Department of the Treasury Internal Revenue Service
Public Charity Status and Public Support
Complete if the organization is a section 501(c)(3) organization or a section
4947(a)(1) nonexempt charitable trust.
Attach to Form 990 or Form 990-EZ. See separate instructions. Information about Schedule A (Form 990 or 990-EZ) and its instructions is at www.irs.gov/form990.
OMB No. 1545-0047
2013
Open to Public Inspection
Name of the organization
THE INSTITUTE OF CONTEMPORARY ART INC
Employer identification number
04-2104327
Part I
Reason for Public Charity Status
(All organizations must complete this part.) See instructions.
The organization is not a private foundation because it is: (For lines 1 through 11, check only one box.)
1
2
3
4
5
section 170(b)(1)(A)(iv). (Complete Part II.)
6
7
8
9
receipts from activities related to its exempt functions—subject to certain exceptions, and (2) no more than 331/3% of
its support from gross investment income and unrelated business taxable income (less section 511 tax) from businesses
acquired by the organization after June 30, 1975. See section 509(a)(2). (Complete Part III.)
10
11
e
By checking this box, I certify that the organization is not controlled directly or indirectly by one or more disqualified persons other than foundation managers and other than one or more publicly supported organizations described in section 509(a)(1) or section 509(a)(2).
f
If the organization received a written determination from the IRS that it is a Type I, Type II, or Type III supporting organization, check this box
..................................................
g
Since August 17, 2006, has the organization accepted any gift or contribution from any of the following persons?
(i) A person who directly or indirectly controls, either alone or together with persons described in (ii)
Yes
No
and (iii) below, the governing body of the supported organization?
................
11g(i)
(ii)
A family member of a person described in (i) above?
......................
11g(ii)
(iii)
A 35% controlled entity of a person described in (i) or (ii) above?
................
11g(iii)
h
Provide the following information about the supported organization(s).
(i) Name of supported organization
(ii) EIN
(iii) Type of organization (described on lines 1- 9 above or IRC section (see instructions))
(iv) Is the organization in col. (i) listed in your governing document?
(v) Did you notify the organization in col. (i) of your support?
(vi) Is the organization in col. (i) organized in the U.S.?
(vii) Amount of monetary support
Yes
No
Yes
No
Yes
No
Total
For Paperwork Reduction Act Notice, see the Instructions for Form 990 or 990EZ.
Cat. No. 11285F
Schedule A (Form 990 or 990-EZ) 2013
Schedule A (Form 990 or 990-EZ) 2013
Page 2
Part II
Support Schedule for Organizations Described in Sections 170(b)(1)(A)(iv) and 170(b)(1)(A)(vi) (Complete only if you checked the box on line 5, 7, or 8 of Part I or if the
organization failed to qualify under Part III. If the organization fails to
qualify under the tests listed below, please complete Part III.)
Section A. Public Support
Calendar year (or fiscal year beginning in)
(a) 2009
(b) 2010
(c) 2011
(d) 2012
(e) 2013
(f) Total
1
Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") ....
8,324,952
7,665,925
17,357,007
11,064,748
16,473,594
60,886,226
2
Tax revenues levied for the organization's benefit and either paid to or expended on its behalf.......
3
The value of services or facilities furnished by a governmental unit to the organization without charge..
4
Total. Add lines 1 through 3
8,324,952
7,665,925
17,357,007
11,064,748
16,473,594
60,886,226
5
The portion of total contributions by each person (other than a governmental unit or publicly supported organization) included
on line 1 that exceeds 2% of the amount shown on line 11, column (f)..
14,836,971
6
Public support. Subtract line 5 from line 4.
46,049,255
Section B. Total Support
Calendar year
(or fiscal year beginning in)
(a) 2009
(b) 2010
(c) 2011
(d) 2012
(e) 2013
(f) Total
7
Amounts from line 4..
8,324,952
7,665,925
17,357,007
11,064,748
16,473,594
60,886,226
8
Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources...
