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 | |||||
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Total |
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Calendar year
(or fiscal year beginning in)
![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 30,290,807 | 12,150,076 | 15,796,561 | 18,194,343 | 18,928,827 | 95,360,614 |
| 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 | 30,290,807 | 12,150,076 | 15,796,561 | 18,194,343 | 18,928,827 | 95,360,614 |
| 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) .. | 14,424,322 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 80,936,292 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 30,290,807 | 12,150,076 | 15,796,561 | 18,194,343 | 18,928,827 | 95,360,614 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 249,366 | 173,554 | 1,133,234 | 1,556,154 | ||
| 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.).. | 246,686 | 239,905 | 124,289 | 4,411 | 244,328 | 859,619 |
| 11 | Total support. Add lines 7 through 10 | 97,796,545 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (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) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (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 on 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) |
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| 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) |
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| 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): |
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| 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 0.015 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 0.035 | 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 | 1 | |
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
2 | |
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | 3 | |
| 4 Amounts paid to acquire exempt-use assets | 4 | |
| 5 Qualified set-aside amounts (prior IRS approval required - provide details in Part VI) | 5 | |
| 6 Other distributions (describe in Part VI). See instructions | 6 | |
| 7Total annual distributions. Add lines 1 through 6. | 7 | |
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
8 | |
| 9 Distributable amount for 2021 from Section C, line 6 | 9 | |
| 10 Line 8 amount divided by Line 9 amount | 10 | |
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2021 |
(iii) Distributable Amount for 2021 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2021 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2021 (reasonable cause required-- explain in Part VI). See instructions. |
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| 3 Excess distributions carryover, if any, to 2021: | ||||
| a From 2016....... | ||||
| b From 2017....... | ||||
| c From 2018....... | ||||
