2017-04-07T11:20:23-05:00 2016-06-30 420714325 RSM US LLP 80 CITY SQUARE BOSTON MA 021293742 990 2015-07-01 042104327 THE INSTITUTE OF CONTEMPORARY ART INC INST 6174783100 25 HARBOR SHORE DRIVE BOSTON MA 02210 JILL MEDVEDOW DIRECTOR 6174783100 2017-04-07 1 LYNNE JOHNSON P00757336 6179129000 2015 2021-01-29 14:40:06Z X ICABOSTON JILL MEDVEDOW 25 HARBOR SHORE DRIVE BOSTON MA 02210 18189256 0 X WWW.ICABOSTON.ORG X 1936 MA SEE SCHEDULE O FOR DESCRIPTION.THE MISSION OF THE INSTITUTE OF CONTEMPORARY ART (ICA) 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. 34 33 246 125 -6148 -6148 11499610 10552512 1993478 2225144 823783 645280 132414 140396 14449285 13563332 0 0 0 0 6162440 6634474 22218 26000 2904280 6686774 11293051 12871432 17953525 1577853 -4390193 89147218 83133157 6507224 5764522 82639994 77368635 X THE MISSION OF THE INSTITUTE OF CONTEMPORARY ART (ICA) 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 7649516 1312028 ART EXHIBITIONS:GALLERY PRESENTATIONS: THE ICA PRESENTED THE FOLLOWING 15 CONTEMPORARY ART EXHIBITIONS AND COMMISSIONED PROJECTS FEATURING PAINTING, DRAWING, SCULPTURE, VIDEO, INSTALLATION, AND MORE. GENERAL ADMISSION AND PRIVATE TOUR ATTENDANCE FOR THE GALLERY EXHIBITS TOTALED 160,651 VISITORS IN FY16. THE 2015 JAMES AND AUDREY FOSTER PRIZEAPR 21 - AUG 9, 2015, FOTENE DEMOULAS GALLERYPERFORMANCE, PUBLIC ART PROJECTS, AND ARTIST-RUN GALLERIES ARE ENJOYING A RESURGENCE IN BOSTON. TO GIVE THESE MOVEMENTS SPACE, EXPOSURE, AND SUPPORT, THE ICA IS - FOR THE FIRST TIME - DEVOTING THIS YEAR'S JAMES AND AUDREY FOSTER PRIZE, A BIENNIAL EXHIBITION RECOGNIZING ARTISTS OF EXCEPTIONAL PROMISE FROM GREATER BOSTON, TO PERFORMANCE AND COLLABORATIVE MODES OF ART-MAKING.TO SELECT THE EXHIBITION ARTISTS, CO-ORGANIZERS JENELLE PORTER, MANNION FAMILY SENIOR CURATOR, AND JOHN ANDRESS, ASSOCIATE DIRECTOR OF PERFORMING ARTS, MET WITH DOZENS OF ARTISTS, CURATORS, AND OTHER EXPERTS, THEN INVITED A SELECTION OF LOCAL ARTISTS AND COLLECTIVES TO SUBMIT PROPOSALS. OF THOSE, THEY CHOSE FOUR WINNERS TO REALIZE PROJECTS OF UNPRECEDENTED SCOPE AND SCALE WITH THE SUPPORT OF THE MUSEUM: RICHARD DELIMA, KIJIDOME, VELA PHELAN, AND SANDRINE SCHAEFER.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 WITH A $1 MILLION GIFT, ENSURING THE ICA'S ABILITY TO SUSTAIN AND GROW THE PROGRAM FOR YEARS TO COME.ORGANIZED BY JENELLE PORTER, MANNION FAMILY SENIOR CURATOR AND JOHN ANDRESS, CURATOR OF PERFORMING ARTS.MELEKO MOKGOSI: DEMOCRATIC INTUITIONAPR 21 - AUG 9, 2015, PAUL AND CATHERINE BUTTENWIESER GALLERYAFRICAN HISTORY MEETS WESTERN FORMS OF EXPRESSION IN THE WORK OF MELEKO MOKGOSI. WORKING FROM PHOTOS AND CLIPPINGS FROM HIS NATIVE BOTSWANA, THE NEW YORK-BASED ARTIST CREATES SCENES THAT INVESTIGATE SOUTHERN AFRICA'S PAST AND PRESENT.WHILE MOKGOSI REFERENCES HISTORY PAINTING, FILM, AND PHILOSOPHY TO CREATE HIS POWERFUL WORKS, THE RESULTS ARE DISTINCTIVELY HIS. KEENLY REALISTIC DEPICTIONS OF PEOPLE, DOMESTIC DOGS, AND ANIMALS NATIVE TO AFRICA FADE INTO MORE ABSTRACT SETTINGS, OR EVEN OPEN WHITE SPACE. MONUMENTAL AND HUNG IN IMMEDIATE, FILMSTRIP-LIKE SUCCESSION, THESE IMAGES CHALLENGE COMMON UNDERSTANDINGS OF HISTORY, COUNTRY, AND REPRESENTATION.IN DEMOCRATIC INTUITION, MOKGOSI WILL PRESENT A NEW BODY OF WORK CREATED ESPECIALLY FOR THE EXHIBITION. DIVIDED INTO FIVE SECTIONS, THE WORKS OFFER FIVE DIFFERENT PERSPECTIVES ON DEMOCRACY.THE SERIES TITLE REFERS TO A LECTURE BY PHILOSOPHER AND ACTIVIST GAYATRI CHAKRAVORTY SPIVAK, WHO SUGGESTS THAT TO RECOGNIZE THE ABILITY OF OTHER INDIVIDUALS AND THEIR CHILDREN TO THINK ABSTRACTLY AND TAKE PART IN CIVIC LIFE IS INHERENTLY DEMOCRATIC. MOKGOSI IS INTERESTED IN THE PURSUIT OF RECOGNITION AS BOTH A PRIMARY GOAL OF SUPPRESSED PEOPLES AND THE ESSENCE OF ARTISTIC EXPRESSION.MOKGOSI CURRENTLY LIVES IN NEW YORK. HIS WORK HAS BEEN EXHIBITED AT INSTITUTIONS SUCH AS THE BOTSWANA NATIONAL GALLERY, THE STUDIO MUSEUM IN HARLEM, AND THE YERBA BUENA CENTER FOR THE ARTS. HE WAS FEATURED IN THE ARMAND HAMMER MUSEUM OF ART AND CULTURAL CENTER'S FIRST MADE IN L.A. BIENNIAL IN 2012, WHERE HE RECEIVED THE PRESTIGIOUS MOHN AWARD. THIS