Attach to Form 990 or Form 990-EZ.
Go to
www.irs.gov/Form990 for instructions and the latest information.
| (i) Name of supported organization | (ii) EIN | (iii) Type of organization (described on lines 1- 10 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 |
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Calendar year (or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 16,473,594 | 11,499,610 | 10,522,512 | 20,951,011 | 30,290,807 | 89,737,534 |
| 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 | 16,473,594 | 11,499,610 | 10,522,512 | 20,951,011 | 30,290,807 | 89,737,534 |
| 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).. | 19,876,111 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 69,861,423 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 16,473,594 | 11,499,610 | 10,522,512 | 20,951,011 | 30,290,807 | 89,737,534 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 223,606 | 321,791 | 402,230 | 452,501 | 249,366 | 1,649,494 |
| 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.).. | 201,874 | 197,407 | 227,565 | 211,479 | 246,686 | 1,085,011 |
| 11 | Total support. Add lines 7 through 10 | 92,484,528 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (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) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (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 2019 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-2019 |
(iii) Distributable Amount for 2019 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2019 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2019 (reasonable cause required-- explain in Part VI). See instructions. |
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| 3 Excess distributions carryover, if any, to 2019: | ||||
| a From 2014....... | ||||
| b From 2015....... | ||||
| c From 2016....... | ||||
| d From 2017....... | ||||
| e From 2018....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2019 distributable amount | ||||
|
i
Carryover from 2014 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2019 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2019 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2019, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
6
Remaining underdistributions for 2019. Subtract lines 3h and 4b from line 1. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
7 Excess distributions carryover to 2020. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2015..... | ||||
| b Excess from 2016..... | ||||
| c Excess from 2017..... | ||||
| d Excess from 2018..... | ||||
| e Excess from 2019..... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|
| Software ID: | |
| Software Version: |
Attach to Form 990 or 990-EZ.
Go to www.irs.gov/Form990 for the latest information.
| Return Reference | Explanation |
|---|---|
| FORM 990, PART III, LINE 4A | SCHUTZ'S PAINTINGS COMBINE ABSTRACTION AND FIGURATION WITH EXPRESSIVE IMAGINATION, FRAGMENTED BODIES, BANAL OBJECTS, AND QUOTIDIAN SCENES TO CREATE ODDLY COMPELLING AND INTRIGUING PICTURES. OVER THE LAST DECADE, SHE HAS HONED HER APPROACH TO PAINTING, CREATING TIGHTLY STRUCTURED SCENARIOS AND COMPRESSED INTERIORS. HER WORKS CAPTURE SUBJECTS WHO SEEM TO BE ACTIVELY MANAGING, EVEN FIGHTING, THE LIMITATIONS OF THEIR DEPICTED ENVIRONMENTS-BOUNDARIES SET BY THE CANVASES' ACTUAL BORDERS. MANY OF HER