Attach to Form 990 or Form 990-EZ.
Go to
www.irs.gov/Form990 for 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) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 11,499,610 | 10,522,512 | 20,951,011 | 30,290,807 | 12,150,076 | 85,414,016 |
| 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 | 11,499,610 | 10,522,512 | 20,951,011 | 30,290,807 | 12,150,076 | 85,414,016 |
| 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).. | 12,889,761 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 72,524,255 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 11,499,610 | 10,522,512 | 20,951,011 | 30,290,807 | 12,150,076 | 85,414,016 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 321,791 | 402,230 | 452,501 | 249,366 | 1,425,888 | |
| 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.).. | 197,407 | 227,565 | 211,479 | 246,686 | 239,905 | 1,123,042 |
| 11 | Total support. Add lines 7 through 10 | 87,972,154 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (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) 2014 | (b) 2015 | (c) 2016 | (d) 2017 | (e) 2018 | (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 2018 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-2018 |
(iii) Distributable Amount for 2018 |
|
|---|---|---|---|---|
|
1
Distributable amount for 2018 from Section C, line 6 |
||||
|
2
Underdistributions, if any, for years prior to 2018 (reasonable cause required-- explain in Part VI). See instructions. |
||||
| 3 Excess distributions carryover, if any, to 2018: | ||||
| a From 2013....... | ||||
| b From 2014....... | ||||
| c From 2015....... | ||||
| d From 2016....... | ||||
| e From 2017....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2018 distributable amount | ||||
|
i
Carryover from 2013 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2018 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2018 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2018, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
||||
|
6
Remaining underdistributions for 2018. 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 2019. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2014...... | ||||
| b Excess from 2015..... | ||||
| c Excess from 2016..... | ||||
| d Excess from 2017..... | ||||
| e Excess from 2018..... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|---|
| SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: | FUNDRAISING INCOME - 2014 AMOUNT: $ 116,150. 2015 AMOUNT: $ 137,800. 2016 AMOUNT: $ 117,600. 2017 AMOUNT: $ 128,300. 2018 AMOUNT: $ 128,390. FOOD SERVICES - 2014 AMOUNT: $ 81,257. 2015 AMOUNT: $ 89,765. 2016 AMOUNT: $ 93,879. 2017 AMOUNT: $ 118,386. 2018 AMOUNT: $ 111,515. |