IS HIS FIRST SOLO MUSEUM EXHIBITION.ORGANIZED BY ANNA STOTHART, ASSISTANT CURATOR.ARLENE SHECHET: ALL AT ONCEJUN 10 - SEP 7, 2015, WEST GALLERYTHE FIRST MUSEUM SURVEY OF SCULPTOR ARLENE SHECHET, THIS MAJOR EXHIBITION FEATURES OVER 150 OBJECTS THAT TRACE THE DEVELOPMENT OF HER INNOVATIVE PRACTICE OVER THE PAST 20 YEARS. FOR HER ENTIRE CAREER, SHECHET HAS EMBRACED AN EXPERIMENTAL APPROACH TO SCULPTURE, FINDING FORM IN THE CHANCE PROCESSES THAT OCCUR AS MUTABLE MATERIALS - SUCH AS PLASTER, CERAMIC, PAPER PULP AND GLASS-BECOME SOLID. HER EXHILARATING, POLYMORPHIC SCULPTURES TEST THE LIMITS OF COLOR AND GLAZE, CREATING HIGHLY VISCERAL SURFACES AND PAINTERLY EFFECTS.SHECHET HAS, OVER THE LAST DECADE, GENERATED A BODY OF WORK REMARKABLE FOR ITS USE OF CLAY. FASCINATED BY THE MATERIAL'S HISTORY, SHECHET RECENTLY COMPLETED A RESIDENCY AT THE RENOWNED MEISSEN PORCELAIN MANUFACTORY. THE RESULTING BODY OF WORK - INCLUDING MASH-UPS OF FUNCTIONAL OBJECTS AND WHIMSICAL FIGURINES - SHOW AN ARTIST AT THE TOP OF HER FORM: RECASTING CENTURIES OLD TRADITIONS INTO HER OWN MOLD.ORGANIZED BY JENELLE PORTER, MANNION FAMILY SENIOR CURATOR.ETHAN MURROW: SEASTEAD JUL 11, 2015 - NOV 27, 2016, SANDRA AND GERALD FINEBERG ART WALLIN THE NINE YEARS SINCE THE ICA OPENED ON THE WATERFRONT, CURATORS HAVE INVITED A SERIES OF LEADING CONTEMPORARY ARTISTS TO PROPOSE AND REALIZE MONUMENTAL, SITE-SPECIFIC WORKS ON THE MUSEUM'S SPRAWLING SANDRA AND GERALD FINEBERG ART WALL.IN CONSIDERING WHOM TO FEATURE NEXT, PROJECT CURATOR RUTH ERICKSON SAYS SHE WAS DRAWN TO BOSTON ARTIST ETHAN MURROW'S VIRTUOSIC DRAWING ABILITY AND HIS "LONGSTANDING INTEREST IN LANDSCAPES AS SUBJECTS OF IMMENSE BEAUTY AND POWER." A PROFESSOR OF PAINTING AT THE SCHOOL OF THE MUSEUM OF FINE ARTS, MURROW IS WELL KNOWN FOR PHOTO-REALISTIC GRAPHITE DRAWINGS THAT COMBINE FOUND AND INVENTED IMAGERY TO FORM UNEXPECTED SCENES DRENCHED WITH HUMOR AND IRONY. HE DESCRIBES HIMSELF AS A STORYTELLER INSPIRED BY SUCH SOURCES AS AMERICAN LANDSCAPE PAINTING, 19TH-CENTURY INVENTORS, MOBY DICK, AND HIS CHILDHOOD EXPERIENCES GROWING UP ON A FARM IN RURAL VERMONT. "I MAKE WORK THAT DEALS WITH THE TENDER LINE BETWEEN THE FOOL AND THE GENIUS AND SITUATIONS THAT EXAMINE THE FRAGILE, ABSURD, AND INTRACTABLE FACT OF OUR OWN MISSTEPS UPON THE LAND AND AMONGST ONE ANOTHER," HE SAYS.IN RECENT YEARS, MURROW HAS UNDERTAKEN A SERIES OF INCREASINGLY AMBITIOUS WALL DRAWINGS. THESE LARGE-SCALE TEMPORARY PIECES IN BALLPOINT PEN OR MARKER EXPAND THE ARTIST'S LABORIOUS DRAWING PROCESS INTO THE REALMS OF INSTALLATION AND ARCHITECTURE.FOR HIS ORIGINAL WORK AT THE ICA, ERICKSON ASKED HIM TO THINK ABOUT AND RESPOND TO THE ICA AS A SITE WITHIN A RAPIDLY CHANGING CITY AND LANDSCAPE.ORGANIZED BY RUTH ERICKSON, ASSOCIATE CURATOR.TRANSCENDING MATERIAL: ICA COLLECTIONJUL 23, 2015 - JUL 17, 2016, KIM AND JIM PALLOTTA GALLERYSCULPTURE TODAY IS AN EXPANSIVE MEDIUM THAT INCLUDES A RANGE OF PHENOMENA, FORMS, TECHNIQUES, AND MATERIALS; THE CATEGORY INCLUDES DISCRETE OBJECTS, INSTALLATIONS, STAGED VIDEO DISPLAYS, AND EVEN PERFORMANCE. THIS DISPLAY OF COLLECTION WORKS BRINGS TOGETHER PIECES BY A VARIETY OF ARTISTS WHO HAVE USED COMMONPLACE MATERIALS IN NEW WAYS. MANY EMPLOY EVERYDAY MATERIALS SUCH AS PINS, GLASS, AND WOOD, TRANSCENDING THEIR ORIGINAL FUNCTION TO SUGGEST NEW MATERIAL ASSOCIATIONS. OTHERS USE FOUND OBJECTS AND IMAGES TO INVESTIGATE SOCIO-POLITICAL CONTEXTS, CREATING NEW NARRATIVES FOR THOSE OBJECTS.YET OTHER ARTISTS PROBE THE COMPLEX RELATIONSHIP OF RENDERING THREE-DIMENSIONAL FORMS IN TWO-DIMENSIONAL MOVING AND STILL IMAGE. THESE THEMATIC THREADS, AMONG OTHERS, REFLECT THE EXPANSIVE VITALITY AND DIVERSITY OF OBJECT-MAKING TODAY. INCLUDED WILL BE WORKS FROM MARK BRADFORD, TAYLOR DAVIS, TARA DONOVAN, KADER ATTIA, RACHEL HARRISON, CHARLES LEDRAY, ROY MCMAKIN, AND JOSIAH MCELHENY, AMONG OTHERS.ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATORMONA HATOUMAUG 26 - NOV 29, 2015, PAUL AND CATHERINE BUTTENWIESER GALLERYOVER THE PAST THREE DECADES, LEBANESE-BORN PALESTINIAN ARTIST MONA HATOUM (B. 1952, BEIRUT) HAS EXPLORED THE FINE LINE BETWEEN THE FAMILIAR AND THE UNCANNY IN HER VISCERAL BODY OF WORK. THROUGH THE JUXTAPOSITION OF CONTRADICTORY MATERIALS, CHANGES OF SCALE, OR THE INTRODUCTION OF UNCHARACTERISTIC ELEMENTS, SHE INFUSES COMMONPLACE AND EVEN BANAL OBJECTS WITH AN ELEMENT OF DANGER, REFERENCES TO VIOLENCE, OR THE CAPABILITY TO INFLICT BODILY HARM. IN DOING SO, HATOUM ENGAGES THE TACTILE IMAGINATION, HER SCULPTURES, PHOTOGRAPHS, AND VIDEOS INCITE VIEWERS TO IMAGINE THEIR OWN BODIES IN RELATION TO THESE UNRULY OBJECTS. THE MYRIAD AND OFTEN-CONFLICTING ALLUSIONS SPEAK BOTH TO THE HISTORY OF CONFLICT IN THE ARTIST'S HOMELAND AND TO THE COMFORT AND SAFETY PROVIDED BY THE DOMESTIC REALM. MONA HATOUM IS DRAWN ENTIRELY FROM THE ICA'S BARBARA LEE COLLECTION OF ART BY WOMEN.ORGANIZED BY BRYAN BARCENA, CURATORIAL ASSISTANT. 1552310 208210 PERFORMING AND MEDIA ARTS:THE ICA PRESENTS SOME OF THE MOST TALENTED AND FORWARD LOOKING CHOREOGRAPHERS, MUSICIANS, THEATER COMPANIES AND GENRE BENDING ARTISTS FROM BOSTON AND THE REST OF THE WORLD. IN FY16 WE PRESENTED 46 PERFORMANCES BY THE FOLLOWING PERFORMERS, ARTISTS AND ENSEMBLE COMPANIES. ATTENDANCE AT THESE PERFORMANCES TOTALED 16,421. DANCE/THEATER- FAYE DRISCOLL: THANK YOU FOR COMING: ATTENDANCE- THE BANG GROUP: NUT/CRACKED- DANIEL MCCUCKER DANCE PROJECTS, NAVARASA DANCE THEATER, JEAN APPOLON EXPRESSIONS, WENDY JEHLEN AND LACINA COULIBALY: DANCE! DANCE! DANCE! DANCE!- TRAJAL HARRELL: ANTIGONE SR./TWENTY LOOKS OR PARIS IS BURNING AT THE JUDSON CHURCH (L)- A CANARY TORSI: COURT/GARDEN- WORLD MUSIC/CRASHARTS PRESENTS - DOUG VARONE AND DANCERS: RECOMPOSED, THE FABULIST, AND LUX - THIS IS TANGO NOW: CARMEN... DE BUENOS AIRES - COMPAGNIE HERVE KOUBI: CE QUE LE JOUR DOIT A LA NUIT (WHAT THE DAY OWES THE NIGHT) - COMPANHIA URBANA DE DANCAMUSIC- HARBORWALK SOUNDS PERFORMANCES: - MAD SATTA - RIPE - OH MALO / LILY BURNS - WAMBURA MITARU AND THE MAUA - COVEY - ZAHILI GONZALEZ ZAMORA PROJECT - GREY SEASON - IRIS LUNE- WAVELENGTHS PERFORMANCES: - MARTHA WAINWRIGHT/ZS - HOW TO DRESS WELL - !!! (DJ SET) - PICO PICANTE/OTTO VON SCHIRACH - LUCIUS - MYKKI BLANCO - KINGDOM- JOHN ZORN'S SIMULACRUM- ENSEMBLE INTERCONTEMPORAIN: JOHN CAGE AND PIERRE BOULEZ: CORRESPONDENCE- KID KOALA: NUFONIA MUST FALL- KID KOALA (DJ SET)- RUDRESH MAHANTHAPPA: BIRD CALLS- ASAF AVIDAN: INTO THE LABYRINTH- SOUND ICON, CONDUCTED BY JEFFREY MEANS, PERFORM PIERRE BOULEZ'S ANTHEMES 2, BEAT FURRER'S GASPRA AND ARIA, AND TRISTAN MURAIL'S L'ESPRIT DES DUNES- THE JACK QUARTET PERFORM CHAYA CZERNOWIN'S HIDDEN AND JONATHAN HARVEY'S 4TH QUARTETSPECIAL EVENTS- JESSE KAMINSKY: FIELD SERVICE RADIO- SANDRINE SCHAEFER: EXERCISES IN PROXIMITY-SEE/SEA- KIJIDOME: HELLO FOLLY, PERFORMED BY PAT OLESZKO- VELA PHELAN: OBSCURUS NOVENAS: VIII. OBSCURUS COMMONEO- RICARDO DE LIMA: ALL VISUAL BOSTON- RICARDO DE LIMA: ADJUNCT COMMUTER WEEKLY LAUNCH- VELA PHELAN: OBSCURUS NOVENAS: IX. OBSCURUS EXITUS- SANDRINE SCHAEFER: EXERCISES IN ARCHIVING-GIVING/LEAVING- BOSTON CONSERVATORY STUDENTS PERFORM EXCERPTS OF WORK BY MERCE CUNNINGHAM- PERFORMANCE BY HARVARD STUDENTS EXPERIMENTING WITH CUNNINGHAM CHOREOGRAPHIC IDEAS- THEATER PIECE NO.1 X 50: MUSIC LISTENS BACK- THEATER PIECE NO.1 X 50: THEATER PIECE NO.1 REVISITED- POLLY MOTLEY PERFORMS KATHERINE LITZ'S THE GLYPH- THEATER PIECE NO.1 X 50: POETS IN EXPHRASIS- THEATER PIECE NO.1 X 50: PERFORMANCE ART WORKSHOP- THEATER PIECE NO.1 X 50: PASSING TIME- ELAINE ROMBOLA PERFORMS SELECTIONS FROM JOHN CAGE'S SONATAS AND INTERLUDES- SILAS RIENER PERFORMS MERCE CUNNINGHAM'S CHANGELING- WALID RAAD: SCRATCHING ON THINGS I COULD DISAVOW: WALKTHROUGH- ON DISPLAY: A MOVEMENT INSTALLATION BY HEIDI LATSKYIN FY16 WE PRESENTED 38 SCREENINGS OF THE FOLLOWING FILMS. ATTENDANCE AT THESE SCREENINGS TOTALED 4,072. FILM- THE SECRET IN THEIR EYES - JOSE CAMPANELLA- PEGGY GUGGENHEIM: ART ADDICT - LISA IMMORDINO VREELAND- HERE COME THE VIDEOFREEX! - JON NEALON AND JENNY RASKIN- BOSTON JEWISH FILM FESTIVAL: - SHORTS PROGRAM - BULGARIAN RHAPSODY - IVAN NICHEV - CENSORED VOICES - MOR LOUSHY - THOSE PEOPLE - JOEY KUHN - RABIN IN HIS OWN WORDS - EREZ LAUFER - NAN GOLDIN: I REMEMBER