PAINTINGS, SUCH AS GETTING DRESSED ALL AT ONCE (2012) AND SHAVING (2010), DEPICT DISTORTED BODIES, REVEALING A NUANCED EXPLORATION OF THE FEMALE BODY ENGAGED IN LIFE'S EVERYDAY RITUALS. DRAWING ON THE LEGACIES OF BOTH FIGURATIVE AND ABSTRACT PAINTING, WITH NODS TO TOUCHSTONE FIGURES SUCH AS GEORGE GROSZ AND MAX BECKMANN, SCHUTZ'S UNIQUE VOICE IN PAINTING EXEMPLIFIES THE EXPANSIVE POSSIBILITIES OF THE MEDIUM TODAY. IN HER WORK, THE ARTIST EXPLORES WHAT CAN OCCUR WITHIN PARAMETERS OF SPACE AND TIME AND HOW FINITE ZONES CAN UNFOLD INTO CURIOUS AND EVOCATIVE NARRATIVES. OVER THE COURSE OF HER TWENTY-YEAR CAREER, DANA SCHUTZ'S WORK HAS BEEN THE SUBJECT OF MAJOR MUSEUM EXHIBITIONS BOTH NATIONALLY AND INTERNATIONALLY, INCLUDING MOST RECENTLY A SURVEY AT THE MUSEE D'ART CONTEMPORAIN DE MONTREAL, CANADA, AND AN EXHIBITION OF NEW WORKS AT THE KESTNERGESELLSCHAFT, HANOVER, GERMANY. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JESSICA HONG, ASSISTANT CURATOR MARK DION: MISADVENTURES OF A 21ST-CENTURY NATURALIST OCTOBER 4 - DECEMBER 31, 2017 WEST GALLERY MARK DION: MISADVENTURES OF A 21ST-CENTURY NATURALIST, THE ARTIST'S FIRST U.S. SURVEY, EXAMINED 30 YEARS OF HIS PIONEERING INQUIRIES INTO HOW WE COLLECT, INTERPRET, AND DISPLAY NATURE. SINCE THE EARLY 1990S, MARK DION (B. 1961, NEW BEDFORD, MA) HAS FORGED A UNIQUE, INTERDISCIPLINARY PRACTICE BY EXPLORING AND APPROPRIATING SCIENTIFIC METHODOLOGIES. OFTEN WITH AN EDGE OF IRONY, HUMOR, AND IMPROVISATION, DION DECONSTRUCTS BOTH SCIENTIFIC AND MUSEUM-BASED RITUALS OF COLLECTING AND EXHIBITING OBJECTS BY CRITICALLY ADOPTING THEM INTO HIS ARTISTIC PRACTICE. HE HAS TRAVELED THE WORLD TO GATHER PLANT AND ANIMAL SPECIMENS, CONDUCTED ARCHEOLOGICAL DIGS, AND RUMMAGED THROUGH FORGOTTEN COLLECTIONS, ARRANGING HIS FINDS INTO BRIMMING CURIOSITY CABINETS AND CHARISMATIC SCULPTURES. HIS PROJECTS AND EXHIBITIONS OFFER NOVEL APPROACHES TO QUESTIONING INSTITUTIONAL POWER, WHICH HE SEES AS CONNECTED TO THE CONTROL AND REPRESENTATION OF THE NATURAL WORLD. ORGANIZED AROUND THREE OF DION'S PRIMARY METHODS-FIELDWORK, EXCAVATION, AND CULTIVATION-THE EXHIBITION TRACED HIS RESEARCH-INTENSIVE WORK ACROSS MEDIA, TIME, AND PLACE, BRINGING TOGETHER MORE THAN 20 OF THE ARTIST'S MOST SIGNIFICANT ARTWORKS, PLUS A NEWLY COMMISSIONED INTERACTIVE SCULPTURE AND A SALON TITLED THE TIME CHAMBER CONTAINING EPHEMERA, JOURNALS, PRINTS, AND DRAWINGS. THE EXHIBITION OFFERED A RARE LOOK ACROSS THE ARTIST'S INFLUENTIAL PRACTICE AND DISTINCTIVE MATERIAL VOCABULARY, AND WAS ACCOMPANIED BY A FULLY-ILLUSTRATED CATALOG FEATURING TEXTS FROM RUTH ERICKSON, JAMES NISBET, ANDREA BARRETT, MARK DION, AND PETRA LANGE-BERNDT, AS WELL AS A CONVERSATION BETWEEN THE ARTIST AND MARY JANE JACOB. THE SURVEY INCLUDED MAJOR WORKS SUCH AS THE N.Y. STATE BUREAU OF TROPICAL CONSERVATION, 1992, AND TOYS 'R' U.S. (WHEN DINOSAURS RULED THE EARTH), 1994, EACH A ROOM-SIZED COLLECTION OF OBJECTS THAT RUMINATE ON CONSUMPTION, EXTINCTION, AND THE GLOBAL ENVIRONMENTAL CRISIS. THE LIBRARY FOR THE BIRDS OF NEW YORK/THE LIBRARY FOR THE BIRDS OF MASSACHUSETTS, 2016/2017, IMMERSES AUDIENCES IN AND AROUND A 20-FOOT CAGE THAT HOUSES LIVE FINCHES AND CANARIES COMMINGLING WITH THE ACCOUTREMENTS OF ORNITHOLOGY -NETS, BINOCULARS, AND BOOKS- ARRANGED AROUND A TREE. IN THESE AND OTHER WORKS, DION MARRIES DISCOURSES OF SCIENCE WITH THOSE OF THE ART MUSEUM, REVEALING THEIR