| d From 2019....... | ||||
| e From 2020....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2021 distributable amount | ||||
|
i
Carryover from 2016 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2021 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2021 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2021, 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 2021. 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 2022. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2017..... | ||||
| b Excess from 2018..... | ||||
| c Excess from 2019..... | ||||
| d Excess from 2020..... | ||||
| e Excess from 2021..... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|---|
| SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: | FUNDRAISING INCOME - 2017 AMOUNT: $ 128,300. 2018 AMOUNT: $ 128,390. 2019 AMOUNT: $ 35,600. 2021 AMOUNT: $ 90,880. FOOD SERVICES - 2017 AMOUNT: $ 118,386. 2018 AMOUNT: $ 111,515. 2019 AMOUNT: $ 88,689. 2020 AMOUNT: $ 4,411. 2021 AMOUNT: $ 87,529. CORPORATE EXCHANGE REVENUE - 2021 AMOUNT: $ 65,919. |
| 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: | THE 2021 JAMES AND AUDREY FOSTER PRIZE EXHIBITION FEATURES MARLON FORRESTER (B. 1976, GEORGETOWN, GUYANA), EBEN HAINES (B. 1990, BOSTON), AND DELL MARIE HAMILTON (B. 1971, NEW YORK). THIS GROUP OF ARTISTS WORKS IN A DIVERSITY OF MEDIA, INCLUDING COLLAGE, PAINTING, PERFORMANCE, PHOTOGRAPHY, SCULPTURE, AND INSTALLATION, WITH UNIQUE ARTISTIC PRACTICES THAT SHARE THE IMPULSE TO CREATE CONNECTIONS WITH OTHER ARTISTS THROUGH THEIR WORK. DEVELOPED AGAINST THE BACKDROP OF THE GLOBAL COVID-19 PANDEMIC, THE INDIVIDUAL PROJECTS REFLECT EACH ARTIST'S APPROACH TO COMMUNITY AND EXCHANGE. FIRST ESTABLISHED IN 1999, THE JAMES AND AUDREY FOSTER PRIZE IS KEY TO THE MUSEUM'S EFFORTS TO NURTURE AND RECOGNIZE ARTISTS WORKING IN AND AROUND BOSTON, SHOWCASE EXCEPTIONAL ARTWORK, AND SUPPORT THE CITY'S THRIVING ARTS SCENE. ORGANIZED BY JEFFREY DE BLOIS, ASSISTANT CURATOR AND PUBLICATIONS MANAGER. RAUL DE NIEVES: THE TREASURE HOUSE OF MEMORY SEPTEMBER 1, 2021 - JULY 24, 2022 PAUL AND CATHERINE BUTTENWIESER GALLERY RAUL DE NIEVES (B. 1983, MICHOACN, MEXICO) IS A NEW YORK-BASED INTERDISCIPLINARY ARTIST, PERFORMER, AND MUSICIAN WHOSE MULTIFACETED PRACTICE RANGES FROM STAINED-GLASS-STYLE NARRATIVE PAINTINGS TO ANIMATED PERFORMANCES, TO DENSELY ADORNED FIGURATIVE SCULPTURES ENCRUSTED WITH BANGLES, BEADS, BELLS, SEQUINS, AND OTHER HOMESPUN MATERIALS. THESE OPULENT, JOYFUL SCULPTURES REFERENCE TRADITIONAL COSTUMES IN MEXICAN CULTURE AND MODES OF DRESS FROM DRAG, BALLROOM, AND QUEER CLUB CULTURES, WHILE ALSO EVOKING RELIGIOUS PROCESSIONAL ATTIRE AND THE OUTFITS WORN BY CIRCUS PERFORMERS. ALL OF HIS WORKS SHARE A DISTINCTIVE VISUAL LANGUAGE THAT DRAWS FROM MEXICAN CRAFT TRADITIONS, RELIGIOUS ICONOGRAPHY, MYTHOLOGY, AND