YOUR FACE - SABINE LIDL - DO YOU BELIEVE IN LOVE? - DAN WASSERMAN- STATION TO STATION - DOUG AITKEN- BRITISH ARROWS - BRITISH TELEVISION ADVERTISING AWARDS- BEST OF THE OTTAWA INTERNATIONAL FILM FESTIVAL- SUNDANCE FILM FESTIVAL SHORTS- OSCAR-NOMINATED SHORT FILMS: LIVE ACTION, ANIMATION, AND DOCUMENTARY PROGRAMS- BLACK RADICAL IMAGINATION, TOURING SHORT FILM PROGRAM CURATED BY ERIN CHRISTOVALE AND AMIR GEORGE, PRESENTED IN COLLABORATION WITH SWEETY'S- DISTANT - ZHENGFAN YANG- MONSOON, PRAYERS, AND NEW ROUTES: URBAN ISLAND ACROSS THE INDIAN OCEAN AND BEYOND, SHORT FILM PROGRAM CURATED BY GEOFFREY FARMER- EVA HESSE - MARCIE BEGLEITER- OPENING OF THE NATIONAL CENTER FOR JEWISH FILM'S 19TH ANNUAL FILM FESTIVAL: HERNAN FINDLING AND OLIVER KOLKER: TANGO GLORIES 1331501 58409 ADULT, FAMILY, TEEN AND COMMUNITY PROGRAMS:ADULT PROGRAMS SERVED A TOTAL OF 5,373 PEOPLE, INCLUDING GALLERY TALKS, POP UP TALKS, AND LECTURES (THE ARTIST'S VOICE, ICA FORUMS). SELECT LECTURES IN FY16 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. AN ADDITIONAL 13,192 INDIVIDUALS PARTICIPATED IN GUIDED AND SELF-GUIDED TOURS AT THE ICA.ADULT PROGRAMSEXHIBITION RELATED PROGRAMSICA COLLECTION: IN CONTEXTOCT 22, 2014 - JUL 19, 2015 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENTTHE 2015 JAMES AND AUDREY FOSTER PRIZEAPR 21 - AUG 9, 2015 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO AND VIDEO TOUR CONTENTMELEKO MOKGOSI: DEMOCRATIC INTUITIONAPR 21 - AUG 9, 2015 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENTARLENE SHECHET: ALL AT ONCEJUNE 10 - SEP 7, 2015 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO AND CONTEMPORARY ART 101 - GALLERY TALK: EZRA SHALES ON ARLENE SHECHET - GALLERY TALK: ARLENE SHECHET (X2)ETHAN MURROW: SEASTEADJULY 11, 2015 - NOV 27, 2016 - PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - THE ARTIST'S VOICE: ETHAN MURROW WITH RUTH ERICKSONICA COLLECTION: TRANSCENDING MATERIALJUL 23, 2015 - JUL 17, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENTMONA HATOUMAUG 26 - NOV 29, 2015 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - GALLERY TALK: BRYAN BARCENA ON MONA HATOUMERIN SHIRREFFAUG 26 - NOV 29, 2015 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENTLEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933-1957 OCT 10, 2015 - JAN 24, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT, MICROSITE: MAPPINGBMC.ORG - ARTIST RESPONSE: AESTHETIC RELATIONAL EXERCISES (ARE) - ICA FORUM: IMMIGRATION AND BLACK MOUNTAIN COLLEGE WITH BRENDA DANILOWITZ AND LAURA MUIR - ICA FORUM: EDUCATION AND BLACK MOUNTAIN COLLEGE WITH RUTH ERICKSON, RUSSELL WILLIAMS, DANIELLE ABRAMS, AND STEVE SEIDEL - ICA FORUM: SEXUALITY AND BLACK MOUNTAIN COLLEGE WITH JONATHAN KATZ AND RUTH ERICKSON - THE ARTIST'S VOICE: SARA VANDERBEEK WITH EVA RESPINI - THE ARTIST'S VOICE: THEATER PIECE NO 1. X 50 (DANIELLE LEGROS GEORGES, TIMOTHY MCCORMACK, JONATHAN CALM, KELLY NIPPER, DAMON KRUKOWSKI) - CURATORIAL TOUR: BLACK MOUNTAIN COLLEGE (X2) - MODERNIST STUDIES ASSOCIATION: GALLERY TALKS - MAKE/MADE: MAKE SOMETHING (JOSEF ALBERS) DIANE SIMPSONDEC 16, 2015 - MAR 27, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - THE ARTIST'S VOICE: DIANE SIMPSON WITH DAN BYERS - GALLERY TALK: TAYLOR DAVIS ON DIANE SIMPSONRAMIN HAERIZADEH, ROKNI HAERIZADEH, AND HESAM RAHMANIAN: THE BIRTHDAY PARTYDEC 16, 2015 - MAR 27, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: ICA-PRODUCED AUDIO TOUR CONTENT - GALLERY TALK: RAMIN HAERIZADAH, ROKNI HAERIZADEH, AND HESAM RAHMANIANWALID RAAD FEB 24 - MAY 30, 2016 - POP-UP TALKS AND PUBLIC TOURS - DIGITAL RESOURCES: AUDIO TOUR CONTENT - CURATORIAL TOUR: JEFF DE BLOIS ON WALID RAAD - GALLERY TALK: KATARINA BURIN ON WALID RAAD - GALLERY TALK CARRIE LAMBERT-BEATTY ON WALID RAAD - CURATORIAL TOUR: EVA RESPINI ON WALID RAAD 1223658 PROGRAM MARKETING AND COMMUNICATIONS: DEVELOPED AND IMPLEMENTED MARKETING, ADVERTISING, SOCIAL MEDIA, AND PUBLIC RELATIONS STRATEGIES THAT PROMOTED THE ICA'S EXHIBITIONS, PERFORMANCES, AND EDUCATIONAL, COMMUNITY AND SOCIAL PROGRAMS TO THE PUBLIC AND ICA MEMBERS. THESE STRATEGIES ALLOWED THE ICA TO ACHIEVE 216,718 IN TOTAL VISITORS TO THE ICA IN FISCAL YEAR 2016. 