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.") .. | 10,522,512 | 20,951,011 | 30,290,807 | 12,150,076 | 15,796,561 | 89,710,967 |
| 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 | 10,522,512 | 20,951,011 | 30,290,807 | 12,150,076 | 15,796,561 | 89,710,967 |
| 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).. | 13,943,150 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 75,767,817 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 10,522,512 | 20,951,011 | 30,290,807 | 12,150,076 | 15,796,561 | 89,710,967 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 402,230 | 452,501 | 249,366 | 1,104,097 | ||
| 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.).. | 227,565 | 211,479 | 246,686 | 239,905 | 124,289 | 1,049,924 |
| 11 | Total support. Add lines 7 through 10 | 91,864,988 | |||||
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. |
||||
| 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. |
||||
|
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. |
||||
| 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 |
|---|---|
| SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: | FUNDRAISING INCOME - 2015 AMOUNT: $ 137,800. 2016 AMOUNT: $ 117,600. 2017 AMOUNT: $ 128,300. 2018 AMOUNT: $ 128,390. 2019 AMOUNT: $ 35,600. FOOD SERVICES - 2015 AMOUNT: $ 89,765. 2016 AMOUNT: $ 93,879. 2017 AMOUNT: $ 118,386. 2018 AMOUNT: $ 111,515. 2019 AMOUNT: $ 88,689. |
| 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 CONTINUED: | AN ICON OF CONTEMPORARY ART, YAYOI KUSAMA (B. 1929, MATSUMOTO, JAPAN) HAS INTERWOVEN IDEAS OF POP ART, MINIMALISM, AND PSYCHEDELIA THROUGHOUT HER WORK IN PAINTINGS, PERFORMANCES, ROOM-SIZE PRESENTATIONS, OUTDOOR SCULPTURAL INSTALLATIONS, LITERARY WORKS, FILMS, DESIGN, AND ARCHITECTURAL INTERVENTIONS OVER HER LONG AND INFLUENTIAL CAREER. LOVE IS CALLING, WHICH PREMIERED IN JAPAN IN 2013, IS THE MOST IMMERSIVE AND KALEIDOSCOPIC OF THE ARTIST'S INFINITY MIRROR ROOMS. REPRESENTING THE CULMINATION OF HER ARTISTIC ACHIEVEMENTS, IT EXEMPLIFIES THE BREADTH OF HER VISUAL VOCABULARY FROM HER SIGNATURE POLKA DOTS AND SOFT SCULPTURES TO BRILLIANT COLORS, THE SPOKEN WORD, AND MOST IMPORTANTLY, ENDLESS REFLECTIONS AND THE ILLUSION OF SPACE. IT IS COMPOSED OF A DARKENED, MIRRORED ROOM ILLUMINATED BY INFLATABLE, TENTACLE-LIKE FORMS COVERED IN THE ARTIST'S CHARACTERISTIC POLKA DOTS THAT EXTEND FROM THE FLOOR AND CEILING, GRADUALLY CHANGING COLORS. AS VISITORS WALK THROUGHOUT THE INSTALLATION, A SOUND RECORDING OF KUSAMA RECITING A LOVE POEM IN JAPANESE PLAYS CONTINUOUSLY. WRITTEN BY THE ARTIST, THE POEM'S TITLE TRANSLATES TO RESIDING IN A CASTLE OF SHED TEARS IN