| 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 | INTERDISCIPLINARY ARTIST JASON MORAN (B. 1975, HOUSTON) GROUNDS HIS PRACTICE IN MUSICAL COMPOSITION AND BRIDGES THE VISUAL AND PERFORMING ARTS THROUGH STAGECRAFT. MORAN DRAWS FROM HIS PERSONAL EXPERIENCE TO CREATE DYNAMIC COMPOSITIONS THAT CHALLENGE CONVENTIONAL FORMS. HIS EXPERIMENTAL WORKS EMBRACE THE INTERSECTION OF OBJECTS AND SOUND, PUSHING BEYOND THE TRADITIONAL STAGED CONCERT OR SCULPTURE TO AMPLIFY WAYS THAT BOTH ARE INHERENTLY THEATRICAL. THIS EXHIBITION, THE ARTIST'S FIRST MUSEUM SHOW, FEATURES THE FULL RANGE OF MORAN'S WORK, FROM PERFORMANCE AND COLLABORATIONS WITH VISUAL ARTISTS TO HIS OWN SCULPTURAL WORKS. IN ALL ASPECTS OF HIS WORK, MORAN'S CREATIVE PROCESS IS INFORMED BY ONE OF THE ESSENTIAL TENETS OF JAZZ: THE "SET," IN WHICH MUSICIANS COME TOGETHER TO ENGAGE IN A COLLABORATIVE PROCESS OF IMPROVISATION, RIFFING OFF OF ONE ANOTHER TO CREATE THE MUSICAL EXPERIENCE. THE EXHIBITION WILL HIGHLIGHT HIS MIXED-MEDIA SET INSTALLATIONS BASED ON STORIED JAZZ VENUES FROM PAST ERAS, INCLUDING STAGED: SAVOY BALLROOM 1 AND STAGED: THREE DEUCES (BOTH 2015), SCULPTURAL VIGNETTES THAT WERE HIS ACCLAIMED CONTRIBUTIONS TO THE 2015 VENICE BIENNALE. THE PRESENTATION INCLUDES THE PREMIERE OF A NEW SCULPTURAL COMMISSION FROM THIS SERIES THAT TAKES INSPIRATION FROM THE CELEBRATED NEW YORK JAZZ VENUE SLUGS' SALOON, WHICH WAS OPEN FROM 1964 TO THE EARLY 1970S. ALSO FEATURED WILL BE A SELECTION OF MORAN'S MOST RECENT CHARCOAL DRAWINGS AND SEVERAL PROJECTED MEDIA WORKS FROM HIS LONG-STANDING COLLABORATIONS, OR SETS, WITH ARTISTS INCLUDING STAN DOUGLAS, JOAN JONAS, AND GLENN LIGON. IN-GALLERY PERFORMANCES WILL ALSO BE ORCHESTRATED DURING THE RUN OF THE SHOW. ORGANIZED BY THE WALKER ART CENTER, MINNEAPOLIS. THE BOSTON PRESENTATION WAS COORDINATED BY JEFFREY DE BLOIS, ASSISTANT CURATOR, THE INSTITUTE OF CONTEMPORARY ART/BOSTON. WILLIAM FORSYTHE: CHOREOGRAPHIC OBJECTS OCT 31, 2018 - FEB 21, 2019 BRIDGITT AND BRUCE EVANS FAMILY AND KAREN AND BRIAN CONWAY GALLERIES THE ICA PRESENTS THE FIRST COMPREHENSIVE AMERICAN EXHIBITION OF PERFORMATIVE OBJECTS, VIDEO INSTALLATIONS, AND INTERACTIVE SCULPTURES OF THE INTERNATIONALLY CELEBRATED CHOREOGRAPHER WILLIAM FORSYTHE. WORLD RENOWNED, FORSYTHE IS COUNTED AMONG THE FOREMOST CHOREOGRAPHERS OF OUR TIME. FOR OVER FOUR DECADES HE HAS CREATED PRODUCTIONS THAT REDEFINE CLASSICAL BALLET'S VOCABULARY, AND HIS GROUNDBREAKING APPROACH TO CHOREOGRAPHY, STAGING, LIGHTING, AND DANCE ANALYSIS HAS INFLUENCED COUNTLESS CHOREOGRAPHERS AND ARTISTS. SINCE THE 1990S, PARALLEL TO HIS STAGE PRODUCTIONS, FORSYTHE HAS DEVELOPED INSTALLATIONS, SCULPTURES, AND