INTERRELATED ROLES AS PURVEYORS OF KNOWLEDGE AND TRUTH. ORGANIZED BY RUTH ERICKSON, MANNION FAMILY CURATOR, WITH JESSICA HONG, CURATORIAL ASSOCIATE, AND KATHRINNE DUFFY, RESEARCH FELLOW. NICHOLAS NIXON: PERSISTENCE OF VISION DECEMBER 13, 2017 - APRIL 12, 2018 FOTENE DEMOULAS GALLERY BASED IN BOSTON SINCE THE 1970S, NICHOLAS NIXON HAS CAPTURED THE INTIMATE DETAILS OF FAMILY, RELATIONSHIPS, AND LIFE AS IT UNFOLDS IN FRONT OF HIS CAMERA. USING A LARGE-FORMAT 8 X 10-INCH CAMERA AND BLACK-AND-WHITE FILM, HE PHOTOGRAPHS BOSTON'S CHANGING LANDSCAPE, PORCH LIFE IN THE RURAL SOUTH, SICK OR DYING PEOPLE, AND HIS OWN FAMILY. THIS EXHIBITION SURVEYS THE ARTIST'S PROLIFIC CAREER AND IS ORGANIZED AROUND THE REMARKABLE ONGOING PROJECT THE BROWN SISTERS, A SERIES OF GROUP PORTRAITS OF NIXON'S WIFE BEBE AND HER THREE SISTERS, HEATHER, MIMI, AND LAURIE TAKEN ANNUALLY SINCE 1975. THE BROWN SISTERS WAS PRESENTED IN ITS ENTIRETY, EACH PORTRAIT PAIRED WITH OTHER PHOTOGRAPHS MADE BY NIXON IN THE SAME YEAR, DRAWN FROM OTHER BODIES OF WORK, INCLUDING SCHOOLS IN AND AROUND BOSTON, PEOPLE WITH AIDS, COUPLES, AND LANDSCAPES. TOGETHER THESE PICTURES UNDERSCORE PHOTOGRAPHY'S SINGULAR ABILITY TO CAPTURE THE PASSAGE OF TIME IN INCREMENTAL MOMENTS AND ARE A TESTAMENT TO NIXON'S EXTRAORDINARY PERSISTENCE OF VISION. NICHOLAS NIXON WAS BORN IN DETROIT, MICHIGAN, IN 1947. HE LIVES AND WORKS IN BROOKLINE. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JESSICA HONG, ASSISTANT CURATOR HITO STEYERL: LIQUIDITY INC. DECEMBER 13, 2017 - APRIL 22, 2018 PAUL AND CATHERINE BUTTENWIESER GALLERY HITO STEYERL (B. 1966, MUNICH, GERMANY) IS AN ARTIST, FILMMAKER, AND WRITER WHOSE ART SPEAKS URGENTLY TO OUR DIGITALLY MEDIATED ERA. IN HER WORK, SHE HAS ADDRESSED THE WIDE-RANGING EFFECTS OF TODAY'S MASS PROLIFERATION AND DISSEMINATION OF IMAGES, ISSUES OF SURVEILLANCE AND MILITARIZATION, AND THE EVOLVING FUNCTIONS OF TECHNOLOGY IN OUR NETWORKED CULTURE. LIQUIDITY INC. (2014), A NEW ACQUISITION TO THE ICA'S COLLECTION, WAS ON VIEW AT THE MUSEUM FOR THE FIRST TIME. AS SUGGESTED BY THE TITLE, THIS VIDEO SCULPTURE USES WATER AS ITS GUIDING THEME, AND HAS PARTICULAR RESONANCE AT THE ICA'S WATERFRONT LOCATION. LIQUIDITY INC. TAKES AS A POINT OF DEPARTURE THE STORY OF JACOB WOOD, A FORMER FINANCIAL ANALYST WHO LOST HIS JOB DURING THE 2008 ECONOMIC RECESSION AND DECIDED TO TURN HIS HOBBY IN MIXED MARTIAL ARTS INTO A CAREER. STEYERL FOLLOWS ACTOR AND MARTIAL ARTIST BRUCE LEE'S DICTUM TO "BE SHAPELESS, FORMLESS, LIKE WATER," TURNING "LIQUIDITY" INTO A TROPE FLUID ENOUGH TO SPEAK ABOUT EVERYTHING FROM THE WEATHER TO WATER AS MATERIAL RESOURCE, TO THE CIRCULATION OF INFORMATION AND ASSETS. PROJECTED ONTO A DOUBLE-SIDED SCREEN IN FRONT OF A WAVE-LIKE RAMP STRUCTURE, LIQUIDITY INC. STAGED A CAPTIVATING PARABLE OF ECONOMIC CRISIS AND CONTEMPORARY CULTURE THAT WAS BY TURNS PLAYFUL AND POIGNANT. HITO STEYERL: LIQUIDITY INC. WAS PRESENTED IN CONJUNCTION WITH THE EXHIBITION ART IN THE AGE OF THE INTERNET, 1989 TO TODAY (FEBRUARY 7 - MAY 28, 2018). ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JEFFREY DE BLOIS, ASSISTANT CURATOR WANGECHI MUTU: A PROMISE TO COMMUNICATE JANUARY 20 - DECEMBER 31, 2018 SANDRA AND GERALD FINEBERG ART WALL ARTIST WANGECHI MUTU (B. 1972, NAIROBI, KENYA) IS KNOWN FOR HER SELF-PROCLAIMED "MAXIMALIST AESTHETIC," HYBRID COMPOSITIONS, AND WALL-BASED WORKS THAT ADD TEXTURE AND DIMENSION TO ARCHITECTURAL SPACES. FEMINISM, AFROFUTURISM, AND MARGINAL SPACES FIGURE IN HER CATEGORY-DEFYING COLLAGE AND SCULPTURE WORK. IN A NEW COMMISSION FOR THE ICA, MUTU USED THE ROUGH, GRAY RESCUE BLANKETS OF HUMANITARIAN AID EFFORTS AND EMERGENCIES TO CREATE A LESS RATIONAL INTERPRETATION OF THE WORLD MAP. TITLED A PROMISE TO COMMUNICATE, THE WORK CREATES A SPACE FOR VISITORS TO EXPLORE IDEAS OF PUBLIC SPACE, COMMUNICATION, AND FREE SPEECH, ADDRESSING THE IDEA OF A WORLD THAT DESPITE ITS INCREASING POTENTIAL FOR COLLECTIVITY STRUGGLES TO COMMUNICATE IN A COMPREHENSIVE WAY. ORGANIZED BY RUTH ERICKSON, MANNION FAMILY CURATOR, WITH JESSICA HONG, ASSISTANT CURATOR ART IN THE AGE OF THE INTERNET, 1989 TO TODAY FEBRUARY 7 - MAY 20, 2018 BRIDGITT AND BRUCE EVANS FAMILY AND WEST GALLERIES ART IN THE AGE OF THE INTERNET, 1989 TO TODAY EXAMINED HOW THE INTERNET HAS RADICALLY CHANGED THE FIELD OF ART, ESPECIALLY IN ITS PRODUCTION, DISTRIBUTION, AND RECEPTION. THE EXHIBITION COMPRISED A BROAD RANGE OF WORKS ACROSS A VARIETY OF MEDIUMS-INCLUDING PAINTING, PERFORMANCE, PHOTOGRAPHY, SCULPTURE, VIDEO, AND WEB-BASED PROJECTS-THAT ALL INVESTIGATE THE EXTENSIVE EFFECTS OF THE INTERNET ON ARTISTIC PRACTICE AND CONTEMPORARY CULTURE. THEMES EXPLORED IN THE EXHIBITION INCLUDED EMERGENT IDEAS OF THE BODY AND NOTIONS OF HUMAN ENHANCEMENT; THE INTERNET AS A SITE OF BOTH SURVEILLANCE AND RESISTANCE; THE CIRCULATION AND CONTROL OF IMAGES AND INFORMATION; POSSIBILITIES FOR NEW SUBJECTIVITIES, COMMUNITIES, AND VIRTUAL WORLDS; AND NEW ECONOMIES OF VISIBILITY INITIATED BY SOCIAL MEDIA. |
| FORM 990, PART III, LINE 4A | ART IN THE AGE OF THE INTERNET FEATURED WORK OF AN INTERNATIONAL, INTERGENERATIONAL GROUP OF ARTISTS, INCLUDING JUDITH BARRY, DARA BIRNBAUM, HARUN FAROCKI, JOSH KLINE, LYNN HERSHMAN LEESON, TREVOR PAGLEN, NAM JUNE PAIK, THOMAS RUFF, FRANCE STARK, HITO STEYERL, MARTINE SYMS, AND ANICKA YI. THE EXHIBITION WAS ACCOMPANIED BY A MAJOR SCHOLARLY PUBLICATION AND WEB PLATFORM. IN ASSOCIATION WITH THE EXHIBITION, 14 ARTS ORGANIZATIONS THROUGHOUT GREATER BOSTON PARTNERED TO PRESENT AN AMBITIOUS, REGION-WIDE EXPLORATION OF ART AND TECHNOLOGY. THIS EXCITING CULTURAL COLLABORATION OFFERED A RANGE OF EXHIBITIONS, PERFORMANCES, FILM SCREENINGS, AND OTHER PROGRAMS ALL EXPLORING THE RELATIONSHIP BETWEEN ART AND TECHNOLOGY IN CELEBRATION OF THE BOSTON AREA'S RICH HISTORY OF TECHNICAL INNOVATION, AND ITS OVERLAP WITH ART. OFFERINGS TOUCHED ON ISSUES OF PRIVACY, COMMUNITY, NETWORKS, IDENTITY, INNOVATIONS, SURVEILLANCE, AND MORE. PARTNER ORGANIZATIONS INCLUDED BERKLEE COLLEGE OF MUSIC, BOSTON CYBERARTS, CARPENTER CENTER FOR THE VISUAL ARTS AT HARVARD UNIVERSITY, DECORDOVA SCULPTURE PARK AND MUSEUM, HARVARD ART MUSEUMS, HARVARD FILM ARCHIVE, ISABELLA STEWART GARDNER MUSEUM, MIT LIST VISUAL ARTS CENTER, MUSEUM OF FINE ARTS, BOSTON, MUSEUM OF SCIENCE, PEABODY ESSEX MUSEUM, ROSE ART MUSEUM AT BRANDEIS UNIVERSITY, AND TUFTS UNIVERSITY ART GALLERIES. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JEFFREY DE BLOIS, ASSISTANT CURATOR. CAITLIN KEOGH: BLANK MELODY MAY 9 - AUGUST 26, 2018 PAUL AND CATHERINE BUTTENWIESER GALLERY THIS EXHIBITION WAS THE FIRST SOLO MUSEUM PRESENTATION OF THE PAINTINGS OF NEW YORK-BASED ARTIST CAITLIN KEOGH (B. 1982, ANCHORAGE, ALASKA). KEOGH'S WORK EXPLORES QUESTIONS OF GENDER AND REPRESENTATION, ARTICULATIONS OF PERSONAL STYLE, AND THE CONSTRUCTION OF ARTISTIC IDENTITY. HER VIVID, SEDUCTIVE PAINTINGS COMBINE THE GRAPHIC LINES OF HAND-DRAWN COMMERCIAL ILLUSTRATION WITH THE BOLD MATTE COLORS OF THE APPLIED ARTS TO REIMAGINE FRAGMENTS OF FEMALE BODIES, NATURAL MOTIFS, PATTERN, AND ORNAMENTATION. DRAWING FROM CLOTHING DESIGN, ILLUSTRATION, AND INTERIOR DECORATION AS MUCH AS ART HISTORY, KEOGH'S LARGE-SCALE CANVASES DISSECT ELEMENTS OF REPRESENTATIONS OF FEMININITY WITH CONSIDERABLE WIT, POINTING TO THE UNDERLYING CONDITIONS OF THE PRODUCTION OF IMAGES OF WOMEN. NATURAL FORMS RECUR THROUGHOUT HER WORK AS A MEANS OF DEPICTING ARTISTIC STYLE, AND FOR THE WAY THAT THESE DIFFERENT DEPICTIONS SPEAK TO SPECIFIC POLITICAL AND CULTURAL CONTEXTS, SUCH AS HER EXAMINATION OF THE NATURALISTIC DESIGNS OF THE 19TH-CENTURY BRITISH TEXTILE DESIGNER WILLIAM MORRIS AND HOW THEY RELATE TO HIS UTOPIAN POLITICS. THE EXHIBITION TOOK ITS TITLE FROM AN INTERPRETIVE POEM WRITTEN BY CHARITY COLEMAN FOR KEOGH'S RECENT ARTIST BOOK HEADLESS WOMAN WITH PARROT (2017). KEOGH CREATED A NEW BODY OF WORK IN RESPONSE TO COLEMAN'S IMAGISTIC POEM FOR THE EXHIBITION. ORGANIZED BY JEFFREY DE BLOIS, ASSISTANT CURATOR KEVIN BEASLEY MAY 9 - AUGUST 26, 2018 FOTENE DEMOULAS GALLERY ONE OF THE MOST EXCITING ARTISTS TO EMERGE IN RECENT YEARS, NEW YORK-BASED KEVIN BEASLEY (B. 1985, LYNCHBURG, VA) UNIQUELY COMBINES SOUND AND CLOTHING-HIS CORE ARTISTIC MATERIALS-IN STUNNING, DENSELY PACKED SCULPTURES AND IMMERSIVE ACOUSTIC EXPERIENCES. THIS EXHIBITION, HIS FIRST IN BOSTON, PRESENTED A SELECTION OF THE ARTIST'S SCULPTURES MADE OVER THE PAST FIVE YEARS. BEASLEY'S EARLY WORKS HARNESSED THE PHYSICAL QUALITIES OF SOUND, DEPLOYING VIBRATIONS AND ECHOES THAT PENETRATE THE BODIES OF BOTH PERFORMERS AND AUDIENCE. HE HAS EMBEDDED MICROPHONES AND OTHER ELECTRONIC MUSICAL EQUIPMENT IN SCULPTURES MADE OF SNEAKERS AND FOAM, MANIPULATING THEIR SONIC POSSIBILITIES IN HIS LIVE PERFORMANCES. FOUND OBJECTS AND CLOTHING, OFTEN THE ARTIST'S OWN, ARE CENTRAL IN BEASLEY'S DIVERSE SCULPTURAL WORK, RANGING FROM COMPOSITIONS OF SHREDDED T-SHIRTS AND HOODIES TO FITTED HATS, DO-RAGS, AND BASKETBALL JERSEYS. MORE RECENT WORKS ARE CONSTRUCTED FROM COLORFULLY PATTERNED HOUSEDRESSES STIFFENED WITH RESIN THAT STAND ON THE FLOOR AND PROTRUDE FROM THE WALLS, AT TIMES HARDENED OVER SOUND-BAFFLING FOAM PANELS OR CONCAVE FORMS THAT BEASLEY REFERS TO AS "ACOUSTIC MIRRORS." APPEARING LIKE SATELLITE DISHES OR CLUSTERS OF GHOSTLY FIGURES, THESE WORKS BECOME CONDUITS FOR ABSENT BODIES AND HISTORIES THAT THE ARTIST EVOKES THROUGH COLOR, PATTERN, AND TEXTURE. IN THE SPIRIT OF ARTISTS NOAH PURIFOY AND DAVID HAMMONS, BEASLEY HIGHLIGHTS THE IMPORTANCE OF PERSONAL MEMORY AND TO EXPLORE HOW LIVED EXPERIENCE INTERSECTS WITH BROADER EXAMINATIONS OF POWER AND RACE IN AMERICA. THIS EXHIBITION WAS ACCOMPANIED BY A SMALL ILLUSTRATED PUBLICATION -THE FIRST ABOUT THE ARTIST- FEATURING AN ESSAY BY RUTH ERICKSON AND A CONVERSATION BETWEEN KEVIN BEASLEY AND MARK BRADFORD. ORGANIZED BY RUTH ERICKSON, MANNION FAMILY CURATOR, WITH JEFFREY DE BLOIS, ASSISTANT CURATOR ARTHUR JAFA: LOVE IS THE MESSAGE, THE MESSAGE IS DEATH JUNE 27 - SEPTEMBER 30, 2018 BRIDGITT AND BRUCE EVANS FAMILY GALLERY ARTIST, CINEMATOGRAPHER, AND FILMMAKER ARTHUR JAFA (B. 1960, TUPELO, MISSISSIPPI) FREQUENTLY STATES THAT HE HOPES TO CREATE CINEMA THAT "REPLICATES THE