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) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 15,796,561 | 18,194,343 | 18,928,827 | 18,750,251 | 17,101,819 | 88,771,801 |
| 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 | 15,796,561 | 18,194,343 | 18,928,827 | 18,750,251 | 17,101,819 | 88,771,801 |
| 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) .. | 12,045,570 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 76,726,231 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 15,796,561 | 18,194,343 | 18,928,827 | 18,750,251 | 17,101,819 | 88,771,801 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 173,554 | 1,133,234 | 874,951 | 1,385,029 | 3,566,768 | |
| 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.).. | 124,289 | 4,411 | 244,328 | 431,160 | 283,989 | 1,088,177 |
| 11 | Total support. Add lines 7 through 10 | 93,493,602 | |||||
Calendar year (or fiscal
year beginning in) ![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (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) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (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 2023 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-2023 |
(iii) Distributable Amount for 2023 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2023 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2023 (reasonable cause required-- explain in Part VI).
See instructions. |
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| 3 Excess distributions carryover, if any, to 2023: | ||||
| a From 2018....... | ||||
| b From 2019....... | ||||
| c From 2020....... | ||||
| d From 2021....... | ||||
| e From 2022....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2023 distributable amount | ||||
|
i
Carryover from 2018 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2023 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2023 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2023, 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 2023. 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 2024. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2019..... | ||||
| b Excess from 2020..... | ||||
| c Excess from 2021..... | ||||
| d Excess from 2022..... | ||||
| e Excess from 2023..... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|---|
| SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: | FUNDRAISING INCOME - 2019 AMOUNT: $ 35,600. 2021 AMOUNT: $ 90,880. 2022 AMOUNT: $ 101,270. 2023 AMOUNT: $ 24,030. FOOD SERVICES - 2019 AMOUNT: $ 88,689. 2020 AMOUNT: $ 4,411. 2021 AMOUNT: $ 87,529. 2022 AMOUNT: $ 169,449. 2023 AMOUNT: $ 132,374. CORPORATE EXCHANGE REVENUE - 2021 AMOUNT: $ 65,919. 2022 AMOUNT: $ 160,441. 2023 AMOUNT: $ 127,585. |
| Software ID: | |
| Software Version: |
| Return Reference | Explanation |