ENGLISH. EXPLORING ENDURING THEMES INCLUDING LIFE AND DEATH, THE POEM POIGNANTLY EXPRESSES KUSAMA'S HOPE TO SPREAD A UNIVERSAL MESSAGE OF LOVE THROUGH HER ART. A TWO-MINUTE EXPERIENCE, LOVE IS CALLING IS ACCOMPANIED BY A FOCUSED PRESENTATION DRAWN FROM THE ICA'S COLLECTION TITLED BEYOND INFINITY: CONTEMPORARY ART AFTER KUSAMA THAT WILL OFFER INSIGHT INTO KUSAMA'S INFLUENCES AND HER IMPORTANT LEGACY ON CONTEMPORARY ART. KUSAMA IS ONE OF TODAY'S MOST RECOGNIZED AND CELEBRATED ARTISTS. IN ADDITION TO HER WIDELY POPULAR INFINITY MIRROR ROOMS, KUSAMA CREATES VIBRANT PAINTINGS, WORKS ON PAPER, AND SCULPTURE WITH ABSTRACT IMAGERY. IN 1966, THE ICA EXHIBITED AN INFINITY MIRROR ROOM, NOW TITLED ENDLESS LOVE SHOW, IN THE ICA EXHIBITION MULTIPLICITY; THE MUSEUM ALSO OWNS A 1953 DRAWING BY THE ARTIST, TITLED A FLOWER (NO. 14). LOVE IS CALLING IS THE LARGEST OF KUSAMA'S EXISTING INFINITY MIRROR ROOMS, AND THE FIRST ONE HELD IN THE PERMANENT COLLECTION OF A NEW ENGLAND MUSEUM. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR. BEYOND INFINITY: CONTEMPORARY ART AFTER KUSAMA SEP 24, 2019 - JUL 18, 2021 DRAWN PRIMARILY FROM THE ICA'S PERMANENT COLLECTION, THIS EXHIBITION PRESENTS ARTWORKS THAT ENGAGE WITH THE PIONEERING IDEAS OF YAYOI KUSAMA (B. 1929, MATSUMOTO, JAPAN). BEYOND INFINITY: CONTEMPORARY ART AFTER KUSAMA CELEBRATES KUSAMA'S PRESCIENT ARTISTIC VISION, WHICH SINCE THE 1950S HAS MERGED TECHNIQUES OF REPETITION, OBSESSIONAL PATTERNS, AND THE ACTIVATION OF THE BODY IN SEARCH OF A PATH TO LIBERATION FROM PSYCHOLOGICAL AND SOCIETAL CONSTRAINTS. THROUGH HER PAINTINGS, SCULPTURES, AND ENVIRONMENTS, AS WELL AS BODY ART, FILM, AND PERFORMANCE, KUSAMA CHANNELED THE ATTITUDES AND REALITIES OF THE MOMENT BUT AVOIDED SUCH LABELS AS POP, MINIMALISM, POSTMINIMALISM, AND PERFORMANCE ART. KUSAMA'S PEERS SHARED HER INTEREST IN TIMELESS CONCEPTS THAT PUSHED THE LIMITS OF POSSIBILITY AND OF IMAGINATION: THE IDEA OF THE INFINITE; THE EXPERIENCE OF RAPTURE; THE REPRESENTATIONAL POWER OF ILLUSION; AND THE THRESHOLD BETWEEN LIFE AND DEATH. HERE, KUSAMA'S WORK IS PRESENTED ALONGSIDE THAT OF HER CONTEMPORARIES, SUCH AS LOUISE BOURGEOIS AND ANA MENDIETA, AND OTHER ARTISTS WHOSE WORK BUILDS ON HER LASTING IMPACT ON CONTEMPORARY ART THROUGH DIZZYING ARRAYS OF FORMS AND COLORS, INFINITE REFLECTION, AND THE EVOCATIVE VOCABULARY OF THE BODY. ORGANIZED BY ELLEN TANI, ASSISTANT CURATOR. WHEN HOME WON'T LET YOU STAY: MIGRATION THROUGH CONTEMPORARY ART OCT 23, 2019 - JAN 26, 2020 WHEN HOME WON'T LET YOU STAY: MIGRATION THROUGH CONTEMPORARY ART CONSIDERS HOW CONTEMPORARY ARTISTS ARE RESPONDING TO THE MIGRATION, IMMIGRATION, AND DISPLACEMENT OF PEOPLES TODAY. WE