POWER, BEAUTY, AND ALIENATION OF BLACK MUSIC." LOVE IS THE MESSAGE, THE MESSAGE IS DEATH IS A SINGLE-CHANNEL VIDEO INSTALLATION SET TO KANYE WEST'S STIRRING, GOSPEL-INSPIRED SONG "ULTRALIGHT BEAM." IT COMPRISES ORIGINAL AND FOUND FOOTAGE FROM CONCERTS, MARCHES, MUSIC VIDEOS, NEWS REPORTS, POLICE CAMERAS, YOUTUBE VIDEOS, AS WELL AS SCENES FROM JAFA'S WELL-KNOWN 2014 DOCUMENTARY DREAMS ARE COLDER THAN DEATH, WHICH LYRICALLY REFLECTS ON MARTIN LUTHER KING JR.'S LEGACY WITHIN CONTEMPORARY BLACK EXPERIENCES. CRITICALLY AWARE OF BLACK REPRESENTATION IN MAINSTREAM MEDIA, JAFA INCORPORATES A WIDE RANGE OF IMAGERY, COLLAGING AND INTERSPERSING CLIPS OF FIGURES SUCH AS MARTIN LUTHER KING JR., BARACK OBAMA, JAMES BROWN, BEYONC, AND FREDDIE GRAY, AS WELL AS HIP-HOP PERFORMANCES, SPORTS GAMES WITH PREDOMINANTLY BLACK ATHLETES, AND VIOLENT POLICE ARRESTS OF BLACK MEN AND WOMEN. AMPLIFIED BY THE MUSICAL TRACK, LOVE IS THE MESSAGE, THE MESSAGE IS DEATH PRESENTS GLIMPSES OF THE JOYS, TRAUMAS, AND TRIUMPHS OF BLACK LIFE IN THIS COUNTRY. ORGANIZED BY JESSICA HONG, ASSISTANT CURATOR WE WANTED A REVOLUTION: BLACK RADICAL WOMEN, 1965-85 JUNE 27 - SEPTEMBER 30, 2018 KAREN AND BRIAN CONWAY GALLERIES FOCUSING ON THE WORK OF BLACK WOMEN ARTISTS, WE WANTED A REVOLUTION: BLACK RADICAL WOMEN, 1965-85 EXAMINES THE POLITICAL, SOCIAL, CULTURAL, AND AESTHETIC PRIORITIES OF WOMEN OF COLOR DURING THE EMERGENCE OF SECOND-WAVE FEMINISM. IT IS THE FIRST EXHIBITION TO HIGHLIGHT THE VOICES AND EXPERIENCES OF WOMEN OF COLOR -DISTINCT FROM THE PRIMARILY WHITE, MIDDLE-CLASS MAINSTREAM FEMINIST MOVEMENT- IN ORDER TO REORIENT CONVERSATIONS AROUND RACE, FEMINISM, POLITICAL ACTION, ART PRODUCTION, AND ART HISTORY IN THIS SIGNIFICANT HISTORICAL PERIOD. THE EXHIBITION FEATURES A WIDE ARRAY OF WORK, INCLUDING PERFORMANCE, FILM, AND VIDEO ART, AS WELL AS PHOTOGRAPHY, PAINTING, SCULPTURE, AND PRINTMAKING BY A DIVERSE GROUP OF ARTISTS AND ACTIVISTS WHO LIVED AND WORKED AT THE INTERSECTIONS OF AVANT-GARDE ART WORLDS AND RADICAL POLITICAL MOVEMENTS. ARTISTS INCLUDED CAMILLE BILLOPS, ELIZABETH CATLETT, JULIE DASH, MAREN HASSINGER, JAE JARRELL, LORRAINE O'GRADY, HOWARDENA PINDELL, FAITH RINGGOLD, BETYE SAAR, LORNA SIMPSON, AND CARRIE MAE WEEMS, AMONG MANY OTHERS. ORGANIZED BY THE BROOKLYN MUSEUM. THE BOSTON PRESENTATION WAS COORDINATED BY JESSICA HONG, ASSISTANT CURATOR, THE INSTITUTE OF CONTEMPORARY ART/BOSTON. |
| FORM 990, PART VI, SECTION B, LINE 11B | FORM 990 IS REVIEWED BY THE ICA'S CFO/COO FOR COMPLETENESS AND THEN IS FORWARDED TO THE ICA'S AUDIT COMMITTEE FOR REVIEW AND DISCUSSION WITH OUTSIDE INDEPENDENT ACCOUNTANTS. THE AUDIT COMMITTEE IS RESPONSIBLE FOR APPROVING THE FORM 990 FOR SUBMITTAL TO THE IRS. PRIOR TO SENDING THE FORM 990 TO THE IRS THE ICA'S CFO/COO WILL SEND A COPY OF THE DOCUMENT TO EACH ICA TRUSTEE. |
| FORM 990, PART VI, SECTION B, LINE 12C | EACH FALL, THE ICA REQUIRES ALL ITS TRUSTEES TO DISCLOSE ANY CONFLICT OF INTEREST ON A DISCLOSURE STATEMENT. THE PURPOSE OF THE CONFLICT OF INTEREST POLICY IS TO GIVE GUIDANCE TO THE ICA'S LEADERS ABOUT AREAS OF CONFLICT OF INTEREST SO THAT CONFLICTS, REAL OR PERCEIVED, MAY BE IDENTIFIED EARLY, DISCLOSED, AND RESOLVED APPROPRIATELY. IDEALLY, THIS POLICY WILL PROTECT THE ICA'S INTERESTS WHEN IT IS CONTEMPLATING ENTERING INTO A TRANSACTION OR ARRANGEMENT THAT MIGHT BENEFIT THE PRIVATE INTERESTS OF AN OFFICER OR