Attach to Form 990 or Form 990-EZ.
Information about Schedule A (Form 990 or 990-EZ) and its instructions is at www.irs.gov/form990.
| (i)Name of supported organization | (ii) EIN | (iii) Type of organization (described on lines 1- 9 above (see instructions)) | (iv) Is the organization listed in your governing document? | (v) Amount of monetary support (see instructions) | (vi) Amount of other support (see instructions) | |
|---|---|---|---|---|---|---|
| Yes | No | |||||
| Total | ||||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any unusual grants.) .... | 17,357,007 | 11,064,748 | 16,473,594 | 11,499,610 | 10,522,512 | 66,917,471 |
| 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 | 17,357,007 | 11,064,748 | 16,473,594 | 11,499,610 | 10,522,512 | 66,917,471 |
| 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).. | 14,940,474 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 51,976,997 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 17,357,007 | 11,064,748 | 16,473,594 | 11,499,610 | 10,522,512 | 66,917,471 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 198,251 | 204,024 | 223,606 | 321,791 | 402,230 | 1,349,902 |
| 9 | Net income from unrelated business activities, whether or not the business is regularly carried on.. | ||||||
| 10 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part VI.).. | 208,193 | 156,592 | 201,874 | 197,407 | 227,565 | 991,631 |
| 11 | Total support. Add lines 7 through 10. | 69,271,493 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (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.) | ||||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2011 | (b) 2012 | (c) 2013 | (d) 2014 | (e) 2015 | (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 VI.) .. | ||||||
| 13 | Total support. (Add lines 9, 10c, 11, and 12.).. | ||||||
| Section A - Adjusted Net Income | (A) Prior Year |
(B) Current Year (optional) |
||||
| 1 | Net short-term capital gain | 1 | ||||
| 2 | Recoveries of prior-year distributions | 2 | ||||
| 3 | Other gross income (see instructions) | 3 | ||||
| 4 | Add lines 1 through 3 | 4 | ||||
| 5 | Depreciation and depletion | 5 | ||||
| 6 | Portion of operating expenses paid or incurred for production or collection of gross income or for management, conservation, or maintenance of property held for production of income (see instructions) | 6 | ||||
| 7 | Other expenses (see instructions) | 7 | ||||
| 8 | Adjusted Net Income (subtract lines 5, 6 and 7 from line 4) | 8 | ||||
| Section B - Minimum Asset Amount | (A) Prior Year |
(B) Current Year (optional) |
||||
| 1 | Aggregate fair market value of all non-exempt-use assets (see instructions for short tax year or assets held for part of year): | 1 | ||||
| a | Average monthly value of securities | 1a | ||||
| b | Average monthly cash balances | 1b | ||||
| c | Fair market value of other non-exempt-use assets | 1c | ||||
| d | Total (add lines 1a, 1b, and 1c) | 1d | ||||
| e |
Discount claimed for blockage or other factors (explain in detail in Part VI): |
|||||
| 2 | Acquisition indebtedness applicable to non-exempt use assets | 2 | ||||
| 3 | Subtract line 2 from line 1d | 3 | ||||
| 4 | Cash deemed held for exempt use. Enter 1-1/2% of line 3 (for greater amount, see instructions). | 4 | ||||
| 5 | Net value of non-exempt-use assets (subtract line 4 from line 3) | 5 | ||||
| 6 | Multiply line 5 by .035 | 6 | ||||
| 7 | Recoveries of prior-year distributions | 7 | ||||
| 8 | Minimum Asset Amount (add line 7 to line 6) | 8 | ||||
| Section C - Distributable Amount | Current Year | |||||
| 1 | Adjusted net income for prior year (from Section A, line 8, Column A) | 1 | ||||
| 2 | Enter 85% of line 1 | 2 | ||||
| 3 | Minimum asset amount for prior year (from Section B, line 8, Column A) | 3 | ||||
| 4 | Enter greater of line 2 or line 3 | 4 | ||||
| 5 | Income tax imposed in prior year | 5 | ||||
| 6 | Distributable Amount. Subtract line 5 from line 4, unless subject to emergency temporary reduction (see instructions) | 6 | ||||
| Section D - Distributions | Current Year | |
|---|---|---|
| 1 Amounts paid to supported organizations to accomplish exempt purposes | ||
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
||
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | ||
| 4 Amounts paid to acquire exempt-use assets | ||
| 5 Qualified set-aside amounts (prior IRS approval required) | ||
| 6 Other distributions (describe in Part VI). See instructions | ||
| 7Total annual distributions. Add lines 1 through 6. | ||
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
||
| 9 Distributable amount for 2015 from Section C, line 6 | ||
| 10 Line 8 amount divided by Line 9 amount | ||
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2015 |
(iii) Distributable Amount for 2015 |
|
|---|---|---|---|---|
|
1
Distributable amount for 2015 from Section C, line 6 |
||||
|
2
Underdistributions, if any, for years prior to 2015 (reasonable cause required--see instructions) |
||||
| 3 Excess distributions carryover, if any, to 2015: | ||||
| a | ||||
| b | ||||
| c | ||||
| d From 2013....... | ||||
| e From 2014....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2015 distributable amount | ||||
|
i
Carryover from 2010 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2015 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2015 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2015, if any. Subtract lines 3g and 4a from line 2 (if amount greater than zero, see instructions) |
||||
|
6
Remaining underdistributions for 2015. Subtract lines 3h and 4b from line 1 (if amount greater than zero, see instructions) |
||||
|
7 Excess distributions carryover to 2016. Add lines 3j and 4c. |
||||
| 8 Breakdown of line 7: | ||||
| a | ||||
| b | ||||
| c Excess from 2013....... | ||||
| d From 2014....... | ||||
| e From 2015....... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|
| Software ID: | |
| Software Version: |
Attach to Form 990 or 990-EZ.
Information about Schedule O (Form 990 or 990-EZ) and its instructions is at| Return Reference | Explanation |
|---|---|
| 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. |
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