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| FORM 990, PART III, LINE 4A | BARBARA KRUGER NOVEMBER 3, 2022 - JANUARY 28, 2024 SANDRA AND GERALD FINEBERG ART WALL FOR MORE THAN 40 YEARS, BARBARA KRUGER (B. 1945 IN NEWARK, NJ) HAS BEEN A CONSISTENT, CRITICAL OBSERVER OF CONTEMPORARY CULTURE. IN THE EARLY 1980S, KRUGER PERFECTED A SIGNATURE STYLE OF WORDS AND IMAGES EXTRACTED FROM MASS MEDIA AND RECOMPOSED INTO MEMORABLE, GRAPHIC ARTWORKS. HER ICONIC WORKS, SUCH AS UNTITLED (I SHOP THEREFORE I AM), 1987, AND UNTITLED (YOUR BODY IS A BATTLEGROUND), 1989, COMBINE CROPPED, BLACK-AND-WHITE PHOTOGRAPHIC IMAGES WITH PROVOCATIVE SHORT TEXTS PRINTED ON SOLID COLORED BARS. OFTEN THESE WORKS ADDRESS VIEWERS DIRECTLY WITH PERSONAL PRONOUNS - LIKE "YOU AND "ME" - WHILE CONFOUNDING CLEAR NOTIONS OF WHO IS SPEAKING. KRUGER'S PRODIGIOUS WORK HAS COME TO REPRESENT DEBATES ON WOMEN'S RIGHTS, IDENTITY, CONSUMERISM, AND CAPITALISM RAGING SINCE THE 80S. RIGOROUSLY COMPOSED, HER WORKS HAVE OCCUPIED A RANGE OF MEDIA AND SPACES, INCLUDING WALLS, BILLBOARDS, VIDEO PROJECTIONS, AND AN ARRAY OF CONSUMER PRODUCTS. SINCE THE 1990S, KRUGER HAS ALSO CREATED LARGE-SCALE INSTALLATIONS OF HER TEXT-BASED ART, TRANSFORMING LOBBIES, ELEVATORS, AND BUILDINGS WITH HER SIGNATURE AESTHETIC AND POINTED CONTENT. CONTINUING IN THIS VEIN, KRUGER WILL CREATE A BRAND-NEW WORK FOR THE ICA THAT SPEAKS, AS HER WORK HAS DONE FOR MORE THAN FOUR DECADES, TO CONTEMPORARY SOCIAL AND POLITICAL DYNAMICS. ORGANIZED BY RUTH ERICKSON, BARBARA LEE CHIEF CURATOR AND DIRECTOR OF CURATORIAL AFFAIRS. MARIA BERRIO: THE CHILDREN'S CRUSADE FEBRUARY 16, 2023 - AUGUST 6, 2023 FOTENE DEMOULAS GALLERY NEW YORK - BASED ARTIST MARA BERRIO (BORN 1982 IN BOGOTA, COLOMBIA) CRAFTS HER LARGE-SCALE PAINTINGS THROUGH A UNIQUE, METICULOUS PROCESS OF COLLAGING TORN PIECES OF JAPANESE PAPER WITH WATERCOLOR TO CREATE RIVETING, MAGICAL SCENES. SPURRED BY CONTEMPORARY SOCIAL AND POLITICAL REALITIES, THE ARTIST LISTS POETRY, FOLKLORE, AND THE REALMS OF MAGIC AS HER SOURCES OF INSPIRATION TO IMAGINE ALTERNATIVE VIEWS OF PRESENT-DAY REALITIES, ESPECIALLY THOSE FACED BY MIGRANTS, WOMEN, AND CHILDREN. THIS EXHIBITION WILL PRESENT A SELECTION OF NEW AND EXISTING WORKS FROM BERRIO'S SERIES THE CHILDREN'S CRUSADE. THIS SERIES BLENDS THE HISTORY OF THE CHILDREN'S CRUSADE OF 1212 WITH THE CONTEMPORARY MASS MOVEMENT OF PEOPLES ACROSS BORDERS. WHILE THE ACTUAL EVENTS OF THE CHILDREN'S CRUSADE, IN WHICH THOUSANDS OF CHILDREN, LEGENDS SAY, TREKKED THROUGH ITALY AND FRANCE TO CONVERT MUSLIMS TO CHRISTIANITY, CONTINUE TO BE A SUBJECT OF DEBATE AMONG HISTORIANS, LEGENDS OF MIRACLES AND TRAGEDIES HAVE INSPIRED AN ABUNDANCE OF STORIES, SONGS, AND ARTWORK OVER CENTURIES. BERRIO DRAWS INSPIRATION FROM THESE DIVERSE SOURCES TO REFLECT ON THE CONTEMPORARY REALITIES FACING