984020 448821 EARNED INCOME ACTIVITIES: TRAVELING EXHIBITS: - THE ICA-ORGANIZED EXHIBITION, FIBER SCULPTURE: 1960-PRESENT TOURED TO THE WEXNER CENTER FOR THE ARTS FROM 1/30/15 - 4/5/15, AND TO THE DES MOINES ART CENTER, IOWA FROM 5/8/15 - 8/2/15. - 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 FY16 THE ICA SPONSORED THREE ART TRIPS TO: STOCKHOLM/AMSTERDAM, NEW YORK CITY, AND MIAMI. EVENT SPACE RENTALS: THE ICA HAD 60 EVENT SPACE RENTALS IN FY16 THAT WERE ATTENDED BY 9,235 VISITORS WHO GOT THE OPPORTUNITY TO VIEW THE ICA'S AWARD WINNING ARCHITECTURAL DESIGN AND EXHIBITIONS. 411804 621972 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 2016 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 17,000 MEMBER VISITS TO THE GALLERIES AND AT MEMBERS-ONLY EVENTS IN FY16. 2619482 1070793 13152809 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 1 245 0 1 246 1 1 1 0 0 0 0 1 1 0 0 0 0 X 34 33 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 APR.2015) 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 VIVIEN HASSENFELD TRUSTEE 1.00 X 0 0 0 WILLIAM H HESS TRUSTEE 1.00 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 PRESIDENT 1.00 X X 0 0 0 JILL MEDVEDOW DIRECTOR/EX-OFFICIO/CEO 40.00 X X 457611 0 44926 RONALD O'HANLEY TRUSTEE 1.00 X 0 0 0 JAMES PALLOTTA TRUSTEE 1.00 X 0 0 0 ERICA GERVAIS PAPPENDICK TRUSTEE 1.00 X 0 0 0 ELLEN M POSS MD TRUSTEE 1.00 X 0 0 0 DAVID PUTH TRUSTEE (SEE CONTINUATION ON PG.11) 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 TRUSTEE 1.00 X 0 0 0 MICHAEL WILENS TRUSTEE 1.00 X 0 0 0 NICK WINTON TRUSTEE 1.00 X 0 0 0 NICOLE ZATLYN EX-OFFICIO 1.00 X 0 0 0 MICHAEL TAUBENBERGER CFO & COO 40.00 X 197273 0 12340 DAVID HENRY DIR., PERFORMING & MEDIA ARTS 40.00 X 153007 0 30746 KELLY GIFFORD DIR. OF EXTERNAL RELATIONS 40.00 X 138488 0 26101 KATHRYN GREENBERG MAYSHAK DIRECTOR OF DEVELOPMENT 40.00 X 151637 0 11239 MONICA GARZA DIRECTOR OF EDUCATION 40.00 X 117389 0 24792 EVA RESPINI CHIEF CURATOR (PARTIAL YEAR) 40.00 X 148498 0 15986 1363903 0 166130 8 0 1 0 ALLIED BARTON SECURITY PO BOX 828854 PHILADELPHIA PA 19182 SECURITY SERVICES 408223 US ART COMPANY INC 66 PACELLA PARK DRIVE RANDOLPH MA 02638 SHIPPING SERVICES 388740 AMERICAN CLEANING COMPANY INC PO BOX 390702 CAMBRIDGE MA 02139 CLEANING SERVICES 237576 ARTEX INC 8712 JERICHO CITY DRIVE LANDOVER MD 20785 SHIPPING SERVICES 187529 WOLFGANG PUCK CATERING 25 HARBOR SHORE DRIVE BOSTON MA 02210 CATERING 170160 7 1385288 94000 9073224 1066781 10552512 ADMISSIONS AND PROGRAM FEES 900099 1157656 1157656 MEMBERSHIP DUES 900099 621972 621972 EXHIBITIONS 900099 420991 420991 TRIP AND TOURS 900099 24525 24525 2225144 402230 402230 724049 730197 -6148 -6148 -6148 3239168 2996118 243050 243050 243050 137800 1385288 505317 -367517 -367517 782389 394292 388097 388097 FOOD SERVICES 722210 89765 89765 OTHER REVENUE 900099 36199 36199 125964 13563332 2649440 -6148 367528 707150 707150 4967782 3797962 469420 700400 564717 421173 66386 77158 394825 283674 57932 53219 73544 70872 1336 1336 55238 55238 26000 26000 85578 77817 7761 815587 679313 100650 35624 399939 399107 831 1 38964 12979 23234 2751 76873 55866 9833 11174 902879 863610 12549 26720 459337 422031 24183 13123 11604 3551 7147 906 147880 122379 23195 2306 1797402 1732118 32642 32642 121197 68033 53164 ART ACQUISITIONS 2086502 2086502 BAD DEBT 1816307 749 1815558 SHIPPING & STORAGE 811338 811338 RENTAL AND EQUIPMENT 640928 484821 5794 150313 951954 836731 167935 -52712 17953525 13152809 1896436 2904280 3602446 2688337 18168832 11796814 218811 289119 302162 312318 237372 349111 61135621 17067535 45654782 44068086 20361590 23062515 535316 501200 65907 65657 89147218 83133157 841608 788906 106667 66667 4758949 4208949 800000 700000 6507224 5764522 X 41051155 40358661 13494268 7648352 28094571 29361622 82639994 77368635 89147218 83133157 X -4390193 -847050 -34116 X 0 1 X 1 0 X 17357007 11064748 16473594 11499610 10522512 66917471 17357007 11064748 16473594 11499610 10522512 66917471 14940474 51976997 198251 204024 223606 