ARE CURRENTLY WITNESSING THE HIGHEST LEVELS OF MOVEMENT ON RECORD THE UNITED NATIONS ESTIMATES THAT ONE OUT OF EVERY SEVEN PEOPLE IN THE WORLD IS AN INTERNATIONAL OR INTERNAL MIGRANT WHO MOVES BY CHOICE OR BY FORCE, WITH GREAT SUCCESS OR GREAT STRUGGLE. WHEN HOME WON'T LET YOU STAY BORROWS ITS TITLE FROM A POEM BY WARSAN SHIRE, A SOMALI-BRITISH POET WHO GIVES VOICE TO THE EXPERIENCES OF REFUGEES. THROUGH ARTWORKS MADE SINCE 2000 BY TWENTY ARTISTS FROM MORE THAN A DOZEN COUNTRIES SUCH AS COLOMBIA, CUBA, FRANCE, INDIA, IRAQ, MEXICO, MOROCCO, NIGERIA, PALESTINE, SOUTH KOREA, THE UNITED KINGDOM, AND THE UNITED STATES THIS EXHIBITION HIGHLIGHTS DIVERSE ARTISTIC RESPONSES TO MIGRATION RANGING FROM PERSONAL ACCOUNTS TO POETIC MEDITATIONS, AND FEATURES A RANGE OF MEDIUMS, INCLUDING SCULPTURE, INSTALLATION, PAINTING, AND VIDEO. ARTISTS IN THE EXHIBITION INCLUDE KADER ATTIA, TANIA BRUGUERA, ISAAC JULIEN, HAYV KAHRAMAN, REENA SAINI KALLAT, RICHARD MOSSE, CARLOS MOTTA, YINKA SHONIBARE, XAVIERA SIMMONS, AND DO-HO SUH, AMONG OTHERS. A FULLY ILLUSTRATED CATALOGUE ACCOMPANIES THE EXHIBITION, WITH AN ESSAY BY EVA RESPINI AND RUTH ERICKSON AND TEXTS BY PROMINENT SCHOLARS ARUNA D'SOUZA, OKWUI ENWEZOR, THOMAS KEENAN, PEGGY LEVITT, AND UDAY SINGH MEHTA, AMONG OTHERS. ORGANIZED BY RUTH ERICKSON, MANNION FAMILY CURATOR, AND EVA RESPINI, BARBARA LEE CHIEF CURATOR, WITH ELLEN TANI, ASSISTANT CURATOR. TSCHABALALA SELF: OUT OF BODY JAN 20 - SEP 7, 2020 TSCHABALALA SELF (B. 1990, HARLEM, NEW YORK) CREATES LARGE-SCALE FIGURATIVE PAINTINGS THAT INTEGRATE HAND-PRINTED AND FOUND TEXTILES, DRAWING, PRINTMAKING, SEWING, AND COLLAGE TECHNIQUES TO TELL STORIES OF URBAN LIFE, THE BODY, AND HUMANITY. THE ARTIST'S FIRST BOSTON PRESENTATION AND HER LARGEST EXHIBITION TO DATE WILL INCLUDE A SELECTION OF PAINTINGS AND SCULPTURES THAT REPRESENT PERSONAL AVATARS, COUPLINGS, AND EVERYDAY SOCIAL EXCHANGES INSPIRED BY URBAN LIFE. TOGETHER, THEY ARTICULATE NEW EXPRESSIONS OF EMBODIMENT AND HUMANITY THROUGH THE EXAGGERATED FORMS AND EXUBERANT TEXTURES OF THE HUMAN FIGURE, POINTING TO ITS LIMITLESS CAPACITY TO REPRESENT IMAGINED STATES, MEMORIES, ASPIRATIONS, AND EMOTIONS. YET SELF'S CHARACTERS POSSESS AN ORDINARY GRACE GROUNDED IN REALITY: THEY ARE REFLECTIONS OF THE ARTIST OR PEOPLE SHE CAN IMAGINE MEETING IN HARLEM, HER HOMETOWN. ORGANIZED BY ELLEN TANI AND RUTH ERICKSON, MANNION FAMILY CURATOR. CAROLINA CAYCEDO: COSMOTARRAYAS JAN 20 - SEP 7, 2020 THE INTERDISCIPLINARY PRACTICE OF LOS ANGELES BASED ARTIST CAROLINA CAYCEDO (B. 1978, LONDON) IS GROUNDED IN VITAL QUESTIONS RELATED TO ASYMMETRICAL POWER RELATIONS, DISPOSSESSION, EXTRACTION OF RESOURCES, AND ENVIRONMENTAL