FOLKTALES TO EXPLORE THE TRANSFORMATIONAL POSSIBILITIES OF ADORNMENT AND THE MUTABILITY OF SEXUALITY AND IDENTITY. FOR THE ICA, DE NIEVES IS CREATING A BODY OF INTERCONNECTED WORKS ROOTED IN MEMORY AND EXPLORING THEMES OF PERSONAL TRANSFORMATION. THE TREASURE HOUSE OF MEMORY EXPANDS THE ARTIST'S INVENTIVE ADAPTATION OF ICONOGRAPHIC TRADITIONS INHERITED FROM THE PAST THROUGH VIBRANT AMALGAMATIONS OF FORM AND MATERIAL RENDERED IN AN ENERGETIC AND ACCESSIBLE VISUAL LANGUAGE. ORGANIZED BY JEFFREY DE BLOIS, ASSISTANT CURATOR AND PUBLICATIONS MANAGER. RENEE GREEN NOVEMBER 4, 2021 - FEBRUARY 27, 2022 JOHN HANCOCK FOUNDERS GALLERY SOMERVILLE-BASED ARTIST, FILMMAKER, AND WRITER RENEE GREEN IS KNOWN FOR HER DENSELY LAYERED, MULTIFACETED ARTWORKS, WHICH INCLUDE ROOM-FILLING MULTIMEDIA INSTALLATIONS, FILMS, SOUND-BASED WORKS, AND PHOTOGRAPHY. SPACE POEM #1 IS A NEW ACQUISITION TO THE ICA'S COLLECTION, PRESENTED FOR THE FIRST TIME IN THE ICA'S FOUNDER'S GALLERY. IN 2007, GREEN BEGAN MAKING VIBRANT, HANGING BANNERS EMBLAZONED WITH EXPRESSIVE DESIGNS, POETIC PHRASES, AND PERSONAL REFERENCES VISUALIZED IN THE FORMAL LANGUAGE OF ADVERTISING. THESE SPACE POEMS, AS THE ARTIST CALLS THEM, ARE EXPERIMENTS IN ASSOCIATIVE THINKING FUSED WITH THE ARTIST'S INTEREST IN PRINTMAKING, DESIGN, TYPOGRAPHY, AND ARCHITECTURE. THEY HAVE APPEARED IN INTERSTITIAL SPACES, SUCH AS HALLWAYS, AND DRAW ATTENTION TO THE UNDERUTILIZED ARCHITECTURAL SPACES WITHIN MUSEUMS. THE BANNERS ARE PRINTED WITH A VARIETY OF TEXTS AND GRAPHICS AND INCLUDE WIDE-RANGING QUOTATIONS FROM FIGURES SUCH AS MUSICIAN ALICE COLTRANE AND WRITER OCTAVIA E. BUTLER, AS WELL AS POLITICAL PHRASES AND SLOGANS. PRESENTED OVERHEAD TO BE READ, REREAD, AND EVEN MISREAD, GREEN INVITES VIEWERS TO CREATE THEIR OWN POEMS, WORD ASSOCIATIONS, AND CONNECTIONS. SPACE POEM #1 ARTICULATES A VISUALIZATION OF SPACE, THOUGHT, AND COLOR THAT SLOWS THE ACT OF LOOKING AND REFLECTS ON THE CAPACIOUS NATURE OF LANGUAGE. SPACE POEM #1 WAS ACQUIRED THROUGH THE GENEROSITY OF THE ACQUISITIONS CIRCLE AND ANONYMOUS ART ACQUISITION FUND. DEANA LAWSON NOVEMBER 4, 2021 - FEBRUARY 27, 2022 BRIDGITT AND BRUCE EVANS AND KAREN AND BRIAN CONWAY GALLERIES THIS EXHIBITION IS THE FIRST MUSEUM SURVEY DEDICATED TO THE WORK OF DEANA LAWSON (B. 1979 IN ROCHESTER, NY), A SINGULAR VOICE IN PHOTOGRAPHY TODAY. FOR MORE THAN 15 YEARS, LAWSON HAS BEEN INVESTIGATING AND CHALLENGING CONVENTIONAL REPRESENTATIONS OF BLACK LIFE THROUGH A WIDE SPECTRUM OF PHOTOGRAPHIC LANGUAGES, INCLUDING THE FAMILY ALBUM, STUDIO PORTRAITURE, STAGED TABLEAUX, DOCUMENTARY PICTURES, AND APPROPRIATED IMAGES. ENGAGING ACQUAINTANCES AS WELL AS STRANGERS SHE MEETS ON THE STREET, LAWSON METICULOUSLY POSES HER SUBJECTS IN HIGHLY STAGED PHOTOGRAPHS THAT PICTURE NARRATIVES OF FAMILY, LOVE, AND DESIRE, AND CREATE WHAT THE ARTIST DESCRIBES