FILMS THAT HE CALLS CHOREOGRAPHIC OBJECTS. BLURRING THE LINES BETWEEN PERFORMANCE, SCULPTURE, AND INSTALLATION, HIS CHOREOGRAPHIC OBJECTS INVITE THE VIEWER TO ENGAGE WITH THE FUNDAMENTAL IDEAS OF CHOREOGRAPHY. THESE SITE-RESPONSIVE, INTERACTIVE WORKS ARE DESIGNED TO STIMULATE MOVEMENT FROM VISITORS THROUGH INTERACTIONS WITH KINETIC SCULPTURES, VIDEO PROJECTIONS, AND ARCHITECTURAL ENVIRONMENTS. THE EXHIBITION FEATURES LARGE-SCALE INSTALLATIONS, INCLUDING SEVERAL WORKS DEVELOPED FOR THE ICA. VIA THE ARTIST'S INSTRUCTIONS FOR ACTION POSTED ON THE WALL NEXT TO THE WORKS, VISITORS ARE INVITED TO MOVE FREELY THROUGH THE PERFORMATIVE EXHIBITION AND GENERATE AN INFINITE RANGE OF INDIVIDUAL CHOREOGRAPHIES. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH JEFFREY DE BLOIS, ASSISTANT CURATOR. NINA CHANEL ABNEY JAN 17, 2019 - MAR 15, 2020 SANDRA AND GERALD FINEBERG ART WALL DEEPLY INVESTED IN CREATING IMAGERY THAT IS LEGIBLE AND ACCESSIBLE, NINA CHANEL ABNEY (B. 1982, CHICAGO) IS KNOWN FOR WEAVING COLORFUL GEOMETRIC SHAPES, CARTOONS, LANGUAGE, AND SYMBOLS INTO CHAOTIC AND ENERGETIC COMPOSITIONS. AT THE ICA, SHE HAS CREATED A MURAL THAT SPEAKS TO SOCIAL TENSIONS IN THE DIGITAL AGE, INCLUDING THE CONSTANT STREAM OF TRUE AND FALSE INFORMATION, THE DILEMMA OF LIBERAL RACISM, AND ABUSES OF POWER THAT LEAD TO STRUCTURAL INEQUALITY. ORGANIZED BY ELLEN TANI, ASSISTANT CURATOR. RAGNAR KJARTANSSON: THE VISITORS FEB 13 - JUL 28, 2019 PAUL AND CATHERINE BUTTENWIESER AND FOTENE DEMOULAS GALLERIES A SENTIMENTAL PORTRAYAL OF FRIENDSHIP, LOVE, AND LOSS AND ONE OF THE BEST-LOVED WORKS IN THE ICA'S PERMANENT COLLECTION, RAGNAR KJARTANSSON'S (B. 1976, REYKJAVIK, ICELAND) MASTERWORK THE VISITORS (2012) IS A MONUMENTAL NINE-CHANNEL SOUND AND MOVING-IMAGE INSTALLATION OF A PERFORMANCE STAGED AT ROKEBY FARM, A HISTORIC 43-ROOM ESTATE IN UPSTATE NEW YORK. EACH OF THE INDIVIDUAL AUDIO/VIDEO CHANNELS FEATURES MUSICIANS-INCLUDING KRISTN ANNA AND GYOA VALTYSDOTTIR, FOUNDING SISTERS OF THE ICELANDIC BAND MUM; KJARTAN SVEINSSON, FORMER MEMBER OF SIGUR ROS; AND DAVIO POR JONSSON, KJARTANSSON'S LONGTIME COLLABORATOR AND CO-COMPOSER OF THE MUSICAL ARRANGEMENT-PLAYING INSTRUMENTS EITHER ALONE OR IN GROUPS, SEPARATELY BUT SIMULTANEOUSLY, OCCUPYING DIFFERENT ROOMS OF THE ROMANTICALLY DILAPIDATED ESTATE. THE LYRICS ARE TAKEN FROM THE POEM "FEMININE WAYS," WRITTEN BY KJARTANSSON'S FORMER WIFE AND FELLOW ARTIST ASDIS SIF GUNNARSDOTTIR. THE TITLE ALLUDES TO THE 1981 ALBUM OF THE SAME NAME FROM SWEDISH POP BAND ABBA, THE GROUP'S LAST RECORD TO DATE, AS DIVORCE AND INTERNAL STRIFE ENDED THEIR PROFESSIONAL AND PERSONAL RELATIONSHIPS. THE MUSICAL COMPOSITION COHERES IN