199,382
285,768
198,251
204,024
223,606
1,111,031
9
Net income from unrelated business activities, whether or not the business is regularly carried on..
5,457
3,281
8,738
10
Other income. Do not include gain or loss from the sale of capital assets (Explain in Part IV.)..
443,798
278,517
208,193
156,592
201,874
1,288,974
11
Total support (Add lines 7 through 10).
63,294,969
12
Gross receipts from related activities, etc. (see instructions)
..................
12
13,229,446
13
First five years.
If the Form 990 is for the organization's first, second, third, fourth, or fifth tax year as a 501(c)(3) organization,
check this box and stop here.................................................
Section C. Computation of Public Support Percentage
14
Public support percentage for 2013 (line 6, column (f) divided by line 11, column (f))
.........
14
72.750 %
15
Public support percentage for 2012 Schedule A, Part II, line 14
...............
15
73.350 %
16a
33 1/3% support test—2013.
If the organization did not check the box on line 13, and line 14 is 33 1/3% or more, check this box
and stop here. The organization qualifies as a publicly supported organization
.......................
b
33 1/3% support test—2012.
If the organization did not check a box on line 13 or 16a, and line 15 is 33 1/3% or more, check this
box and stop here. The organization qualifies as a publicly supported organization
.....................
17a
10%-facts-and-circumstances test—2013.
If the organization did not check a box on line 13, 16a, or 16b, and line 14
is 10% or more, and if the organization meets the "facts-and-circumstances" test, check this box and stop here. Explain
in Part IV how the organization meets the "facts-and-circumstances" test. The organization qualifies as a publicly supported
organization
.....................................................
b
10%-facts-and-circumstances test—2012.
If the organization did not check a box on line 13, 16a, 16b, or 17a, and line
15 is 10% or more, and if the organization meets the "facts-and-circumstances" test, check this box and stop here.
Explain in Part IV how the organization meets the "facts-and-circumstances" test. The organization qualifies as a publicly supported organization
................................................
18
Private foundation.
If the organization did not check a box on line 13, 16a, 16b, 17a, or 17b, check this box and see
instructions
.....................................................
Schedule A (Form 990 or 990-EZ) 2013
Schedule A (Form 990 or 990-EZ) 2013
Page 3
Part III
Support Schedule for Organizations Described in Section 509(a)(2) (Complete only if you checked the box on line 9 of Part I or if the organization
failed to qualify under Part II. If the organization fails to qualify under
the tests listed below, please complete Part II.)
Section A. Public Support
Calendar year (or fiscal year beginning in)
(a) 2009
(b) 2010
(c) 2011
(d) 2012
(e) 2013
(f) Total
1
Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") .
2
Gross receipts from admissions, merchandise sold or services performed, or facilities furnished in any activity that is related to the organization's tax-exempt purpose......
3
Gross receipts from activities that are not an unrelated trade or business under section 513..
4
Tax revenues levied for the organization's benefit and either paid to or expended on its behalf...
5
The value of services or facilities furnished by a governmental unit to the organization without charge..
6
Total. Add lines 1 through 5.
7a
Amounts included on lines 1, 2, and 3 received from disqualified persons...
b
Amounts included on lines 2 and 3 received from other than disqualified persons that exceed the greater of $5,000 or 1% of the amount on line 13 for the year.
c
Add lines 7a and 7b..
8
Public support (Subtract line 7c from line 6.)
Section B. Total Support
Calendar year (or fiscal year beginning in)
(a) 2009
(b) 2010
(c) 2011
(d) 2012
(e) 2013
(f) Total
9
Amounts from line 6...
10a
Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources..
b
Unrelated business taxable income (less section 511 taxes) from businesses acquired after June 30, 1975.
c
Add lines 10a and 10b.
11
Net income from unrelated business activities not included in line 10b, whether or not the business is regularly carried on.
12
Other income. Do not include gain or loss from the sale of capital assets (Explain in Part IV.)