AS "A MIRROR OF EVERYDAY LIFE, BUT ALSO A PROJECTION OF WHAT I WANT TO HAPPEN. IT'S ABOUT SETTING A DIFFERENT STANDARD OF VALUES AND SAYING THAT EVERYDAY BLACK LIVES, EVERYDAY EXPERIENCES, ARE BEAUTIFUL, AND POWERFUL, AND INTELLIGENT." THIS EXHIBITION IS CO-ORGANIZED BY ICA/BOSTON AND MOMA PS1. ORGANIZED BY EVA RESPINI, BARBARA LEE CHIEF CURATOR, ICA/BOSTON, AND PETER ELEEY, CURATOR-AT-LARGE, UCCA CENTER FOR CONTEMPORARY ART, BEIJING AND SHANGHAI, WITH ANNI PULLAGURA, CURATORIAL ASSISTANT, ICA/BOSTON. NAPOLEON JONES-HENDERSON: "I AM AS I AM - A MAN" FEBRUARY 17, 2022 - JULY 24, 2022 FOTENE DEMOULAS GALLERY FOR MORE THAN 50 YEARS, NAPOLEON JONES-HENDERSON (B. 1943, CHICAGO) HAS CREATED WORKS THAT STRIVE TO HIGHLIGHT, CELEBRATE, AND EMPOWER THE COMMUNITIES WHERE HE LIVES. JONES-HENDERSON IS A LONGSTANDING FOUNDING MEMBER OF THE INFLUENTIAL ARTIST COLLECTIVE AFRICAN COMMUNE OF BAD RELEVANT ARTISTS (AFRICOBRA). HIS WORK TRANSLATES AFRICOBRA'S AESTHETIC PRINCIPLES (TO CREATE IMAGES INSPIRED BY THE LIVED EXPERIENCE AND CULTURES OF PEOPLE OF THE AFRICAN DIASPORA IN AN ACCESSIBLE GRAPHIC STYLE WITH SHINING KOOL-AID COLORS) INTO WOVEN TAPESTRIES, MOSAIC TILE WORKS, SHRINE-LIKE SCULPTURES, AND VARIED WORKS ON PAPER. OFTEN FOCUSED ON THEMES OF PAN-AFRICANISM AND RACIAL JUSTICE, JONES-HENDERSON'S WORK AIMS TO BE SELF-AFFIRMING AND REFLECTIVE, WITH AN EYE TOWARD BOTH A FRAUGHT PAST AND A LIBERATED FUTURE. THE ARTIST INTEGRATES FORMS FROM AFRICAN RITUAL SCULPTURE AND SOUTHERN VERNACULAR ARCHITECTURE AND INCORPORATES REVERENTIAL REFERENCES TO JAZZMAN DUKE ELLINGTON'S "SACRED CONCERTS," MUSICIANS SUN RA AND STEVIE WONDER, AND WRITER JUNE JORDAN, AMONG OTHERS. MADE IN CLOSE COLLABORATION WITH THE ARTIST, THIS CONCISE SURVEY DRAWS TOGETHER A SUITE OF JONES-HENDERSON'S WORKS IN VARIOUS MEDIA ACROSS A 50-YEAR PERIOD, CENTERED AROUND HIS MAGISTERIAL WOVEN TEXTILES. JONES-HENDERSON HAS BEEN BASED SINCE 1974 IN ROXBURY, WHERE HE HAS BEEN AN INFLUENTIAL COMMUNITY MEMBER, EDUCATOR, AND MENTOR. THIS IS HIS MOST COMPREHENSIVE SOLO MUSEUM EXHIBITION IN BOSTON. ORGANIZED BY JEFFREY DE BLOIS, ASSISTANT CURATOR AND PUBLICATIONS MANAGER. PHOTOGRAPHS FROM UKRAINE MARCH 18, 2022 - JANUARY 29, 2023 THIRD FLOOR LOBBY THE ICA IS COMMITTED TO SHARING ARTISTS' PERSPECTIVES ON THE WORLD. THESE TWO PHOTOGRAPHS ARE IN THE MUSEUM'S PERMANENT COLLECTION AND WERE MADE IN UKRAINE BY PHOTOGRAPHER BORIS MIKHAILOV, WHO WAS FEATURED IN A SOLO EXHIBITION AT THE ICA IN 2004. MIKHAILOV'S HOMETOWN OF KHARKIV PROVIDED THE BACKDROP TO HIS SERIES CASE HISTORY, WHICH DOCUMENTS PEOPLE EXPERIENCING HOMELESSNESS AFTER THE COLLAPSE OF THE SOVIET UNION IN THE EARLY 1990S. FOR OVER 40 YEARS, MIKHAILOV HAS EXPLORED THE POSITION OF THE INDIVIDUAL WITHIN THE HISTORICAL MECHANISMS OF PUBLIC IDEOLOGY, TOUCHING ON SUCH SUBJECTS AS UKRAINE UNDER SOVIET