THE WORK'S INSTALLATION, PRESENTING A DYNAMIC AND MOVING ENSEMBLE PERFORMANCE KJARTANSSON REFERS TO AS A "FEMININE NIHILISTIC GOSPEL SONG." THROUGH ITS UNIQUE ARRANGEMENT OF MUSIC IN SPACE, THE VISITORS CREATES A LAYERED PORTRAIT OF THE HOUSE AND ITS MUSICAL INHABITANTS. ORGANIZED BY JEFFREY DE BLOIS, ASSISTANT CURATOR. HUMA BHABHA: THEY LIVE MAR 23 - MAY 27, 2019 BRIDGITT AND BRUCE EVANS AND KAREN AND BRIAN CONWAY GALLERIES SINCE THE EARLY 1990S, HUMA BHABHA (BORN 1962 IN KARACHI) HAS DEVELOPED A DISTINCT VISUAL VOCABULARY THAT DRAWS UPON A WIDE VARIETY OF INFLUENCES, INCLUDING HORROR MOVIES, SCIENCE FICTION, ANCIENT ARTIFACTS, RELIGIOUS RELIQUARY, AND MODERNIST SCULPTURE. THE LARGEST SURVEY OF THE ARTIST'S WORK TO DATE, HUMA BHABHA: THEY LIVE ENCOMPASSES SCULPTURE, DRAWING, AND PHOTOGRAPHY, WITH A SPECIAL FOCUS ON BHABHA'S ENGAGEMENT WITH THE HUMAN FIGURE. BEST KNOWN FOR HER SCULPTURES, BHABHA USES A DIVERSE ARRAY OF NATURAL, INDUSTRIAL, AND FOUND MATERIALS TO MAKE COMPELLING WORKS THAT ENGAGE THE ARTS AND HISTORIES OF DIVERSE CULTURES. HER WORK TRANSCENDS A SINGULAR TIME AND PLACE, INSTEAD CREATING AN EXPLORATION OF WHAT SHE DESCRIBES AS THE "ETERNAL CONCERNS" FOUND ACROSS ALL CULTURES: WAR, COLONIALISM, DISPLACEMENT, AND MEMORIES OF HOME. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR. JOHN AKOMFRAH: PURPLE MAY 26 - SEP 2, 2019 ICA WATERSHED CO-COMMISSIONED BY THE ICA AND MAKING ITS U.S. PREMIERE AT THE ICA WATERSHED, PURPLE IS AN IMMERSIVE SIX-CHANNEL VIDEO INSTALLATION BY THE ACCLAIMED ARTIST AND FILMMAKER JOHN AKOMFRAH (B. 1957, ACCRA, GHANA). AKOMFRAH DRAWS FROM HUNDREDS OF HOURS OF ARCHIVAL FOOTAGE, COMBINING IT WITH NEWLY SHOT FILM AND A HYPNOTIC SOUND SCORE TO ADDRESS THEMES RELATED TO THE IMPLICATIONS OF CLIMATE CHANGE ACROSS THE PLANET AND ITS EFFECTS ON HUMAN COMMUNITIES, BIODIVERSITY, AND THE WILDERNESS. SITED IN THE WATERSHED'S INDUSTRIAL BUILDING, PURPLE RESONATES DEEPLY WITH THE WATERSHED'S HARBOR LOCATION AND ITS PROXIMITY TO THE CURRENT AND HISTORICAL MARITIME INDUSTRIES OF THE BOSTON HARBOR SHIPYARD AND MARINA. SYMPHONIC IN SCALE AND DIVIDED INTO FIVE INTERWOVEN MOVEMENTS, THE FILM FEATURES VARIOUS DISAPPEARING ECOLOGICAL LANDSCAPES, FROM THE HINTERLANDS OF ALASKA AND THE DESOLATE ENVIRONMENTS OF GREENLAND TO THE TAHITIAN PENINSULA AND THE VOLCANIC MARQUESAS ISLANDS IN THE SOUTH PACIFIC. PURPLE CONVEYS THE COMPLEX AND FRAGILE INTERRELATION OF HUMAN AND NON-HUMAN LIFE WITH A SENSE OF POETIC GRAVITY THAT REGISTERS THE VULNERABILITY OF LIVING IN PRECARIOUS ENVIRONMENTS. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH CARA KUBALL, CURATORIAL PROJECT MANAGER. LESS IS A BORE: MAXIMALIST ART & DESIGN JUN 26 - SEP 22, 2019 BRIDGITT AND BRUCE EVANS AND KAREN AND BRIAN CONWAY GALLERIES LESS IS A BORE: MAXIMALIST ART & DESIGN BRINGS TOGETHER WORKS IN PAINTING, SCULPTURE, CERAMIC, DANCE, FURNITURE DESIGN, AND MORE THAT PRIVILEGE DECORATION, PATTERN, AND MAXIMALISM. BORROWING ITS ATTITUDE FROM ARCHITECT ROBERT VENTURI'S WITTY RETORT TO MIES VAN DER ROHE'S MODERNIST EDICT "LESS IS MORE," LESS IS A BORE SHOWS HOW ARTISTS, INCLUDING THOSE AFFILIATED WITH THE PATTERN & DECORATION MOVEMENT OF THE 1970S, HAVE SOUGHT TO RATTLE THE DOMINANCE OF MODERNISM AND MINIMALISM. ENCOURAGED BY THE PLURALISM PERMEATING MANY CULTURAL SPHERES AT THE TIME, THESE ARTISTS ACCOMMODATED NEW IDEAS, MODES, AND MATERIALS, CHALLENGING ENTRENCHED CATEGORIES THAT MARGINALIZED NON-WESTERN ART, FASHION, INTERIOR DESIGN, AND APPLIED ART. |
| FORM 990, PART III, LINE 4A | THE EXHIBITION CONSIDERS HOW ARTISTS HAVE USED ORNAMENTATION, PATTERN PAINTING, AND OTHER DECORATIVE MODES TO CRITIQUE, SUBVERT, AND TRANSFORM ACCEPTED HISTORIES RELATED TO CRAFT AND DESIGN, FEMINISM, QUEERNESS AND GENDER, BEAUTY AND TASTE, CAMOUFLAGE AND MASQUERADE, AND MULTICULTURALISM AND GLOBALISM. MORE RECENT ARTWORKS IN THE EXHIBITION CHART BOTH THE LEGACY AND TRANSFORMATION OF THESE TRAJECTORIES. SPANNING GENERATIONS, GEOGRAPHIES, AND TRADITIONS, LESS IS A BORE INCLUDES WORKS RANGING FROM EXPERIMENTS IN PATTERNING BY SANFORD BIGGERS, JASPER JOHNS, AND MIRIAM SCHAPIRO TO THE TRANSGRESSIVE SCULPTURE AND FURNITURE OF LUCAS SAMARAS AND ETTORE SOTTSASS, TO THE INSTALLATIONS OF POLLY APFELBAUM, NATHALIE DU PASQUIER, AND VIRGIL MARTI. ORGANIZED BY JENELLE PORTER, GUEST CURATOR, WITH JEFFREY DE BLOIS, ASSISTANT CURATOR. |
| FORM 990, PART VI, SECTION B, LINE 11B | FORM 990 IS REVIEWED BY THE ICA'S CFO 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 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 / (LOSS) ON SPLIT INTEREST AGREEMENTS -2,320. RECOVERIES FROM PLEDGE RECEIVABLE 7,043. |
| FORM 990, PART III, LINE 4D, OTHER PROGRAM SERVICES CONT'D: | EDUCATION, TEENS, ADULTS: COMMUNITY PROGRAMS AND PARTNERSHIPS CONT'D - LA GRINGA LOCA PRODUCTIONS - MUSEUM OF FINE ARTS, BOSTON - NEW YORK INTERNATIONAL CHILDREN'S FILM FESTIVAL - ORIGINATION DANCE COMPANY - NEW ENGLAND AQUARIUM - BOSTON PUBLIC LIBRARY - PAN LOCO STEEL DRUMMERS - PEABODY ESSEX MUSEUM - PROJECT MOVES - PUBLIC DISPLAYS OF MOTION DANCE COMPANY - RADICAL BLACK GIRL - RISD MUSEUM - SAMUEL ADAMS ELEMENTARY SCHOOL - THE THEATER OFFENSIVE - TRUE COLORS: OUT YOUTH THEATER - UMASS BOSTON URBAN SCHOLARS PROGRAM - URBANITY DANCE - VSA MASSACHUSETTS - WEE THE PEOPLE - MIYU DISTRIBUTION - WINDY FILMS - WORLD PERCUSSION ENSEMBLE - YOUNG AUDIENCES OF