MIGRANTS AND UNACCOMPANIED MINORS TODAY. SOME OF HER WORKS REIMAGINE THE CHILD MIGRANT THROUGH SUCH FIGURES AS BIRDS AND HUMAN-ANIMAL HYBRIDS AND MEDITATE ON ISSUES OF FLIGHT, FREEDOM, CONTROL, AND PROTECTION. OTHER WORKS EVOKE DISPLACEMENT, LOSS, AND THE UNKNOWN THROUGH DETAILED LANDSCAPES AND NATURE SCENES. ENERGIZED BY THE CONTACT POINT BETWEEN REALITY AND MAGIC, THE ARTIST FRAMES HER EXHIBITIONS AS FICTIONAL STORIES, WITH EACH PAINTING SERVING AS A SCENE FROM AN UNFOLDING AND OTHERWORLDLY TALE AND ACCOMPANIED BY A NARRATIVE TEXT. HER NEW PAINTINGS CONTINUE HER ENDURING INTEREST IN RELATIONS BETWEEN HUMANS AND NATURE, DEPICTING HER CHILD PROTAGONISTS IN COMMUNE, CONFLICT, OR UNCERTAIN RELATION WITH NATURE AND ANIMALS. ORGANIZED BY RUTH ERICKSON, BARBARA LEE CHIEF CURATOR AND DIRECTOR OF CURATORIAL AFFAIRS. NEW ON VIEW FEBRUARY 16, 2023 - AUGUST 6, 2023 PAUL AND CATHERINE BUTTENWIESER GALLERY NEW ON VIEW PRESENTS A SMALL SELECTION OF WORKS ON VIEW AT THE MUSEUM FOR THE FIRST TIME, INCLUDING SEVERAL RECENTLY ACQUIRED WORKS TO THE PERMANENT COLLECTION. EXPLORING THEMES SUCH AS DOMESTICITY AND PHOTOGRAPHY IN AN EXPANDED FIELD, NEW ON VIEW DEMONSTRATES THAT WORKS RECENTLY ADDED TO THE ICA'S COLLECTION BUILD ON ITS STRENGTHS BY TAKING THEM IN EXPANSIVE NEW DIRECTIONS. ORGANIZED BY JEFFREY DE BLOIS, ASSOCIATE CURATOR AND PUBLICATIONS MANAGER. SIMONE LEIGH APRIL 6, 2023 - SEPTEMBER 4, 2023 BRIDGITT AND BRUCE EVANS AND KAREN AND BRIAN CONWAY GALLERIES SIMONE LEIGH (B. 1967, CHICAGO) REPRESENTED THE UNITED STATES AT THE 2022 VENICE BIENNALE, ONE OF THE LARGEST AND MOST IMPORTANT CONTEMPORARY ART EXHIBITIONS IN THE WORLD. SELECTIONS FROM LEIGH'S LANDMARK VENICE PRESENTATION ARE MAKING THEIR U.S. PREMIERE IN BOSTON, JOINED BY KEY WORKS FROM THROUGHOUT HER CAREER, PROVIDING A HOLISTIC UNDERSTANDING OF THE ARTIST'S PRODUCTION IN CERAMIC, BRONZE, AND VIDEO. FOR OVER TWO DECADES, LEIGH HAS EMBRACED A POLYPHONIC ARTISTIC VOCABULARY THAT ELABORATES ON BLACK FEMINIST THOUGHT, AN INTELLECTUAL TRADITION WHICH VALUES AND CENTERS THE EXPERIENCES OF BLACK WOMEN. INFORMED BY A RIGOROUS ATTENTION TO A WIDE SWATH OF HISTORICAL PERIODS, GEOGRAPHIES, AND ARTISTIC TRADITIONS OF AFRICA AND THE AFRICAN DIASPORA, LEIGH OFTEN COMBINES THE FEMALE BODY WITH DOMESTIC VESSELS OR ARCHITECTURAL ELEMENTS TO POINT TO UNACKNOWLEDGED ACTS OF LABOR AND CARE, PARTICULARLY AMONG AND FOR BLACK WOMEN. CLAY FORMS THE BASIS OF MOST OF LEIGH'S ARTWORKS, INCLUDING HER BRONZE SCULPTURES, WHICH ARE FIRST MODELED IN CLAY. THE ARTIST PUSHES THE MEDIUM'S POSSIBILITIES THROUGH SCALE AND METHOD, CHALLENGING CONVENTIONAL, HIERARCHICAL FINE ARTS HISTORIES, WHICH CAN STILL ATTACH TO CERAMICS ASSOCIATIONS AROUND WOMEN'S LABOR, DECORATION, DOMESTIC CRAFTS, AND UTILITY. THIS EXHIBITION TRACES THE ARTIST'S UNIQUE VISUAL LANGUAGE THROUGH