RULE, THE LIVING CONDITIONS IN POST-COMMUNIST EASTERN EUROPE, AND THE FALLEN IDEALS OF THE SOVIET UNION. HIS LIFE-SIZE COLOR PHOTOGRAPHS DOCUMENT THE OPPRESSION, POVERTY, AND EVERYDAY REALITY OF A DISENFRANCHISED COMMUNITY LIVING ON THE MARGINS OF WHAT WAS THEN RUSSIA'S NEW ECONOMIC REGIME. THESE SEARING IMAGES POINT TO UKRAINE AS A PLACE OF BEAUTY, DEEP HISTORY, TRAUMA, AND TRAGEDY, BOTH PAST AND, WITH RUSSIA'S UNPROVOKED INVASION OF UKRAINE, IN THE PRESENT. A PLACE FOR ME: FIGURATIVE PAINTING NOW MARCH 31, 2022 - SEPTEMBER 5, 2022 KAREN AND BRIAN CONWAY GALLERIES A PLACE FOR ME CELEBRATES A NEW GENERATION OF ARTISTS AT THE VANGUARD OF CONTEMPORARY PAINTING. DAVID ANTONIO CRUZ, LOUIS FRATINO, DORON LANGBERG, AUBREY LEVINTHAL, GISELA MCDANIEL, ARCMANORO NILES, CELESTE RAPONE, AND AMBERA WELLMANN ARE PROPELLING FIGURATIVE PAINTING'S RECENT REVIVAL BY DEPICTING WHAT THEY LOVE (THEIR FRIENDS, LOVERS, AND FAMILY; STUDIO SPACES AND HOMES; AND THE SCENES THAT MAKE UP THEIR EVERYDAY). EVOKING INTIMACY, COMMUNITY, AND THE PERSONAL IN THE POWER TO REPRESENT ONESELF IN PAINTING, THESE ARTISTS CONSIDER THE POLITICS OF SEEING AND BEING SEEN AND HOW THE PROCESS OF PAINTING MIGHT REGISTER CARE, TENDERNESS, FRAGILITY, EMPATHY, AND RESILIENCE. COLORFUL, SURPRISING, AND FULL OF LIFE, A PLACE FOR ME IS A TESTAMENT TO THE VITALITY OF CONTEMPORARY FIGURATIVE ART, REFLECTING A MULTITUDE OF STYLES AND APPROACHES TO PAINTING THROUGH A CROSS-SECTION OF CONTEMPORARY PAINTING TODAY. |
| FORM 990, PART III, LINE 4A CONTINUED: | ORGANIZED BY RUTH ERICKSON, MANNION FAMILY SENIOR CURATOR, WITH ANNI PULLAGURA, CURATORIAL ASSISTANT. BARBARA WAGNER & BENJAMIN DE BURCA: SWINGUERRA MARCH 31, 2022 - SEPTEMBER 5, 2022 BRIDGITT AND BRUCE EVANS GALLERIES COLLABORATING SINCE 2011, BARBARA WAGNER AND BENJAMIN DE BURCA CREATE WORKS IN VIDEO, PHOTOGRAPHY, AND INSTALLATION THAT EXPLORE CONTEMPORARY HISTORIES OF UNDERGROUND DANCE AND MUSICAL GENRES. FREQUENTLY MADE IN COLLABORATION WITH CINEMATOGRAPHER PEDRO SOTERO, THESE MOVING-IMAGE WORKS, WHICH THEY REFER TO AS "DOCUMENTARY MUSICALS," OFTEN CENTER ON URBAN SUBCULTURES IN THE SOUTH ATLANTIC DIASPORA, FROM THE FRANCO-INDO CREOLE MUSICAL GENRE MALOYA TO FREVO DANCERS AND BREGA SINGERS IN RECIFE, BRAZIL, WHERE THE ARTISTS LIVE AND WORK. CONSTRUCTING IMAGES TOGETHER WITH PERFORMERS, THEIR APPROACH MERGES THE CINEMATIC WITH THE FICTIONAL, DOCUMENTARY, AND ETHNOGRAPHIC TO ADDRESS QUESTIONS OF SURVEILLANCE, VISIBILITY, AND CREATIVITY IN AN INCREASINGLY CONNECTED, POSTCOLONIAL WORLD. A RECENT ACQUISITION AND ROOM-FILLING INSTALLATION ON VIEW FOR THE FIRST TIME, SWINGUERRA (2019) FOCUSES ON DISADVANTAGED QUEER COMMUNITIES OF COLOR IN RECIFE, BRAZIL, WITH AN EMPHASIS ON TRANSGENDER AND NONBINARY PERFORMERS. THE FILM FEATURES THREE CONTEMPORARY DANCE STYLES (SWINGUEIRA, BREGA FUNK, AND PASSINHO