MA - ZUMIX SELECT ARTIST AND INDIVIDUALS PARTNERSHIPS: - ALASTAIR MOOCK AND HIS DAUGHTER CLEO - ARIC CROWE-PINA - CATHY MCLAURIN - CHANELLE JOHN - MARCYLIENA MORGAN - CHRISTINA TWICKEN - CLAIRE FOLGER - CLIFF NOTEZ - CLUB OF ATOMS - DAN BORNSTEIN - DANIEL CALLAHAN - DENNIS NANCE - DHY EDWARDSBERRY - DUBEM OKAFOR - EMILY DOCHEFF - EVELYN RYDZ - GABI - GERALD LEAVELL - GIBSON ALCOTT - GLADYS TERESA HIDALGO - HANNAH MCGRATH - HUMA BHABHA - ISABEL BEAVERS - JASON MORAN - KANNAN THIRUVENGADAM - LAINE RETTMER - MARLON OROZCO - MELISSA ALEXIS - MITHSUCA BERRY - NAKEDLY - NAVID MOOD - NINA CHANEL ABNEY - OLIVIA FEAL - ORIGINAL 3 - PALOMA VALENZUELA - PAUL FRANCOIS - RASHIN FAHANDEJ - RENE DONGO - SANDRINE SCHAEFER - SARAH MASSE - SARAPHYM - SILVINA MIZRAHI - STEVE OSEMWENKHAE - SYDNEY BOBB - TOM ACTON FITZGERALD - TRASH RABBIT - TRIPP CLEMENS - URSULA AUGUST - WES SAM-BRUCE - WILL RAWLS - ZAHIRAH NUR TRUTH TOUR PROGRAMS OUR PUBLIC AND PRIVATE TOUR PROGRAMS SERVED THE FOLLOWING NUMBER OF PARTICIPANTS IN FY19: 13,576 TEEN PROGRAMS - TEEN PROGRAMS SERVED A TOTAL OF 3,072 YOUNG PEOPLE THROUGH THE PROGRAMS LISTED BELOW. TEEN NIGHTS, ART HAPPENINGS ORGANIZED AND PROMOTED FOR TEENS BY TEENS, SERVED 1,565 YOUNG PEOPLE. SPRING SHOWCASE, AN EVENING OF PERFORMANCES AND EXHIBITIONS OF WORK BY ICA TEENS WELCOMED ANOTHER 95 TEENS. EDUCATIONAL RESOURCES AND STUDENT FILMS CREATED THROUGH ICA TEEN PROGRAMS WERE ALSO ACCESSIBLE VIA THE ICATEENS.ORG WEBSITE. ARTIST ENCOUNTERS - PORTRAITS OF AGENCY WITH GERALD LEAVELL - SUMMER 2018 - PROFESSIONAL PRACTICES FOR CREATIVES WITH SANDRINE SCHAEFER - SPRING 2019 - SCREENWRITING FOR SOCIAL MEDIA WITH PALOMA VALENZUELA - SPRING 2019 - VIDEO PORTRAITS WITH LAINE RETTMER AND ISABEL BEAVERS - SPRING 2019 - WHERE THE QUESTION LIVE WITH WES SAM-BRUCE - SPRING 2019 EXTENDED TEEN PROGRAMS - ADVANCED PHOTOGRAPHY - AMP MUSIC PRODUCTION GROUP - DJ COLLECTIVE - FAST FORWARD THURSDAY - FAST FORWARD FRIDAY - GROWING EDGE - WRITING AND PERFORMANCE GROUP - TEEN PROGRAMS ALUMNI NETWORK - WALL TALK - BOSTON COLLEGIATE CHARTER SCHOOL - BOSTON COMMUNITY LEADERSHIP ACADEMY - BOSTON INTERNATIONAL NEWCOMERS ACADEMY - BOSTON LATIN ACADEMY - BRIGHTON HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - EXCEL HIGH SCHOOL - GREATER EGLESTON HIGH SCHOOL - MCKINLEY SOUTH END ACADEMY - RAFAEL HERNANDEZ SCHOOL - URBAN SCIENCE ACADEMY - TEEN ARTS COUNCIL 15 STUDENTS, FROM: - ARLINGTON HIGH SCHOOL - BOSTON DAY AND EVENING ACADEMY - BOSTON LATIN ACADEMY - BOSTON LATIN SCHOOL - BOSTON TRINITY ACADEMY - BROOKLINE HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - HOMESCHOOL - LYNN CLASSICAL HIGH SCHOOL - REVERE HIGH SCHOOL - ROXBURY PREP HIGH