..
13
Total support. (Add lines 9, 10c, 11, and 12.)..
14
First five years.
If the Form 990 is for the organization's first, second, third, fourth, or fifth tax year as a 501(c)(3) organization,
check this box and stop here.............................................
Section C. Computation of Public Support Percentage
15
Public support percentage for 2013 (line 8, column (f) divided by line 13, column (f))
.........
15
16
Public support percentage from 2012 Schedule A, Part III, line 15
...............
16
Section D. Computation of Investment Income Percentage
17
Investment income percentage for 2013 (line 10c, column (f) divided by line 13, column (f))
......
17
18
Investment income percentage from 2012 Schedule A, Part III, line 17
.............
18
19a
33 1/3% support tests—2013.
If the organization did not check the box on line 14, and line 15 is more than 33 1/3%, and line 17 is not more than 33 1/3%, check this box and stop here. The organization qualifies as a publicly supported organization
........
b
33 1/3% support tests—2012.
If the organization did not check a box on line 14 or line 19a, and line 16 is more than 33 1/3% and line 18 is not more than 33 1/3%, check this box and stop here. The organization qualifies as a publicly supported organization
.....
20
Private foundation.
If the organization did not check a box on line 14, 19a, or 19b, check this box and see instructions
.....
Schedule A (Form 990 or 990-EZ) 2013
Schedule A (Form 990 or 990-EZ) 2013
Page 4
Part IV
Supplemental Information.
Provide the explanations required by Part II, line 10; Part II, line 17a or 17b; and Part III, line 12. Also complete this part for any additional information. (See instructions).
Facts And Circumstances Test
Explanation
Schedule A (Form 990 or 990-EZ) 2013
Additional Data
Software ID:
Software Version:
-
TIN:
SCHEDULE O (Form 990 or 990-EZ)
Department of the Treasury Internal Revenue Service
Supplemental Information to Form 990 or 990-EZ
Complete to provide information for responses to specific questions on
Form 990 or to provide any additional information.
Attach to Form 990 or 990-EZ.
Information about Schedule O (Form 990 or 990-EZ) and its instructions is at
www.irs.gov/form990.
OMB No. 1545-0047
2013
Open to Public Inspection
Name of the organization
THE INSTITUTE OF CONTEMPORARY ART INC
Employer identification number
04-2104327
Return Reference
Explanation
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, 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 IS AVAILABLE VIA GUIDESTAR AND THE MASSACHUSETTS ATTORNEY GENERAL'S WEBSITE.