DA MALOCA) AS PERFORMED BY THREE COMPETITIVE DANCE GROUPS. THESE MIXED DANCE STYLES RECALL BRAZIL'S COLONIAL AND SLAVE TRADE HISTORY, WHERE MUSIC AND DANCE FUNCTIONED AS DISCREET METHODS OF ORGANIZING POLITICALLY UNDER OPPRESSIVE REGIMES. FAST-PACED, ATHLETIC, SEXY, DREAMLIKE, AND AGGRESSIVE, THE DANCE STYLES, LIKE THE MUSIC, MAKE SWINGUERRA AN EXHILARATING AND UNFORGETTABLE VIEWING EXPERIENCE, ILLUSTRATING HOW DANCE AND MUSIC OFFER RICH SOURCES OF AGENCY, RESISTANCE, AND COMMUNITY FOR MARGINALIZED INDIVIDUALS. ORGANIZED BY ANNI PULLAGURA, CURATORIAL ASSISTANT. REVIVAL: MATERIALS AND MONUMENTAL FORMS MAY 26, 2022 - SEPTEMBER 5, 2022 ICA WATERSHED IN SUMMER 2022, THE ICA WATERSHED PRESENTS REVIVAL: MATERIALS AND MONUMENTAL FORMS, AN EXHIBITION OF LARGE-SCALE INSTALLATIONS BY SIX INTERNATIONAL ARTISTS WHO RECLAIM AND REUSE INDUSTRIAL AND EVERYDAY MATERIALS. INSPIRED BY THE WATERSHED BUILDING'S MIXED-USE HISTORY (BUILT IN THE 1930S AS A COPPER PIPE AND SHEET METAL MANUFACTURING PLANT AND SERVING SINCE 2018 AS A FREE SITE FOR CONTEMPORARY ART) THIS EXHIBITION HIGHLIGHTS HOW ARTISTS HAVE DERIVED INSPIRATION FROM INDUSTRY, LABOR, AND THE POETIC AND POLITICAL POWER OF FOUND GOODS. PARTICIPATING ARTISTS INCLUDE EL ANATSUI (B. 1944, ANYAKO, GHANA), MADELINE HOLLANDER (B. 1986, LOS ANGELES), IBRAHIM MAHAMA (B. 1987, TAMALE, GHANA), KARYN OLIVIER (B. 1968, PORT OF SPAIN, TRINIDAD AND TOBAGO), EBONY G. PATTERSON (B. 1981, KINGSTON, JAMAICA), AND JOE WARDWELL (B. 1972, CHAPEL HILL, NC). MAKING VISIBLE THE OFTEN INVISIBLE FORCES THAT SHAPE HUMAN EXPERIENCES, THESE ARTISTS REFLECT ON THE SYSTEMS OF INDUSTRY, NATURE, AND SOCIETY IN MONUMENTAL ARTWORKS. FOR SOME, RECYCLED OBJECTS EXPAND IDEAS OF MATERIALITY AND INDUSTRY IN DAILY LIFE: ANATSUI COLLECTS BOTTLE CAPS AND OTHER REFUSE TO FORM GLITTERING, TAPESTRY-LIKE SCULPTURES; HOLLANDER PROGRAMS AUTOMOBILE HEAD AND TAILLIGHTS TO BLINK WITH THE MOVEMENT OF TRAFFIC; AND PATTERSON MAKES INTRICATE COLLAGES OF FLOWERS, BIRDS, BUTTERFLIES, AND FIGURES. OLIVIER AND MAHAMA COLLECT USED CLOTHING AND CRATES, RESPECTIVELY, TO BUILD TOWERING SCULPTURES THAT REFLECT ON HUMAN PERSISTENCE, LABOR, AND INGENUITY. WARDWELL, A BOSTON-BASED ARTIST, WILL CREATE A NEW, SITE-SPECIFIC INSTALLATION IN DIALOGUE WITH THE RICH HISTORY OF LABOR SONGS. TOGETHER, THESE ARTWORKS CAPTURE THE POWER OF REUSE, RESILIENCE, AND RECLAMATION, CELEBRATING A REVIVAL OF THE EVERYDAY AT MONUMENTAL SCALE. ORGANIZED BY RUTH ERICKSON, MANNION FAMILY SENIOR CURATOR, WITH ANNI PULLAGURA, CURATORIAL ASSISTANT. |