SCHOOL - SAUGUS HIGH SCHOOL - SOMERVILLE HIGH SCHOOL - URBAN SCIENCE ACADEMY TEEN NIGHTS - WE, THE REVOLUTION - SUMMER 2018 - EXPERIMENTALITY - FALL 2018 - UFO HOEDOWN: COMING IN PEACE AND QUESTIONING NARRATIVES - SPRING 2019 THE CURRENT - EXPLORING HOW WE LIVE & CREATE RESPONSIBLY - SPRING 2019 TEEN NEW MEDIA WORKSHOPS - BEYOND THE SHOT - SPRING 2019 - DIGITAL PHOTOGRAPHY: INTRO (CAMERA BASICS) - FALL 2018 (X2) - DIGITAL PHOTOGRAPHY: INTRO (CAMERA BASICS) - SPRING 2019 - DIGITAL PHOTOGRAPHY: SPECIAL FOCUS - FALL 2018 - DIGITAL PHOTOGRAPHY: SPECIAL FOCUS - SPRING 2019 - FILM SCHOOL - SUMMER 2018 - FILM SCHOOL - SPRING 2019 - HARBOR COLLECTIVE - SUMMER 2018 - MUSIC PRODUCTION: BEAT MAKING 101 - FALL 2018 (X2) - MUSIC PRODUCTION: DJ 101 - FALL 2018 - MUSIC PRODUCTION: DJ 101 - SPRING 2019 - OPEN LAB - FALL 2018 (X2) - OPEN LAB - SPRING 2019 (X3) - WORKSHOPS WITH UMASS BOSTON URBAN SCHOLARS PROGRAM - SUMMER 2018 BOSTON PUBLIC SCHOOLS ARTS CREDIT PROGRAM PARTNERS - BOSTON COMMUNITY LEADERSHIP ACADEMY - BOSTON DAY AND EVENING ACADEMY - BOSTON INTERNATIONAL NEWCOMERS ACADEMY - CHARLESTOWN HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - ENGLISH HIGH SCHOOL - EXCEL HIGH SCHOOL - FENWAY HIGH SCHOOL - NEW MISSION HIGH SCHOOL - O'BRYANT HIGH SCHOOL - SNOWDEN INTERNATIONAL SCHOOL AT COPLEY - URBAN SCIENCE ACADEMY TEEN EXHIBITIONS - MOMENTS IN MOTION HARVARD GRADUATE SCHOOL OF EDUCATION, MONROE C. GUTMAN LIBRARY - SPRING 2019 - THE THIRD EYE OF THE TWENTY FIRST CENTURY - MAYOR'S NEIGHBORHOOD GALLERY, BOSTON CITY HALL - SPRING 2019 - A COMMUNITY IN FOCUS: EAST BOSTON - ICA WATERSHED - SPRING 2019 ALUMNI PROGRAMS - ALUMNI EVENT - SPRING 2019 - ALUMNI FINANCIAL LITERACY WORKSHOP WITH CFA SOCIETY BOSTON - SPRING 2019 (X2) - FAST FORWARD ALUMNI SCREENING - SPRING 2019 - TEEN ARTS COUNCIL ALUMNI REUNION - SPRING 2019 FIELDWIDE WORK - BUILDING BRAVE SPACES: MOBILIZING TEEN ARTS EDUCATION NATIONAL CONFERENCE - FALL 2018 ADDITIONAL: - ARTIST INTERVIEW WITH JASON MORAN - FALL 2018* - ARTIST INTERVIEW WITH NINA CHANEL ABNEY - SPRING 2019* - ARTIST INTERVIEW WITH HUMA BHABHA - SPRING 2019* - ARTIST INTERVIEW WITH WILL RAWLS - SPRING 2019 - ARTIST INTERVIEW WITH RASHIN FAHANDEJ - SPRING 2019* - END OF SUMMER CELEBRATION WITH CONVERSE - SUMMER 2018 - FAST FORWARD WINTER SHOWCASE - FALL 2018 - FOOD AND FILMS - SPRING 2019 - GET ART THE VOTE - FALL 2018 - THE MOVEMENT - SUMMER 2018 - PIZZA AND ART FLOWER POWER: THE POWER OF UPCYCLING - SPRING 2019 (X2) - SPRING SHOWCASE - SPRING 2019 - ULTRAFUSION: ICA TEEN HOLIDAY PARTY - FALL 2018 - WALLTALK READING JAM - SPRING 2019 * DIGITAL RESOURCE PRODUCED |
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