SIGNATURE MOTIFS, INCLUDING COWRIE SHELLS, BRAIDING, ROSETTES, FACE VESSELS, AND EYELESS FACES. THROUGH LEIGH'S RE-PERFORMING OF THESE FORMS IN VARYING MATERIALS AND SCALES, NEW STRUCTURES OF THOUGHT AND MEANINGS EMERGE, EACH CONSISTENTLY CENTERING THE EXPERIENCES AND INTELLECTUAL LABOR OF BLACK FEMMES. ACCOMPANIED BY A MAJOR MONOGRAPH, THIS EXHIBITION OFFERS VISITORS A TIMELY OPPORTUNITY TO EXPERIENCE THE COMPLEX AND PROFOUNDLY MOVING WORK OF THIS GROUNDBREAKING ARTIST. SIMONE LEIGH WILL TOUR TO THE HIRSHHORN MUSEUM AND SCULPTURE GARDEN IN WASHINGTON, D.C. (NOVEMBER 2023 - MARCH 2024) AND A JOINT PRESENTATION AT THE LOS ANGELES COUNTY MUSEUM OF ART (LACMA) AND CALIFORNIA AFRICAN AMERICAN MUSEUM (CAAM) IN LOS ANGELES (JUNE 2024 - JANUARY 2025). ORGANIZED BY EVA RESPINI, DEPUTY DIRECTOR AND DIRECTOR OF CURATORIAL PROGRAMS, VANCOUVER ART GALLERY, (FORMER BARBARA LEE CHIEF CURATOR, ICA/BOSTON), WITH ANNI A. PULLAGURA, ASSISTANT CURATOR. GUADALUPE MARAVILLA: MARIPOSA RELAMPAGO MAY 25, 2023 - SEPTEMBER 4, 2023 ICA WATERSHED GUADALUPE MARAVILLA (B. 1976 IN SAN SALVADOR, EL SALVADOR) GROUNDS HIS SCULPTURE, PAINTING, PERFORMANCE, AND LARGE-SCALE INSTALLATION IN ACTIVISM AND HEALING, INFORMED BY HIS PERSONAL STORY OF MIGRATION, ILLNESS, AND RECOVERY. AT THE AGE OF EIGHT, MARAVILLA FLED EL SALVADOR'S CIVIL WAR AS AN UNACCOMPANIED MINOR AND MADE A PERILOUS JOURNEY THROUGH CENTRAL AMERICA TO REUNITE WITH FAMILY IN THE UNITED STATES. IN THE 2010S, MARAVILLA WAS DIAGNOSED WITH COLON CANCER, AN ILLNESS HE LINKS TO GENERATIONAL TRAUMA AND THE STRESSES OF BEING UNDOCUMENTED, AND DURING THE RECOVERY PROCESS, HE WAS INTRODUCED TO ANCIENT METHODS OF HEALING, INCLUDING THE USE OF SOUND. THIS LIFE EVENT SHIFTED MARAVILLA'S PRACTICES, AND HE HAS SINCE WORKED TIRELESSLY TO RAISE AWARENESS OF TRAUMA AND EXPAND ACCESS TO HEALING, NURTURING COLLECTIVE NARRATIVES WITH A SENSE OF PERSEVERANCE AND HUMANITY. THIS EXHIBITION PRESENTS A SELECTION OF RECENT SCULPTURES AND PAINTINGS BY MARAVILLA. AT ITS CENTER IS MARIPOSA RELAMPAGO (LIGHTNING BUTTERFLY), A NEWLY COMMISSIONED WORK FOR THE ICA WATERSHED AND THE ARTIST'S LARGEST SCULPTURE TO DATE. MARIPOSA RELAMPAGO IS PART OF THE ARTIST'S DISEASE THROWER SERIES, SCULPTURES THAT INCORPORATE NATURAL MATERIALS, HANDMADE OBJECTS, AND ITEMS COLLECTED BY THE ARTIST WHILE RETRACING HIS MIGRATORY ROUTE TO BECOME SHRINES AND HEALING INSTRUMENTS. EVERY SCULPTURE INCLUDES METAL GONGS THAT ARE ACTIVATED BY THE ARTIST DURING PUBLIC SOUND BATHS TO DEPLOY THE POWERS OF VIBRATIONAL SOUND AS A FORM OF HEALING. MARAVILLA'S ARTWORKS CONTAIN A COSMOLOGY OF POTENT SYMBOLS AND OBJECTS THAT CONNECT THE ARTIST'S PERSONAL JOURNEY WITH ANCIENT PRACTICES OF THE INDIGENOUS MAYAN PEOPLES; DIVERSE SPIRITUAL AND FOLK BELIEFS; AND CONTEMPORARY CRISES OF DISEASE, ECOLOGY, AND WAR. WE INVITE YOU TO EXPLORE THIS EXHIBITION AND COME BACK FOR ONE OF THE MANY PROGRAMS OFFERED IN COLLABORATION WITH EAST BOSTON ORGANIZATIONS AND INDIVIDUALS WHO SUPPORT COMMUNITY HEALING AND WELL-BEING. |