JUSTICE. SINCE 2012, CAYCEDO HAS CONDUCTED AN ONGOING PROJECT, BE DAMMED, EXAMINING THE WIDE-REACHING IMPACTS OF DAMS BUILT ALONG WATERWAYS BY TRANSNATIONAL CORPORATIONS, INCLUDING THE DISPLACEMENT AND DISPOSSESSION OF PEOPLES, PARTICULARLY IN LATIN AMERICAN COUNTRIES SUCH AS BRAZIL OR COLOMBIA (WHERE SHE WAS RAISED AND FREQUENTLY RETURNS). AT THE ICA, CAYCEDO WILL PRESENT THE CULMINATION OF ONE COMPONENT OF THE PROJECT, A SERIES OF HANGING SCULPTURES CALLED COSMOTARRAYAS THAT ARE ASSEMBLED WITH HANDMADE FISHING NETS AND OTHER OBJECTS COLLECTED DURING FIELD RESEARCH IN RIVER COMMUNITIES AFFECTED BY THE PRIVATIZATION OF WATERWAYS. THESE OBJECTS, MANY OF WHICH WERE ENTRUSTED TO HER BY INDIVIDUALS NO LONGER ABLE TO USE THEM, DEMONSTRATE THE MEANINGFUL CONNECTIVITY AND EXCHANGE AT THE HEART OF CAYCEDO'S PRACTICE. AT THE SAME TIME, THEY ALSO REPRESENT THE DISPOSSESSION OF THESE INDIVIDUALS AND THEIR CONTINUED RESISTANCE TO CORPORATIONS AND GOVERNMENTS SEEKING TO CONTROL THE FLOW OF WATER AND THUS THEIR WAY OF LIFE. ORGANIZED BY JEFFREY DE BLOIS, ASSISTANT CURATOR AND PUBLICATIONS MANAGER. STERLING RUBY FEB 26 - OCT 12, 2020 ICA/BOSTON PRESENTS THE FIRST COMPREHENSIVE MUSEUM SURVEY FOR AMERICAN ARTIST STERLING RUBY. THE EXHIBITION FEATURES MORE THAN 70 WORKS THAT DEMONSTRATE THE RELATIONSHIP BETWEEN MATERIAL TRANSFORMATION IN RUBY'S PRACTICE AND THE RAPID EVOLUTION OF CULTURE, INSTITUTIONS, AND LABOR. SPANNING MORE THAN TWO DECADES OF THE ARTIST'S CAREER, THE EXHIBITION LOOKS TO THE ORIGINS AND DEVELOPMENT OF HIS PRACTICE, THROUGH MEDIUMS RANGING FROM LESSER-KNOWN DRAWINGS AND SCULPTURES TO HIS RENOWNED CERAMICS AND PAINTINGS. SINCE HIS EARLIEST WORKS, RUBY HAS INVESTIGATED THE ROLE OF THE ARTIST AS AN OUTSIDER. CRITIQUING THE STRUCTURES OF MODERNISM AND TRADITIONAL INSTITUTIONS, RUBY ADDRESSES THE REPRESSED UNDERPINNINGS OF U.S. CULTURE AND THE CODING OF POWER AND VIOLENCE. CRAFT IS CENTRAL TO HIS INQUIRY, AS HE EXPLORES CALIFORNIA'S RADICAL CERAMICS HISTORY AND TRADITIONS OF AMISH QUILT MAKING, SHAPED BY HIS UPBRINGING IN PENNSYLVANIA DUTCH COUNTRY. THE PROCESS OF COMBINING DISPARATE ELEMENTS IS CENTRAL TO RUBY'S MATERIAL RECLAMATIONS, WHICH SERVE AS A FORM OF AUTOBIOGRAPHICAL AND CULTURAL ARCHEOLOGY. ORGANIZED LOOSELY BY CHRONOLOGY AND MEDIUM, STERLING RUBY CONSIDERS THE ARTIST'S EXPLORATIONS OF THESE THEMES ACROSS THE MANY MATERIALS AND FORMS HE HAS UTILIZED THROUGHOUT HIS PRACTICE. |