FORM 990, PART XI, LINE 9:
DISCOUNT ON UNCONDITIONAL PROMISES TO GIVE -99,934. LOSS ON SPLIT INTEREST AGREEMENT 42,402.
FORM 990, PART III, LINE 4A CONTINUATION:
MARY REID KELLEY FOTENE DEMOULAS GALLERY, JULY 31-OCTOBER 27, 2013 COMPOSED OF LIVE ACTION AND STOP-MOTION ANIMATION, THE SOUTH CAROLINA NATIVE'S NARRATIVE VIDEOS PRESENT HISTORICAL OR MYTH-BASED STORIES. AT THE CENTER OF EACH IS A MAIN CHARACTER OR NARRATOR PLAYED BY REID KELLEY, WHO APPEARS COSTUMED, BEWIGGED, AND PRACTICALLY UNRECOGNIZABLE, HER FACE PAINTED WHITE WITH FEATURES DEFINED IN BLACK. A TRAINED PAINTER, REID KELLEY CREATES ALL OF HER COSTUMES, PROPS, AND SETS IN BLACK AND WHITE, CREATING A KIND OF THREE-DIMENSIONAL DRAWING. EVERYTHING IS DRAWN AND PAINTED, AND INTENDED TO LOOK SO. ALONG WITH A SPRINKLING OF AUXILIARY CHARACTERS, MANY OF WHOM SHE ALSO PLAYS, REID KELLEY'S NARRATORS BRING TO LIFE ERAS OF SIGNIFICANT HISTORICAL CHANGE, OFTEN MOMENTS WHEN WOMEN'S ROLES WERE TRANSFORMED, IN PLAYFULLY BAWDY, PUN-LADEN VERSE. IN SADIE THE SADDEST SADIST (2009), WE HEAR FROM A WORLD WAR I-ERA WOMAN WHO GOES TO WORK IN A MUNITIONS FACTORY, MEETS A SAILOR, AND CONTRACTS THE CLAP. IN THE SYPHILIS OF SISYPHUS (2011), A PREGNANT PARISIAN PROSTITUTE EXTOLS THE VIRTUE OF COSMETICS, REPORTS ON THE FRENCH REVOLUTION, AND IS CARTED OFF TO AN ASYLUM TO BE TREATED FOR HYSTERIA. AESTHETICALLY, THE WORKS DRAW INSPIRATION FROM SUCH VARIED MATERIALS AS NEWSPAPER COMIC STRIPS AND FUTURIST MANIFESTOS, AND ARTISTS SUCH AS MARCEL DUCHAMP AND FERNAND LEGER, WHILE INTELLECTUALLY, SOURCES RANGE FROM POETRY TO PHILOSOPHY TO HISTORY. THE EXHIBITION INCLUDED FOUR VIDEOS CREATED BETWEEN 2008 AND THE PRESENT, WITH PROGRESSIVELY HIGHER PRODUCTION VALUES THANKS IN PART TO THE CONTRIBUTION OF REID KELLEY'S COLLABORATOR AND HUSBAND PATRICK KELLEY, WHO DIGITALLY ASSEMBLES ELEMENTS SHOT ON GREEN SCREEN. AMONG THE WORKS WAS REID KELLEY'S MOST RECENT, PRIAPUS AGONISTES, AN ADAPTATION OF THE GREEK MINOTAUR MYTH THAT RECASTS PRIAPUS-A GOD OF FERTILITY AND PROTECTOR OF LIVESTOCK KNOWN FOR HIS LARGE, ENDURING ERECTION-AS A VOLLEYBALL PLAYER. PITTING RELIGION AGAINST MYTH, PRIAPUS REPRESENTS A SHIFT FOR REID KELLEY, ALTHOUGH AS IN ALL OF HER WORKS TO DATE, HUMANKIND'S PERENNIAL DESIRE TO ESCAPE THE ROLES ASSIGNED BY NATURE AND CULTURE REMAINS AT THE HEART OF THE WORK. REID KELLEY'S WORK MAKES THIS PLIGHT PALPABLE THROUGH HISTORY, AND PALATABLE THROUGH COMEDY. ORGANIZED BY JENELLE PORTER, MANNION FAMILY SENIOR