| FORM 990, PART III, LINE 4A | ORGANIZED BY RUTH ERICKSON, BARBARA LEE CHIEF CURATOR AND DIRECTOR OF CURATORIAL AFFAIRS, WITH YUTONG SHI, CURATORIAL ASSISTANT. TAMMY NGUYEN AUGUST 24, 2023 - JANUARY 28, 2024 PAUL AND CATHERINE BUTTENWIESER GALLERY CONNECTICUT-BASED MULTIDISCIPLINARY ARTIST TAMMY NGUYEN (B. 1984, SAN FRANCISCO) CREATES PAINTINGS, WORKS ON PAPER, UNIQUE ARTIST BOOKS, AND PUBLICATIONS, INCLUDING THROUGH HER INDEPENDENT IMPRINT PASSENGER PIGEON PRESS. IN THE DENSELY LAYERED SYMPHONIC SPACE OF HER GILDED PAINTINGS, NGUYEN EXPLORES CONTRADICTION AND CONFUSION THROUGH INTERTWINING NARRATIVES OF GEOPOLITICAL, ENVIRONMENTAL, AND SPIRITUAL SUBJECTS. MANY OF HER PAINTINGS ARE COMPOSITE IMAGES THAT RECONSIDER LESSER-KNOWN HISTORIES AGAINST THE BACKDROP OF LUSH LANDSCAPES TEEMING WITH INSECTS, ANIMALS, AND PLANTS IMBUED WITH AGENCY, AND VARIED SYMBOLS OF VIOLENT CONQUEST OR SOFT POWER. THROUGHOUT, THE BEAUTIFUL AESTHETIC OF NGUYEN'S PAINTINGS IS DISARMING, CREATING A PRODUCTIVE TENSION THAT OPENS SPACE TO CONSIDER THE HISTORIES AND SUBJECTS HER WORK EXAMINES. FOR THE ICA, HER FIRST SOLO MUSEUM EXHIBITION IN THE U.S., NGUYEN IS CREATING A NEW, INTERCONNECTED BODY OF PAINTINGS, WORKS ON PAPER, AND ARTIST BOOKS. THESE WORKS, INSPIRED BY EAST ASIAN LANDSCAPE PAINTING, ARE ALL RELATED TO THE RELATIONSHIP BETWEEN MAN AND NATURE, LANDSCAPE AND WILDERNESS, AS ARTICULATED IN RALPH WALDO EMERSON'S INFLUENTIAL BOOK-LENGTH ESSAY NATURE, WRITTEN IN 1836 IN CONCORD, MASSACHUSETTS. NGUYEN MAPS THE LASTING IMPACT OF EMERSON'S WRITING ON STILL COMMONLY HELD IDEAS ABOUT NATURE AND LANDSCAPE, ESPECIALLY THROUGH A STUDIED CONSIDERATION OF LAND REFORM PROGRAMS IN VIETNAM DURING THE VIETNAM WAR. ORGANIZED BY JEFFREY DE BLOIS, ASSOCIATE CURATOR AND PUBLICATIONS MANAGER. 2023 JAMES AND AUDREY FOSTER PRIZE AUGUST 24, 2023 - JANUARY 28, 2024 FOTENE DEMOULAS GALLERY THE 2023 JAMES AND AUDREY FOSTER PRIZE PRESENTS THE WORK OF CICELY CAREW (B. IN LOS ANGELES), VENETIA DALE (B. IN WINFIELD, IL), AND YU-WEN WU (B. IN TAIPEI, TAIWAN). ENCOMPASSING A WIDE RANGE OF MEDIA, FROM SCULPTURE AND INSTALLATION TO TIME-BASED MEDIA AND WORKS ON PAPER, THE EXHIBITED PROJECTS DEMONSTRATE HOW THESE BOSTON-AREA ARTISTS EACH UNIQUELY ENGAGE WITH THE THEME OF STATES OF CHANGE, WHETHER THROUGH PERSONAL EXPERIENCES, THE PASSAGE OF TIME, OR IN THE VERY NATURE OF MATERIALS UNDERGOING TRANSFORMATION IN THE MAKING OF AN ARTWORK. FIRST ESTABLISHED IN 1999, JAMES AND AUDREY FOSTER ENDOWED THE PRIZE (FORMERLY THE ICA ARTIST PRIZE) AND EXHIBITION TO NURTURE AND RECOGNIZE EXCEPTIONAL BOSTON-AREA ARTISTS. CICELY CAREW WIELDS THE FORMAL, MATERIAL, AND