321791 402230 1349902 3281 9208 12489 208193 156592 201874 197407 227565 991631 69271493 13138078 0.75030 0.71990 X RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X 0 21210871 3692065 -299075 935000 23668861 16495334 4914708 528829 728000 21210871 13042861 1992263 2035210 575000 16495334 10292117 2105639 1150105 505000 13042861 9889355 925002 -72240 450000 10292117 0.99390 0.00610 1 0 56088489 13290451 42798038 5047132 3777084 1270048 44068086 LINE OF CREDIT 700000 700000 X 14325464 -847050 91309 -111933 -867674 15193138 -1629806 -1629806 13563332 19596823 91309 1629806 1721115 17875708 77817 77817 17953525 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 ICA PURCHASED 13 PIECES OF ART FOR THE PERMANENT COLLECTIONS DURING THE YEAR ENDED JUNE 30, 2016. THERE WERE NO PURCHASES OF ART DURING THE YEAR ENDED JUNE 30, 2015. 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). 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, 2016 AND 2015. 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 2013. 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 -77,817. LOSS ON SPLIT INTEREST AGREEMENT -34,116. PART XI, LINE 4B - OTHER ADJUSTMENTS: COST OF GOODS SOLD REPORTED ON FORM 990, PART VIII, LINE 10B -394,292. SPECIAL EVENTS DIRECT EXPENSES REPORTED ON FORM 990, PART VIII, LINE 8B -505,317. RENTAL EXPENSES REPORTED ON FORM 990, PART VIII, LINE 6B -730,197. PART XII, LINE 2D - OTHER ADJUSTMENTS: SPECIAL EVENTS DIRECT EXPENSES REPORTED ON FORM 990, PART VIII, LINE 8B 505,317. RENTAL EXPENSES REPORTED ON FORM 990, PART VIII, LINE 6B 730,197. COST OF GOODS SOLD REPORTED ON FORM 990, PART VIII, LINE 10B 394,292. LOSS ON SPLIT INTEREST AGREEMENTS PART XII, LINE 4B - OTHER ADJUSTMENTS: INVESTMENT EXPENSES NETTED WITH INVESTMENT REVENUE ON AUDITED FS 77,817. X X X X X X X 1 SUSAN COURTENMANCHE 40 POWDER HORN HILL ROAD WILTON CT 06897 FUNDRAISING STRATEGY 0 0 26000 -26000 26000 -26000 MA GALA 1026836 927836 99000 102061 9335 240025 WINE DINNER 496252 457452 38800 46519 500 106877 1523088 1385288 137800 148580 9835 346902 505317 -367517 X X X X 0 0 0 0 0 0 0 0 0 JILL MEDVEDOW DIRECTOR/EX-OFFICIO/CEO 432611 0 25000 0 0 0 23250 0 21676 0 502537 0 0 0 MICHAEL TAUBENBERGER CFO & COO 187273 0 10000 0 0 0 9976 0 2364 0 209613 0 0 0 DAVID HENRY DIR., PERFORMING & MEDIA ARTS 153007 0 0 0 0 0 8072 0 22674 0 183753 0 0 0 KELLY GIFFORD DIR. OF EXTERNAL RELATIONS 138488 0 0 0 0 0 7163 0 18938 0 164589 0 0 0 KATHRYN GREENBERG MAYSHAK DIRECTOR OF DEVELOPMENT 141637 0 10000 0 0 0 7619 0 3620 0 162876 0 0 0 EVA RESPINI CHIEF CURATOR (PARTIAL YEAR) 148498 0 0 0 0 0 0 0 15986 0 164484 0 0 0 A MASSACHUSETTS DEVELOPMENT FINANCE AGENCY 043431814 2012-05-03 6408949 REFUNDING ISSUE 0 0 0 A 2200000 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 29 X 15 998495 FAIR MARKET VALUE X 20 60601 FAIR MARKET VALUE X FLOWERS 1 6560 X COMPUTER SOFTWARE 1 1125 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 ERIN SHIRREFF AUG 26 - NOV 29, 2015, FOTENE DEMOULAS GALLERY WORKING ACROSS MEDIA, WITH A FOCUS ON MATERIAL AND THE ANALOGUE, BROOKLYN ARTIST ERIN SHIRREFF (B. 1975, KELOWNA, BRITISH COLUMBIA) EXPLORES THE INTERTWINED RELATIONSHIP BETWEEN SCULPTURE AND PHOTOGRAPHY. COVERING SEVERAL YEARS OF THE EMERGING ARTIST'S WORK, ERIN SHIRREFF INCLUDES BOTH SCULPTURES AND PHOTOGRAPHS OF SCULPTURES THAT INVESTIGATE THE COMPLEXITIES OF REPRESENTING SCULPTURAL OBJECTS IN TWO DIMENSIONS. IN SERIES SUCH AS "MONOGRAPH," SHIRREFF PHOTOGRAPHS SCULPTURES SHE CREATES BY HAND EXPRESSLY FOR THAT PURPOSE. ALONGSIDE THESE PHOTOGRAPHS WILL BE SEVERAL LARGE SCULPTURES, AMONG THEM A SERIES CALLED DROPS." FOR THESE, SHIRREFF CREATES SHAPES BY HAND-CUTTING SCRAPS OF PAPER, ENLARGING THEM, AND CUTTING THEM INTO SHEETS OF STEEL. THE EXHIBITION ALSO PRESENTS VIDEOS INCLUDING MEDARDO ROSSO MADAME X, 1896 (2013), A 24-MINUTE SILENT FILM SHIRREFF CREATED BY MANIPULATING COPIES OF AN IMAGE OF A SCULPTURE BY PROTO-MODERNIST MEDARDO ROSSO, THEN ASSEMBLING THEM DIGITALLY. ORGANIZED BY JENELLE PORTER, MANNION FAMILY SENIOR CURATOR, INSTITUTE OF CONTEMPORARY ART/BOSTON, AND CATHLEEN CHAFFEE, SENIOR