TRUSTEE. IN CONNECTION WITH ANY ACTUAL OR POSSIBLE CONFLICT OF INTEREST, A FIDUCIARY SHALL DISCLOSE ALL MATERIAL FACTS TO THE PRESIDENT, CHAIRPERSON OR DIRECTOR AT THE EARLIEST POSSIBLE TIME AFTER THE SITUATION BECOMES KNOWN TO THE FIDUCIARY. THE FIDUCIARY SHALL ALSO DISCLOSE SUCH MATTERS ON AN ANNUAL BASIS AT THE TIME THE FIDUCIARY SIGNS THE ANNUAL STATEMENT OF THIS POLICY, OR OTHER REPORTING AND CERTIFICATION PROCEDURES AS THE BOARD OF TRUSTEES SHALL REQUIRE FROM TIME TO TIME. AFTER DISCLOSURE OF THE FINANCIAL INTEREST AND ALL MATERIAL FACTS, AND AFTER ANY DISCUSSION WITH THE FIDUCIARY, THE EXECUTIVE COMMITTEE OF THE BOARD SHALL FINALLY DETERMINE WHETHER ANY CONFLICT OF INTEREST EXISTS. IF THE FIDUCIARY IS PRESENT FOR THIS DISCUSSION, THEN THE FIDUCIARY SHALL LEAVE THE EXECUTIVE COMMITTEE OF THE BOARD MEETING WHILE THE DETERMINATION OF CONFLICT OF INTEREST IS DISCUSSED AND VOTED UPON. IF THE EXECUTIVE COMMITTEE OF THE BOARD DETERMINES THAT A CONFLICT EXISTS WITH RESPECT TO A TRANSACTION, THE EXECUTIVE COMMITTEE OF THE BOARD SHALL: (A)ALLOW THE FIDUCIARY TO MAKE A PRESENTATION TO THE EXECUTIVE COMMITTEE OF THE BOARD, BUT AFTER SUCH PRESENTATION, THE FIDUCIARY WITH THE FINANCIAL INTEREST SHALL LEAVE THE MEETING DURING THE DISCUSSION OF, AND THE VOTE ON, THE TRANSACTION THAT INVOLVES THE CONFLICT OF INTEREST; (B)APPOINT, IF THE EXECUTIVE COMMITTEE OF THE BOARD DEEMS IT APPROPRIATE TO DO SO, A NON INTERESTED PERSON OR COMMITTEE TO INVESTIGATE ALTERNATIVES TO THE TRANSACTION; (C)DETERMINE, BY A MAJORITY VOTE OF THE NON INTERESTED TRUSTEE MEMBERS OF THE EXECUTIVE COMMITTEE PRESENT, WHETHER THE TRANSACTION IS IN THE ICA'S BEST INTEREST AND FOR ITS OWN BENEFIT; IS FAIR AND REASONABLE TO THE ICA; AND, AFTER EXERCISING DUE DILIGENCE, DETERMINE WHETHER THE ICA CAN OBTAIN A MORE ADVANTAGEOUS TRANSACTION WITH REASONABLE EFFORTS UNDER THE CIRCUMSTANCES; AND (D)TAKE APPROPRIATE ACTION WITH RESPECT TO ANY VIOLATION OF THIS CONFLICT OF INTEREST POLICY. |
| FORM 990, PART VI, SECTION B, LINE 15 | THE COMPENSATION FOR THE DIRECTOR IS REVIEWED AND APPROVED BY THE ICA'S COMPENSATION COMMITTEE. THIS COMMITTEE ALSO REVIEWS THE COMPENSATION FOR THE ICA'S SENIOR MANAGEMENT TEAM (CHIEF OPERATING AND CHIEF FINANCIAL OFFICERS, CHIEF CURATOR, DIRECTOR OF EXTERNAL RELATIONS, DIRECTOR OF DEVELOPMENT, DIRECTOR OF EDUCATION AND DIRECTOR OF PERFORMING AND MEDIA ARTS) BUT FINAL COMPENSATION FOR THE SENIOR MANAGEMENT TEAM IS DETERMINED BY THE DIRECTOR. THE COMPENSATION COMMITTEE USES THE ANNUAL SALARY SURVEY FROM THE AMERICAN ASSOCIATION OF MUSEUM DIRECTORS AND FORM 990 DATA FROM SIMILAR ORGANIZATIONS. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE ORGANIZATION MAKES ITS GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, FORM 990, 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: | GAIN ON SPLIT INTEREST AGREEMENTS 4,804. CAPITALIZED DONATED SERVICES 105,436. |