| FORM 990, PART III, LINE 4A CONTINUED: | STERLING RUBY IS CO-PRESENTED WITH INSTITUTE OF CONTEMPORARY ART, MIAMI, AND IS ACCOMPANIED BY AN ILLUSTRATED SCHOLARLY CATALOGUE EDITED BY ALEX GARTENFELD AND EVA RESPINI, WITH A CONVERSATION BETWEEN RUBY AND ISABELLE GRAW. PUBLISHED WITH DELMONICO PRESTEL, THE CATALOGUE FEATURES ESSAYS THAT CONSIDER RUBY'S WORK AMIDST THE CONTEMPORARY ART PRODUCTION AND VISUAL CULTURE OF THE LAST 30 YEARS. STERLING RUBY (AMERICAN/DUTCH, B. 1972, GERMANY) IS A LEADING CONTEMPORARY ARTIST WHOSE WORK HAS BEEN PRESENTED IN SOLO EXHIBITIONS THROUGHOUT THE GLOBE. RUBY RECEIVED HIS B.F.A. IN 2002 FROM THE SCHOOL OF THE ART INSTITUTE OF CHICAGO, ILLINOIS, AND HIS M.F.A. IN 2005 FROM THE ART CENTER COLLEGE OF DESIGN, PASADENA. HE CURRENTLY LIVES AND WORKS IN LOS ANGELES. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, ICA/BOSTON, AND ALEX GARTENFELD, ARTISTIC DIRECTOR, ICA, MIAMI, WITH JEFFREY DE BLOIS, ASSISTANT CURATOR AND PUBLICATIONS MANAGER, ICA/BOSTON. |
| 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, DEPUTY DIRECTOR OF PUBLIC ENGAGEMENT AND PLANNING, 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 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 -15,939. (LOSSES) RECOVERIES FROM PLEDGE RECEIVABLE WRITE OFFS AND ALLOWANCES -9,906. |
| FORM 990, PART III, LINE 4D, OTHER PROGRAM SERVICES CONT'D: | EDUCATION, TEENS, ADULTS: ARTIST INTERVIEWS & ENCOUNTERS * ARTIST INTERVIEW WITH NORA CHIPAUMIRE * ARTIST INTERVIEW WITH TSCHABALALA SELF * SELF-CARE AND PORTRAIT PHOTOGRAPHY WITH CARLIE FEBO EXTENDED TEEN PROGRAMS * ADVANCED PHOTOGRAPHY * ARTISTS & WRITERS COLLECTIVE * DJ COLLECTIVE * FAST FORWARD THURSDAY * FAST FORWARD FRIDAY * HARBOR COLLECTIVE * MUSIC PRODUCTION: AMP * PHOTOGRAPHY: SPECIAL FOCUS (FALL 2019; SPRING 2020) * TEEN ARTS COUNCIL (SUMMER 2019; SCHOOL YEAR 2019-2020) TEEN ARTS COUNCIL * IN SUMMER 2019, 17 STUDENTS FROM: - ARLINGTON HIGH SCHOOL - BOSTON ARTS ACADEMY - BOSTON DAY AND EVENING ACADEMY - BOSTON LATIN ACADEMY - BOSTON LATIN SCHOOL - BOSTON TRINITY ACADEMY - BROOKLINE HIGH SCHOOL - BURKE HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - FENWAY HIGH SCHOOL - HOME SCHOOL - LYNN CLASSICAL HIGH SCHOOL - REVERE HIGH SCHOOL - ROXBURY PREPARATORY HIGH SCHOOL - SOMERVILLE HIGH SCHOOL * IN SCHOOL YEAR 2019-2020, 17 STUDENTS FROM: - BOSTON ARTS ACADEMY - BOSTON LATIN ACADEMY - BOSTON LATIN SCHOOL - BROOKLINE HIGH SCHOOL - BURKE HIGH SCHOOL - FENWAY HIGH SCHOOL - JOSIAH QUINCY UPPER SCHOOL - LYNN CLASSICAL HIGH SCHOOL - REVERE HIGH SCHOOL - ROXBURY PREPARATORY HIGH SCHOOL - SNOWDEN INTERNATIONAL HIGH SCHOOL - SOMERVILLE HIGH SCHOOL - THE JOHN D. O'BRYANT SCHOOL OF MATHEMATICS AND SCIENCE WALL TALK SCHOOL PARTNERSHIP PROGRAM * MORE THAN 500 STUDENTS FROM: - BOSTON COLLEGIATE CHARTER SCHOOL - BOSTON COMMUNITY LEADERSHIP ACADEMY - BOSTON LATIN ACADEMY - CHARLESTOWN HIGH SCHOOL - EAST BOSTON