WITH RESPECT TO A TRANSACTION, THE EXECUTIVE COMMITTEE OF THE BOARD SHALL: (A)ALLOW THE FIDUCIARY TO MAKE A PRESENTATION TO THE EXECUTIVE COMMITTEE OF THE BOARD, BUT AFTER SUCH PRESENTATION, THE FIDUCIARY WITH THE FINANCIAL INTEREST SHALL LEAVE THE MEETING DURING THE DISCUSSION OF, AND THE VOTE ON, THE TRANSACTION THAT INVOLVES THE CONFLICT OF INTEREST; (B)APPOINT, IF THE EXECUTIVE COMMITTEE OF THE BOARD DEEMS IT APPROPRIATE TO DO SO, A NON INTERESTED PERSON OR COMMITTEE TO INVESTIGATE ALTERNATIVES TO THE TRANSACTION; (C)DETERMINE, BY A MAJORITY VOTE OF THE NON INTERESTED TRUSTEE MEMBERS OF THE EXECUTIVE COMMITTEE PRESENT, WHETHER THE TRANSACTION IS IN THE ICA'S BEST INTEREST AND FOR ITS OWN BENEFIT; IS FAIR AND REASONABLE TO THE ICA; AND, AFTER EXERCISING DUE DILIGENCE, DETERMINE WHETHER THE ICA CAN OBTAIN A MORE ADVANTAGEOUS TRANSACTION WITH REASONABLE EFFORTS UNDER THE CIRCUMSTANCES; AND (D)TAKE APPROPRIATE ACTION WITH RESPECT TO ANY VIOLATION OF THIS CONFLICT OF INTEREST POLICY. FORM 990, PART VI, SECTION B, LINE 15 THE COMPENSATION FOR THE DIRECTOR IS REVIEWED AND APPROVED BY THE ICA'S COMPENSATION COMMITTEE. THIS COMMITTEE ALSO REVIEWS THE COMPENSATION FOR THE ICA'S SENIOR MANAGEMENT TEAM (CHIEF OPERATING AND CHIEF FINANCIAL OFFICERS, CHIEF CURATOR, DIRECTOR OF EXTERNAL RELATIONS, DIRECTOR OF DEVELOPMENT, DIRECTOR OF EDUCATION AND DIRECTOR OF PERFORMING AND MEDIA ARTS) BUT FINAL COMPENSATION FOR THE SENIOR MANAGEMENT TEAM IS DETERMINED BY THE DIRECTOR. THE COMPENSATION COMMITTEE USES THE ANNUAL SALARY SURVEY FROM THE AMERICAN ASSOCIATION OF MUSEUM DIRECTORS AND FORM 990 DATA FROM SIMILAR ORGANIZATIONS. FORM 990, PART VI, SECTION C, LINE 19 THE ORGANIZATION MAKES ITS GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, FORM 990 (PUBLIC DISCLOSURE COPY), AND AUDITED FINANCIAL STATEMENTS AVAILABLE TO THE PUBLIC UPON REQUEST FOR THE SAME PERIOD OF DISCLOSURE AS SET FORTH IN SECTION 6104(D). IN ADDITION, THE ORGANIZATION'S FORM 990 WITHOUT SCHEDULE B IS AVAILABLE VIA GUIDESTAR AND THE MASSACHUSETTS ATTORNEY GENERAL'S WEBSITE. FORM 990, PART XI, LINE 9: LOSS ON SPLIT INTEREST AGREEMENTS 30,315.