CURATOR. AMY SILLMAN: ONE LUMP OR TWO WEST GALLERY, OCTOBER 3, 2013-JANUARY 5, 2014 AMY SILLMAN HAS BEEN AT THE FOREFRONT OF THE RECENT DISCUSSIONS OF AFFECT AND PAINTING, INFLUENCING THIS DISCOURSE THROUGH HER SOPHISTICATED WRITINGS, DRAMATIC SHIFTS IN HER "STYLE," AND IN HER ROLE AS THE HEAD OF THE PAINTING PROGRAM AT BARD COLLEGE'S MFA PROGRAM. SINCE THE LATE 1990S THE ARC OF SILLMAN'S WORK HAS TAKEN A DRAMATIC TURN. HER MATURE WORK BEGINS WITH HER EXPLORATION OF THE CARTOON LINE COMBINED WITH A WILD HIGH KEYED PALETTE. THESE WORKS COMBINED NEUROSIS AND HAPPINESS, LONELINESS AND SOCIABILITY, LINE AND COLOR, DRAWING AND PAINTING. DRIVEN BY DRAWING, THE WORK HAS MORPHED, IN PART THROUGH A SERIES OF PORTRAITS OF FRIENDS AND COUPLES IN LOVE, INTO SILLMAN'S EXPLORATION OF THE ONGOINGNESS OF ABSTRACT EXPRESSIONISM. IS IT POSSIBLE TO MAKE AN ABSTRACT EXPRESSIONIST PAINTING IN THE 21ST CENTURY? THIS QUESTION WAS IN TURN COMPLICATED BY SILLMAN'S INTRODUCTION OF THE DIAGRAMMATIC LINE INTO HER PAINTINGS. THE ABSTRACT AND THE DIAGRAM WERE YET ANOTHER LAYER OF PUSH-PULL IN THE PAINTINGS, AS ABSTRACTION AND FIGURATION WERE ASKED TO RUB UP AGAINST ONE ANOTHER. AS THEY HAVE DONE SO, SILLMAN HAS BEGUN TO MAKE DRAWINGS ON HER IPHONE AND TRANSFORM THEM INTO MOVIES. IN THESE SMALL FILMS WE SEE A SYNTHESIS OF MANY OF HER CONCERNS, AS THE FILMS REVEL IN THE NEUROTIC FIGURATION OF HER EARLY CARTOON PAINTINGS WHILE DELVING FURTHER INTO THE SPACES OF ABSTRACTION, COLOR, AND THE DIAGRAMMATIC LINE OPENED UP BY THE MORE RECENT PAINTINGS. THIS EXHIBITION WAS JOYFUL AND EXCITING, AS WE WATCHED AN ARTIST'S OEUVRE CHANGE RADICALLY OVER THE COURSE OF 15 YEARS, ALL THE WHILE PURSUING THE FUNDAMENTAL QUESTIONS OF HOW IT IS THAT PAINTINGS COME TO ENGENDER IN THEIR VIEWERS A WIDE RANGE OF COMPETING EMOTIONS. ORGANIZED BY HELEN MOLESWORTH, BARBARA LEE CHIEF CURATOR. CHRISTINA RAMBERG PAUL AND CATHERINE BUTTENWIESER GALLERY, NOVEMBER 13, 2013-MARCH 2, 2014 AS A STUDENT AT THE SCHOOL OF THE ART INSTITUTE OF CHICAGO (SAIC) IN THE LATE 1960S, RAMBERG DEMONSTRATED A PREOCCUPATION WITH 1950S GENDER CONSTRUCTIONS, HER PAINTINGS DEPICTING BODIES FORCED INTO SUBMISSION BY UNDERGARMENTS DESIGNED TO CREATE AN IDEAL FEMALE FORM. IN THE 1970S, SHE MOVED TOWARD ANDROGYNOUS, LESS SEXUALIZED FIGURES AND THEN TO GROTESQUE, NON-HUMAN ONES WHOSE PARTS METAMORPHOSE INTO URNS AND CHAIR BACKS, ELIDING THE BOUNDARIES BETWEEN FIGURATION AND ABSTRACTION, HUMAN AND OBJECT. THROUGHOUT THIS EVOLUTION, A SIGNATURE STYLE REMAINS: SOMBER COLORS, METICULOUS