CURATOR, ALBRIGHT-KNOX ART GALLERY, BUFFALO, NEW YORK. LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933-1957 OCT 10, 2015 - JAN 24, 2016, WEST GALLERY LEAP BEFORE YOU LOOK IS THE FIRST COMPREHENSIVE MUSEUM EXHIBITION ON THE SUBJECT OF BLACK MOUNTAIN COLLEGE TO TAKE PLACE IN THE UNITED STATES. THE EXHIBITION FEATURES INDIVIDUAL WORKS BY MORE THAN NINETY ARTISTS, STUDENT WORK, ARCHIVAL MATERIALS, A SOUNDSCAPE, AS WELL AS A PIANO AND A DANCE FLOOR FOR PERFORMANCE. A SMALL, EXPERIMENTAL LIBERAL ARTS COLLEGE FOUNDED IN 1933, BLACK MOUNTAIN COLLEGE (BMC) HAS EXERTED ENORMOUS INFLUENCE ON THE POSTWAR CULTURAL LIFE OF THE UNITED STATES. INFLUENCED BY THE UTOPIAN IDEALS OF THE PROGRESSIVE EDUCATION MOVEMENT, IT PLACED THE ARTS AT THE CENTER OF LIBERAL ARTS EDUCATION AND BELIEVED THAT IN DOING SO IT COULD BETTER EDUCATE CITIZENS FOR PARTICIPATION IN A DEMOCRATIC SOCIETY. IT WAS A DYNAMIC CROSSROADS FOR REFUGEES FROM EUROPE AND AN EMERGING GENERATION OF AMERICAN ARTISTS. PROFOUNDLY INTERDISCIPLINARY, IT OFFERED EQUAL ATTENTION TO PAINTING, WEAVING, SCULPTURE, POTTERY, POETRY, MUSIC, AND DANCE. THE TEACHERS AND STUDENTS AT BMC CAME TO NORTH CAROLINA'S BLUE RIDGE MOUNTAINS FROM AROUND THE UNITED STATES AND THE WORLD. SOME STAYED FOR YEARS, OTHERS MERE WEEKS. THEIR EDUCATION WAS UNLIKE ANYTHING ELSE IN THE UNITED STATES. THEY EXPERIMENTED WITH NEW WAYS OF TEACHING AND LEARNING; THEY ENCOURAGED DISCUSSION AND FREE INQUIRY; THEY FELT THAT FORM IN ART HAD MEANING; THEY WERE COMMITTED TO THE RIGOR OF THE STUDIO AND THE LABORATORY; THEY PRACTICED LIVING AND WORKING TOGETHER AS A COMMUNITY; THEY SHARED THE IDEAS AND VALUES OF DIFFERENT CULTURES; THEY HAD FAITH IN LEARNING THROUGH EXPERIENCE AND DOING; THEY TRUSTED IN THE NEW WHILE REMAINING COMMITTED TO IDEAS FROM THE PAST; AND THEY VALUED THE IDIOSYNCRATIC NATURE OF THE INDIVIDUAL. BUT MOST OF ALL, THEY BELIEVED IN ART, IN ITS ABILITY TO EXPAND ONE'S INTERNAL HORIZONS, AND IN ART AS A WAY OF LIVING AND BEING IN THE WORLD. THIS UTOPIAN EXPERIMENT CAME TO AN END IN 1957, BUT NOT BEFORE IT CREATED THE CONDITIONS FOR SOME OF THE 20TH CENTURY'S MOST FERTILE IDEAS AND MOST INFLUENTIAL INDIVIDUAL ARTISTS TO EMERGE. LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933-1957 FOCUSES ON HOW, DESPITE ITS BRIEF EXISTENCE, BMC BECAME A SEMINAL MEETING PLACE FOR MANY OF THE ARTISTS, MUSICIANS, POETS, AND THINKERS WHO WOULD BECOME THE PRINCIPAL PRACTITIONERS IN THEIR FIELDS OF THE POSTWAR PERIOD. FIGURES SUCH AS ANNI AND JOSEF ALBERS, JOHN CAGE, MERCE CUNNINGHAM, ROBERT RAUSCHENBERG, ELAINE AND WILLEM DE KOONING, BUCKMINSTER FULLER, RUTH ASAWA, ROBERT MOTHERWELL, GWENDOLYN AND JACOB KNIGHT LAWRENCE, CHARLES OLSON, AND ROBERT CREELEY, AMONG MANY OTHERS, TAUGHT AND STUDIED AT BMC. TEACHING AT THE COLLEGE COMBINED THE CRAFT PRINCIPLES OF GERMANY'S REVOLUTIONARY BAUHAUS SCHOOL WITH INTERDISCIPLINARY INQUIRY, DISCUSSION, AND EXPERIMENTATION, FORMING THE TEMPLATE FOR AMERICAN ART SCHOOLS. WHILE PHYSICALLY ROOTED IN THE RURAL SOUTH, BMC FORMED AN UNLIKELY COSMOPOLITAN MEETING PLACE FOR AMERICAN, EUROPEAN, ASIAN, AND LATIN AMERICAN ART, IDEAS, AND INDIVIDUALS. THE EXHIBITION ARGUES THAT BMC WAS AS AN IMPORTANT HISTORICAL PRECEDENT FOR THINKING ABOUT RELATIONSHIPS BETWEEN ART, DEMOCRACY, AND GLOBALISM. IT EXAMINES THE COLLEGE'S CRITICAL ROLE IN SHAPING MANY MAJOR CONCEPTS, MOVEMENTS, AND FORMS IN POSTWAR ART AND EDUCATION, INCLUDING ASSEMBLAGE, MODERN DANCE AND MUSIC, AND THE AMERICAN STUDIO CRAFT MOVEMENT - INFLUENCE THAT CAN STILL BE SEEN AND FELT TODAY. ORGANIZED BY HELEN MOLESWORTH, THE ICA'S FORMER BARBARA LEE CHIEF CURATOR, WITH ICA ASSOCIATE CURATOR RUTH ERICKSON. THE EXHIBITION WILL TRAVEL TO THE HAMMER MUSEUM, LOS ANGELES (FEBRUARY 21 - MAY 15, 2016) AND THE WEXNER CENTER FOR THE ARTS IN COLUMBUS, OHIO (SEPT. 17, 2016 - JAN. 1, 2017). RAMIN HAERIZADEH, ROKNI HAERIZADEH, AND HESAM RAHMANIAN: THE BIRTHDAY PARTY DEC 16, 2015 - MAR 27, 2016, PAUL AND CATHERINE BUTTENWIESER GALLERY RAMIN HAERIZADEH (B. TEHRAN, 1975), ROKNI HAERIZADEH (B. TEHRAN, 1978), AND HESAM RAHMANIAN (B. KNOXVILLE, 1980) LIVE