HIGH SCHOOL - EXCEL HIGH SCHOOL - GREATER EGLESTON HIGH SCHOOL - MCKINLEY SOUTH END ACADEMY - RAFAEL HERNANDEZ SCHOOL - SNOWDEN INTERNATIONAL HIGH SCHOOL * WALLTALK SPECIAL PROJECT WITH BOSTON INTERNATIONAL NEWCOMERS ACADEMY * WALLTALK VIRTUAL WORKSHOPS * WALLTALK VIRTUAL READING JAM TEEN NIGHTS * THE CATEGORY IS ___: LIVING YOUR AUTHENTIC TRUTH * INTANGIBLE REALITY * VIRTUAL TEEN WEEK: A CELEBRATION OF UNITY & COMMUNITY - SUNDAY BRUNCH JAMS WITH DJ YVNG PAVL + ICA TEENS DJ COLLECTIVE - THE PLAYLIST BY DJ COLLECTIVE - CREATIVE MAKING MINI SERIES BY AND WITH TEEN ARTS COUNCIL - VIRTUAL EXHIBITION: ARTISTS & WRITERS COLLECTIVE - PHOTOGRAPHY IN FOCUS: OJ SLAUGHTER - PHOTOGRAPHY IN FOCUS: LAUREN MILLER - VIRTUAL EXHIBITION: PHOTOGRAPHY - VIRTUAL OPEN MIC BY AND WITH TEEN ARTS COUNCIL - NEW MUSIC BY AMP - MINDFULNESS STRETCHING BY AND WITH TEEN ARTS COUNCIL - FAST FORWARD FILM FEST - CREATIVES IN OUR COMMUNITY BY AND WITH TEEN ARTS COUNCIL - DANCE PARTY BY AND WITH TEEN ARTS COUNCIL THE CURRENT * KEEPING YOUR HEAD ABOVE WATER OTHER EVENTS * THE CYPHER (KICKOFF FOR MASS LEAP'S WICKED LOUD YOUTH POETRY FESTIVAL) * LOVE IS CALLING YOU TO PODCAST (EVENT BY FAST FORWARD) * VDAY LISTENING SESSION (EVENT BY AMP & DJ AT DORCHESTER ART PROJECT) FIRST IN THOUGHT, THEN IN ACTION: TEENS PERFORM * PERFORMANCE: REGGIE WILSON/FIST AND HEEL PERFORMANCE GROUP: POWER * PERFORMANCE: NORA CHIPAUMIRE: #PUNK 100% POP *N!&GA * ULTRAFUSION (ICA TEENS HOLIDAY PARTY) * VIRTUAL OPEN MIC (EVENT BY TEEN ARTS COUNCIL) TEEN NEW MEDIA WORKSHOPS * DJ 101: MIX & SCRATCH ACADEMY (FALL 2019; SPRING 2020) * DIGITAL PHOTOGRAPHY: CAMERA BASICS (FALL 2019; SPRING 2020) * FILM SCHOOL: MUSIC VIDEOS * FILM SCHOOL * MUSIC PRODUCTION: BEATMAKING 101 * MUSIC PRODUCTION WORKSHOPS WITH MATT JOYNT * PROJECT COLLECTIVE * WHERE DOES IT HIT YOU: BEATS & MUSIC PRODUCTION WORKSHOP OTHER WORKSHOPS * PHOTOGRAPHY WORKSHOPS FOR UMASS BOSTON'S URBAN SCHOLARS TEEN EXHIBITIONS & SHOWCASES * FAST FORWARD WINTER SHOWCASE * PEOPLE, PLACE, THING, OR IDEA (EXHIBITION OF TEEN PHOTOGRAPHY CURATED BY TEENS) AT HARVARD - GRADUATE SCHOOL OF EDUCATION'S GUTMAN LIBRARY * EXHIBITION OF WORKS BY TEEN ARTS COUNCIL AT THE PEABODY ESSEX MUSEUM IN ARTIST WES SAM- - BRUCE'S EXHIBITION WHERE THE QUESTIONS LIVE: AN EXPLORATION OF HUMANS IN NATURE * VIRTUAL ICA TEENS SPRING SHOWCASE ALUMNI PROGRAMS * CAREER CONVERSATION WITH CONVERSE * FAST FORWARD ALUMNI SCREENING * FINANCIAL LITERACY WORKSHOPS WITH CFA SOCIETY BOSTON (BUDGETING & SAVING; CREDIT) * FIRST FRIDAY ALUMNI GATHERING * TEEN ARTS COUNCIL ALUMNI GATHERING * VIRTUAL FAST FORWARD ALUMNI EVENT |
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