SURFACES, AND FIGURES FILLING A SHALLOW FIELD, CROPPED AT NECK AND KNEE. APPARENT ARE THE ARTIST'S KEEN EYE FOR PATTERN AND LINE AND ALMOST LIMITLESS INFLUENCES, FROM EARLY RENAISSANCE PAINTING TO SURREALISM TO MEDICAL ILLUSTRATION. RAMBERG ENJOYED MODEST SUCCESS IN HER LIFETIME BUT HAS BEEN LARGELY OVERLOOKED SINCE HER UNTIMELY DEATH IN 1995 AT AGE 49. THIS EXHIBITION FOCUSED ON PAINTINGS MADE BETWEEN 1971 AND 1981, A PERIOD DURING WHICH SHE CREATED A RADICAL, ENIGMATIC, AND ACCOMPLISHED BODY OF WORK. IN THE LATER PAINTINGS, THE MATURE ARTIST RETURNED TO EARLIER THEMES WITH NEW INNOVATION AND FORMAL CLARITY. TITLES LIKE FREEZE AND MELT SHOW A FASCINATION WITH TRANSFORMATION, AS RAMBERG RECOGNIZED THAT MATERIALS AND IDENTITIES-WHETHER LIQUID OR THE FEMALE BODY-ARE MUTABLE. ORGANIZED BY JENELLE PORTER, MANNION FAMILY SENIOR CURATOR. LATOYA RUBY FRAZIER: WITNESS FOTENE DEMOULAS GALLERY, NOVEMBER 13, 2013-MARCH 2, 2014 COMBINING THE GENRES OF SOCIAL DOCUMENTARY PHOTOGRAPHY AND PORTRAITURE, LATOYA RUBY FRAZIER CREATES PHOTOGRAPHS AND VIDEOS THAT ADDRESS ISSUES OF PROPAGANDA, POLITICS, AND THE IMPORTANCE OF INDIVIDUAL IDENTITY AND AGENCY. THE PRIMARY FOCUS OF FRAZIER'S WORK IS THE SOCIAL, ECONOMIC, AND ENVIRONMENTAL DETERIORATION OF HER HOMETOWN OF BRADDOCK, PENNSYLVANIA-ONCE HOME TO A THRIVING STEEL INDUSTRY-AND ITS EFFECT ON THE LIVES OF HER FAMILY. LATOYA RUBY FRAZIER: WITNESS FEATURED 30 WORKS, INCLUDING PHOTOGRAPHS, VIDEO, DIGITAL WORK, AND A RECENT PHOTOLITHOGRAPH SERIES. FRAZIER'S DOCUMENTARY PRACTICE IS INFORMED BY THE WORK OF DEPRESSION-ERA PHOTOGRAPHERS, SUCH AS WALKER EVANS, DOROTHEA LANGE, AND GORDON PARKS, WHO WERE HIRED BY THE FARM SECURITY ADMINISTRATION (FSA) TO DOCUMENT THE PLIGHT OF DESTITUTE FARMERS AND THEIR FAMILIES. THESE ARTISTS DEVELOPED A STYLE OF PHOTOGRAPHY THEY HOPED WOULD AROUSE THE PUBLIC'S CONCERN FOR SOCIAL AND POLITICAL CHANGE. FRAZIER SPEAKS TO THIS LEGACY BY CREATING A VISUAL HISTORY OF THE IMPACT OF DEINDUSTRIALIZATION THROUGH DEPICTIONS OF BRADDOCK ITSELF AND A PARTICULARLY INTIMATE SELECTION OF ITS RESIDENTS--HERSELF, HER MOTHER, AND HER GRANDMOTHER. THOUGH THE SUBJECT IS PERSONAL, FRAZIER'S REPRESENTATIONS OF THE LANDSCAPE AND THE BODY DRAW CRITICAL ATTENTION TO LARGER ISSUES OF SOCIAL AND ENVIRONMENTAL DECLINE. THIS EXHIBITION WAS ORGANIZED BY THE CONTEMPORARY ART MUSEUM HOUSTON. THE ICA INSTALLATION WAS COORDINATED BY ANNA STOTHART, ASSISTANT CURATOR. NICK CAVE WEST GALLERY, FEBRUARY 5-MAY 4, 2014 NICK CAVE FIRST GAINED WIDESPREAD RECOGNITION FOR HIS "SOUNDSUITS": FULL-BODY OUTFITS CRAFTED FROM DISCARDED OBJECTS FOUND IN ANTIQUE SHOPS AND FLEA MARKETS. PART SCULPTURE, PART COSTUME, THE COMPLEX, KALEIDOSCOPICALLY COLORFUL WORKS OF ART CAN BE DISPLAYED AS OBJECTS, AND ALSO OFTEN FEATURE IN SOLO AND GROUP MOVEMENT PERFORMANCES. THEY ARE THE KIND OF ARTISTIC HYBRIDS THAT COULD ONLY BE CREATED BY AN ARTIST SUCH AS CAVE, WHO TRAINED AS A DANCER THROUGH THE ALVIN AILEY AMERICAN DANCE THEATER AND NOW DIRECTS THE FASHION GRADUATE PROGRAM AT THE SCHOOL OF THE ART INSTITUTE OF CHICAGO. ALTHOUGH THE SUITS APPEAR VIBRANT AND JOYFUL, CRAFTED FROM MATERIALS SUCH AS BUTTONS, BEADS, AND BRIGHT SYNTHETIC FUR, THEIR ORIGIN IS MORE SOBER. CAVE CREATED HIS FIRST SOUNDSUIT AFTER THE RODNEY KING BEATING IN 1992. "I BUILT THIS SORT OF SUIT OF ARMOR, AND BY PUTTING IT ON, I REALIZED THAT I COULD A MAKE A SOUND FROM MOVING IN IT," CAVE TOLD THE WASHINGTON POST. "IT MADE ME THINK OF IDEAS AROUND PROTEST, AND HOW WE SHOULD BE A VOICE AND SPEAK LOUDER." MORE RECENTLY, THE CHICAGO-BASED ARTIST HAS APPLIED HIS SIGNATURE ASSEMBLAGE TECHNIQUES TO FREESTANDING SCULPTURES BURSTING WITH CERAMIC FLOWERS AND BIRDS, BEADS, AND OTHER CAST-OFF ODDITIES-EVEN FURNITURE AND LIFE-SIZE DOG FIGURINES. CAVE RECOGNIZES SIMILARITIES BETWEEN THESE FIGURINES, WHICH HE "RESCUES" FROM FLEA MARKETS AND ANTIQUE SHOPS, AND DOGS RESCUED FROM ANIMAL SHELTERS. THE EXHIBITION WILL PRESENT A SELECTION OF THESE NEW CREATIONS, AS WELL AS SEVERAL NEW SOUNDSUITS AND LARGE BAS-RELIEF SCULPTURES THAT CAVE CALLS "PAINTINGS." ORGANIZED BY JENELLE PORTER, MANNION FAMILY SENIOR CURATOR. WILLIAM KENTRIDGE: T
FORM 990, PART III, LINE 4C CONTINUATION:
HARVARD GRADUATE SCHOOL OF EDUCATION HAWTHORNE YOUTH AND COMMUNITY CENTER HIGHLAND STREET FOUNDATION FREE FUN FRIDAY MASSACHUSETTS COLLEGE OF ART AND DESIGN ARTZ: ARTISTS FOR ALZHEIMERS (X3) BOSTON CHILDREN'S CHORUS BOSTON CHILDREN'S HOSPITAL OUTREACH PROGRAM (X9) BOSTON CITY LIGHTS (X2) BOSTON PUBLIC LIBRARY (X7) BOSTON PUBLIC SCHOOLS BOSTON UNIVERSITY SCHOOL OF VISUAL ART BROOKE CHARTER SCHOOLS (APRIL 2014) COMMUNITY ART CENTER/DO IT YOUR DAMN SELF!! NATIONAL YOUTH FILM FESTIVAL LABOURE CENTER (YOUTH TUTORING YOUTH PROGRAM) ROSIE'S PLACE (X5) UNIVERSITY OF MASSACHUSETTS, BOSTON/URBAN SCHOLARS PROGRAM URBANITY DANCE (X2) VISUAL CULTURE CONSORTIUM TOUR PROGRAMS OUR PUBLIC AND PRIVATE TOUR PROGRAMS SERVED THE FOLLOWING NUMBER OF PARTICIPANTS IN FY14. PUBLIC TOURS: 4,084 PRIVATE TOURS (GUIDED AND SELF GUIDED): 10,010
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