| FORM 990, PART III, LINE 4D, OTHER PROGRAM SERVICES CONT'D: | EDUCATION, TEENS, ADULTS: COMMUNITY PROGRAMS AND PARTNERSHIPS (SELECT) CONT'D - HARVARD GRADUATE SCHOOL OF EDUCATION - HIGHLAND STREET FOUNDATION - HUTCHINS CENTER FOR AFRICAN & AFRICAN AMERICAN RESEARCH - HYDE SQUARE TASK FORCE - MASS LEAP - MASS PORT - MIT LIST CENTER FOR VISUAL ARTS - NEMES - NEW ENGLAND AQUARIUM - NEW ENGLAND FOLK HERITAGE - NORTHEASTERN CENTER FOR THE ARTS - PIERS PARK - PROJECT MOVES - SAM ADAMS SCHOOL - SCRATCH - SOCIEDAD LATINA AT UMANA ACADEMY - THE GOTTABEES - UMASS BOSTON - UMASS DARTMOUTH - UMASS LOWELL - WINDY FILMS - YOUNG AUDIENCES OF MA - ZUMIX SELECT ARTIST PARTNERSHIPS: - BENNIE FLORES ANSELL - EVELYN RYDZ - MARK DION - OOMPA - SAYA WOOLFALK AND AYA WOOLFALK MITCHELL - SUSANNAH LAWRENCE - WES SAM-BRUCE TOUR PROGRAMS OUR PUBLIC AND PRIVATE TOUR PROGRAMS SERVED THE FOLLOWING NUMBER OF PARTICIPANTS IN FY18: 12,652 TEEN PROGRAMS - TEEN PROGRAMS SERVED A TOTAL OF 2,640 THROUGH THE PROGRAMS LISTED BELOW. TEEN NIGHTS, ART HAPPENINGS ORGANIZED AND PROMOTED FOR TEENS BY TEENS, SERVED 1,318 TEENS (INCLUDES SPRING SHOWCASE). EDUCATIONAL RESOURCES AND STUDENT FILMS CREATED THROUGH ICA TEEN PROGRAMS WERE ALSO ACCESSIBLE VIA THE ICATEENS.ORG WEBSITE. TEEN PROGRAMS ARTIST ENCOUNTERS - WES SAM-BRUCE - SUMMER 2017 - MARK DION - FALL 2017 - OKWUI OKPOKWASILI - SPRING 2018 NO TEEN CONVENING THIS FISCAL YEAR EXTENDED TEEN PROGRAMS - FAST FORWARD THURSDAY - FAST FORWARD FRIDAY - PERFORMING ARTS CREW - TEEN PROGRAMS ALUMNI NETWORK - WALL TALK - BOSTON COLLEGIATE CHARTER SCHOOL - BOSTON LATIN ACADEMY - BRIGHTON HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - EXCEL HIGH SCHOOL - GREATER EGLESTON HIGH SCHOOL - MCKINLEY SOUTH END ACADEMY - NEIGHBORHOOD HOUSE CHARTER SCHOOL - RAFAEL HERNANDEZ SCHOOL - ROXBURY PREP HIGH SCHOOL - URBAN SCIENCE ACADEMY - TEEN ARTS COUNCIL 15 STUDENTS, FROM: - URBAN SCIENCE ACADEMY - SNOWDEN INTERNATIONAL SCHOOL AT COPLEY - PHOENIX CHARTER ACADEMY - REVERE HIGH SCHOOL - ARLINGTON HIGH SCHOOL - BOSTON DAY AND EVENING - MCKINLEY SOUTH END ACADEMY - BOSTON LATIN ACADEMY - HOME SCHOOL TEEN NIGHTS - SUMMERTIME SOL JAM - MISCELLANEOUS MISADVENTURES - IRL - SPRING SHOWCASE THE CURRENT - ROOTED: THE NATURE OF UNCERTAINTY, YOUTH ARTIST SHOWCASE & DISCUSSION - FALL 2017 - THE INTERNET:// DESENSITIZE.ME - SPRING 2018 TEEN NEW MEDIA WORKSHOPS - DIGITAL PHOTOGRAPHY: INTRO (CAMERA BASICS) - FALL 2017 - DIGITAL PHOTOGRAPHY: INTRO (CAMERA BASICS) - SPRING 2018 - DIGITAL PHOTOGRAPHY: ADVANCED PHOTOGRAPHY - SPRING 2018 - DIGITAL PHOTOGRAPHY: SPECIAL FOCUS - FALL 2017 - DIGITAL PHOTOGRAPHY: SPECIAL FOCUS - SPRING 2018 - DIGITAL SAMPLER I - SUMMER 2017 - FILM SCHOOL - SUMMER 2017 - FILM SCHOOL - SPRING 2018 - GRAPHIC DESIGN: CHARACTER DESIGN AND ANIMATION - SPRING 2018 - MUSIC PRODUCTION: BEAT MAKING 101 - SUMMER 2017 - MUSIC PRODUCTION: AMP - FALL 2017 - MUSIC PRODUCTION: DJ 101 (X2) - FALL 2017 - MUSIC PRODUCTION: BEAT MAKING 101 - SPRING 2018 - MUSIC PRODUCTION: DJ 101 - SPRING 2018 - WORKSHOPS WITH UMASS URBAN SCHOLARS PROGRAM - SUMMER 2017 BOSTON PUBLIC SCHOOLS ARTS CREDIT PROGRAM PARTNERS - BOSTON DAY & EVENING ACADEMY - CHARLESTOWN HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - EXCEL HIGH SCHOOL - SNOWDEN INTERNATIONAL SCHOOL AT COPLEY TEEN EXHIBITIONS - "OUR CITY, OUR PEOPLE" - HARVARD GRADUATE SCHOOL OF EDUCATION, MONROE C. GUTMAN LIBRARY; MAYOR'S GALLERY, BOSTON CITY HALL MISCELLANEOUS TEEN PROGRAM EVENTS: - CROSSING THE STREET + ICA READS - SPRING 2018 - DO IT YOUR DAMN SELF FILM SCREENING - SPRING 2018 - EMPOWERING GENERATIONS OF LEADERS: ALUMNI NETWORKING - SPRING 2018 - FASTFORWARD ALUMNI SCREENING - SPRING 2018 - FASTFORWARD WINTER SHOWCASE - FALL 2017 - THE MOVEMENT - SUMMER 2017 - TEEN ARTS COUNCIL ALUMNI REUNION - FALL 2017 |
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