| FORM 990, PART III, LINE 4B CONTINUED: | IN SCHOOL YEAR 2021-2022, STUDENTS FROM THE FOLLOWING SCHOOLS WERE REPRESENTED IN THE TEEN ARTS COUNCIL: * BOSTON ARTS ACADEMY * BOSTON LATIN SCHOOL * BOSTON LATIN ACADEMY * BROOKLINE HIGH SCHOOL * FENWAY HIGH SCHOOL * GREATER EGLESTON HIGH SCHOOL * O'BRYANT SCHOOL OF MATHEMATICS AND SCIENCE * SOMERVILLE HIGH SCHOOL * WINCHESTER HIGH SCHOOL WALL TALK SCHOOL PARTNERSHIP PROGRAM PARTNERS IN FY22, 405 STUDENTS PARTICIPATED IN WALLTALK FROM THE FOLLOWING SCHOOLS: * BOSTON COLLEGIATE CHARTER SCHOOL * BOSTON COMMUNITY LEADERSHIP ACADEMY * CHARLESTOWN HIGH SCHOOL * EXCEL HIGH SCHOOL * MARTIN LUTHER KING JR. HIGH SCHOOL * MCKAY K-8 SCHOOL * GREATER EGLESTON HIGH SCHOOL * MCKINLEY SOUTH END ACADEMY * RAFAEL HERNANDEZ SCHOOL TEEN NIGHTS TEEN NIGHTS WERE PLANNED AND HOSTED BY TEEN ARTS COUNCIL. 951 TEENS ATTENDED TEEN NIGHTS IN FY22. IN ADDITION, 680 TEEN NIGHT ARTS KITS WERE DISTRIBUTED TO YOUNG PEOPLE AT THESE EVENTS. * SUMMER TEEN NIGHT: FAIRLY ODD SUMMER * FALL TEEN NIGHT: CONTEMP-O-WEEN * SPRING TEEN NIGHT: NEW BEGINNINGS TEEN NEW MEDIA WORKSHOPS * BOSTON BEAT SUMMIT (VIRTUAL) * PHOTO WALK * PHOTO SESSIONS WITH MARLON OROZCO * FILM SCHOOL: MUSIC VIDEO BOOTCAMP * DIGITAL PHOTOGRAPHY: COLLAGE AND CONCEPT * DROP-IN BEAT SHARE * MUSIC SPOTLIGHT WITH DJ BABY INDIGLO * MUSIC SPOTLIGHT WITH RILLA FORCE * TEP EXCHANGE WITH URBANO (VIRTUAL) OTHER WORKSHOPS * PHOTOGRAPHY WORKSHOP FOR MOTHERS FOR JUSTICE AND EQUALITY (VIRTUAL) * MUSEUM CAREERS WORKSHOP (VIRTUAL) * VIRGIL ABLOH WORKSHOP FOR CASTLE SQUARE TENANTS ORGANIZATION (VIRTUAL) * OPEN MIC: GLOBAL VIRTUAL TEENS TAKE THE MET * TEEN PROGRAMS FALL KICK OFF * PHOTOGRAPHY WORKSHOPS FOR UMASS BOSTON'S URBAN SCHOLARS (VIRTUAL) * PHOTOGRAPHY WORKSHOP FOR BOSTON UNIVERSITY'S UPWARD BOUND * TAC WORKSHOP AT GRASSROOTS FOR ECO YOUTH * EDUCATOR APPRECIATION EVENING * CUSTOMIZE YOUR CONVERSE OTHER EVENTS * ULTRAFUSION: A GATHERING FOR ALL ICA TEENS * FAST FORWARD PITCH NIGHT TEEN EXHIBITIONS & SHOWCASES * FAST FORWARD WINTER SHOWCASE * TEEN GALLERY EXHIBITION: CENTERED TO RISE * TEEN GALLERY EXHIBITION: PINPOINT BOSTON WITH URBANO YOUTH ARTISTS IN RESIDENCE * SPRING SHOWCASE - STAND OUT: TO EACH THEIR OWN PHOTOGRAPHY EXHIBITION AT HARVARD GSE GUTMAN LIBRARY ALUMNI PROGRAMS (VIRTUAL AND IN-PERSON) * TEEN CONVENING: ALUMNI * FAST FORWARD ALUMNI REUNION |
| 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 OFFICER, 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 IX, LINE 11G | CONSULTANTS AND CONTRACTORS: PROGRAM SERVICE EXPENSES 400,282. MANAGEMENT AND GENERAL EXPENSES 114,728. FUNDRAISING EXPENSES 2,999. TOTAL EXPENSES 518,009. PHOTOGRAPHY SERVICES: PROGRAM SERVICE EXPENSES 50,282. MANAGEMENT AND GENERAL EXPENSES 0. FUNDRAISING EXPENSES 0. TOTAL EXPENSES 50,282. OUTSIDE SERVICES: PROGRAM SERVICE EXPENSES 2,519,889. MANAGEMENT AND GENERAL EXPENSES 174,960. FUNDRAISING EXPENSES 427,754. TOTAL EXPENSES 3,122,603. |
| FORM 990, PART XI, LINE 9: | LOSS ON SPLIT INTEREST AGREEMENTS -73,925. LOSSES FROM PLEDGE RECEIVABLE WRITE OFFS AND ALLOWANCES -59,378. |
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