AND WORK COMMUNALLY IN A SHARED HOUSE IN DUBAI. THE THREE IRANIAN ARTISTS - TWO BROTHERS AND THEIR CHILDHOOD FRIEND - COMBINE THEIR INDIVIDUAL WORK, AND THAT OF OTHER ARTISTS, IN SCULPTURE, PAINTING, DRAWING, AND VIDEO, TO GENERATE PROBING AND BEAUTIFUL ENVIRONMENTS. THE ICA INVITES THE TRIO TO CREATE AN ON-SITE INSTALLATION IN THE GALLERY, JOINING THE INTIMACY OF THE ARTISTS' COLLECTIVE LIFESTYLE WITH THEIR CRITICAL ENGAGEMENT OF A GLOBALIZED CONTEMPORARY CULTURE. ORGANIZED BY RUTH ERICKSON, ASSOCIATE CURATOR, WITH JEFFREY DE BLOIS, CURATORIAL ASSOCIATE. DIANE SIMPSON DEC 16, 2015 - MAR 27, 2016, FOTENE DEMOULAS GALLERY CHICAGO-BASED ARTIST DIANE SIMPSON'S (B. 1935, JOLIET, ILLINOIS) ELEGANTLY CONSTRUCTED SCULPTURES EVOLVE FROM A DIVERSE RANGE OF MATERIALS, CLOTHING, AND ARCHITECTURAL SOURCES. WHILE ELEMENTS OF HER CREATIONS APPEAR TO EFFORTLESSLY HANG AND FOLD, THEY ARE IN FACT THE RESULT OF A RIGOROUS APPROACH TO CONSTRUCTION TECHNIQUES, REVELING IN PASSAGES OF PATTERN, JOINERY, AND SKEWED ANGLES THAT ARE BY TURNS HUMOROUS AND PSYCHOLOGICALLY-CHARGED. THIS CONCISE SURVEY OF OVER 30 YEARS OF WORK WILL INCLUDE A SUITE OF PREPARATORY DRAWINGS AND SCULPTURAL WORK MADE FROM THE EARLY 1980S TO THE PRESENT IN MATERIALS RANGING FROM CORRUGATED CARDBOARD AND MEDIUM-DENSITY FIBERBOARD TO ALUMINUM, WOOL, POLYESTER, POPLAR, FAUX FUR, FLEECE, MAHOGANY, BRASS, COPPER, AND STEEL. THIS WILL BE THE ARTIST'S FIRST SOLO MUSEUM EXHIBITION ON THE EAST COAST. ORGANIZED BY DAN BYERS, MANNION FAMILY SENIOR CURATOR, WITH JEFFREY DE BLOIS, CURATORIAL ASSOCIATE. WALID RAAD FEB 24 - MAY 30, 2016, WEST GALLERY THIS EXHIBITION WILL BE THE FIRST COMPREHENSIVE NORTH AMERICAN MUSEUM SURVEY OF THE INTERNATIONALLY RECOGNIZED ARTIST WALID RAAD (B. 1967, LEBANON), WHOSE WORK IN PHOTOGRAPHY, VIDEO, SCULPTURE, AND PERFORMANCE IN THE LAST 25 YEARS INVESTIGATES THE DISTINCTIONS BETWEEN FACT AND FICTION AND THE WAYS WE REPRESENT, REMEMBER, AND MAKE SENSE OF HISTORY. DEDICATED TO THEMES EXPLORING THE VERACITY OF ARCHIVES AND PHOTOGRAPHIC DOCUMENTS IN THE PUBLIC REALM, THE ROLE OF MEMORY AND NARRATIVE WITHIN DISCOURSES OF CONFLICT, AND THE CONSTRUCTION OF HISTORIES OF ART IN THE ARAB WORLD, RAAD'S WORK IS INFORMED BY AN UPBRINGING IN LEBANON DURING THE CIVIL WAR (1975-1990) AND RECENT SOCIO-ECONOMIC AND MILITARY POLICIES THAT HAVE SHAPED THE MIDDLE EAST IN THE PAST FEW DECADES. THE EXHIBITION WILL FEATURE A SELECTION OF WORKS PRODUCED IN THE PAST 25 YEARS IN PHOTOGRAPHY, VIDEO, AND SCULPTURE. AN INTEGRAL PART OF THE EXHIBITION IS RAAD'S 55-MINUTE PRESENTATION "WALKTHROUGH", A RECORDING OF WHICH IS AVAILABLE ON THE ICA MOBILE GUIDE. THE ICA STRONGLY ENCOURAGES VISITORS TO ACCESS THIS POWERFUL PERFORMANCE: WALKTHROUGH OFFERS A DEEPER UNDERSTANDING OF THE WORK ON VIEW, AND A CHANCE TO HEAR DIRECTLY FROM THE ARTIST. RAAD WILL ALSO BE PERFORMING "WALKTHROUGH" IN THE GALLERIES SEVERAL TIMES THROUGHOUT THE RUN OF THE EXHIBITION. THE EXHIBITION IS ACCOMPANIED BY AN EXPANSIVE SCHOLARLY PUBLICATION AND AFTER ITS PRESENTATION AT ICA/BOSTON, IT WILL TRAVEL TO MUSEO JUMEX, MEXICO CITY. THIS EXHIBITION IS ORGANIZED BY THE MUSEUM OF MODERN ART, NEW YORK. THIS EXHIBITION IS CURATED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, INSTITUTE OF CONTEMPORARY ART/BOSTON WITH KATERINA STATHOPOULOU, CURATORIAL ASSISTANT, DEPARTMENT OF PHOTOGRAPHY, THE MUSEUM OF MODERN ART, NEW YORK. THE BOSTON PRESENTATION IS COORDINATED BY JEFFREY DE BLOIS, CURATORIAL ASSOCIATE, INSTITUTE OF CONTEMPORARY ART/BOSTON. FORM 990, PART III, LINE 4A GEOFFREY FARMER APR 13 - JUL 17, 2016, PAUL AND CATHERINE BUTTENWIESER AND FOTENE DEMOULAS GALLERIES GEOFFREY 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 SCULPTURES MAY 17 - SEP 11, 2016 BEST 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 DESCHENES JUN 29 - OCT 16, 2016, WEST GALLERY DESCHENES (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 BLOOD JUN 29 - OCT 16, 2016, WEST GALLERY NALINI 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. FORM 990, PART VI, SECTION B, LINE 11 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 -34,116.