SCULPTURAL ASPECTS OF PAINTING TO EVOKE FEELINGS OF RADICAL JOY, HOPE, AND LIBERATION. HER WORKS EXPLORE THE FLEETING MAGIC OF THE PRESENT THROUGH VIBRANT COLOR, REBELLIOUS MARK-MAKING, SWEEPING GESTURES, AND REFERENCES TO THE TERRESTRIAL AND COSMIC WORLDS. IN ADDITION TO GROUP EXHIBITIONS AND COMMISSIONS BY NOW + THERE AT THE PRUDENTIAL CENTER IN BOSTON, SHE HAS HAD SOLO EXHIBITIONS AT THE FITCHBURG ART MUSEUM, THE COMMONS IN PROVINCETOWN, NORTHEASTERN UNIVERSITY, AND SIMMONS UNIVERSITY. SHE IS THE RECIPIENT OF THE 2021 ST. BOTOLPH CLUB FOUNDATION EMERGING ARTIST AWARD, AN ARTFUL SEEDS FELLOWSHIP, AND A SUSTAINABLE ARTS FOUNDATION AWARD. HER WORK IS IN THE COLLECTIONS OF FIDELITY, SIMMONS UNIVERSITY, NORTHEASTERN UNIVERSITY, THE CAMBRIDGE ARTS COUNCIL, AND THE FEDERAL RESERVE OF BOSTON. IN ADDITION TO HER STUDIO PRACTICE, SHE IS A WELLNESS COACH AND EDUCATOR, HAVING SERVED AS THE 2021-2022 ARTIST IN RESIDENCE AT SHADY HILL SCHOOL IN CAMBRIDGE, AS WELL AS TEACHING WORKSHOPS FOR THE NEW ART CENTER IN NEWTON AND SCREEN PRINTING FOR LESLEY UNIVERSITY. CAREW EARNED A BFA FROM MASSACHUSETTS COLLEGE OF ART AND DESIGN AND AN MFA FROM LESLEY UNIVERSITY'S COLLEGE OF ART + DESIGN. SHE RESIDES WITH HER SON IN CAMBRIDGE. VENETIA DALE IS AN ARTIST, MOTHER, AND EDUCATOR LIVING AND WORKING IN BOSTON. HER SCULPTURES - MADE OF CAST PEWTER, A MALLEABLE METAL COMMONLY FOUND IN HISTORICAL KITCHENWARE, AND FIBER ARTWORKS - PIECE TOGETHER FRAGMENTS OF MUNDANE OBJECTS INTO NEW ASSOCIATIONS, FROM FOOD LEFTOVER FROM HER CHILDREN'S MEALS TO UNFINISHED EMBROIDERY AND HAND-HOOKED RUGS SHE SOURCES ONLINE. DALE RECONTEXTUALIZES VISIBLE FORMS OF CARE, GROWTH, AND CHANGE TO EVOKE THE INTIMACY AND GENERATIVE POTENTIAL OF DOMESTIC LIFE - SHE IS INTERESTED IN THE MATERIAL HISTORIES OF EMBROIDERY AND PEWTER IN CONNECTION TO THE ANONYMOUS STEWARDS WHO KEEP THINGS CLEAN, FIXED, AND LOVED. DALE HAS PARTICIPATED IN GROUP EXHIBITIONS AT THE MUSEUM OF FINE ARTS, BOSTON (FORTHCOMING), THE NATIONAL MUSEUM OF WOMEN IN THE ARTS IN WASHINGTON, D.C., AND THE VILLA TERRACE MUSEUM AND RACINE ART MUSEUM IN WISCONSIN, AMONG OTHERS. HER WORK HAS BEEN SHOWN AT 92ND STREET Y TRIBECA GALLERY, PROOF GALLERY IN BOSTON, AND SOIL GALLERY IN SEATTLE. SHE WAS THE 2019 POLLY STARR THAYER VISITING ARTIST AT THE ISABELLA STEWART GARDNER MUSEUM IN BOSTON AND A RESIDENT ARTIST AT THE KOHLER FACTORY IN 2013 AND THE OREGON COLLEGE OF ART AND CRAFT IN 2010. DALE EXHIBITS NATIONALLY AND HER WORK IS INCLUDED IN THE PERMANENT COLLECTIONS OF THE MUSEUM OF FINE ARTS, BOSTON, THE METAL MUSEUM IN TENNESSEE, AND THE JOHN MICHAEL KOHLER ART CENTER IN WISCONSIN. YU-WEN WU IS A BOSTON-BASED INTERDISCIPLINARY ARTIST. WU'S SUBJECTIVITY AS AN IMMIGRANT IS CENTRAL TO HER ARTWORK, WHICH EXAMINES ISSUES OF DISPLACEMENT, ARRIVAL, AND ASSIMILATION, AND THE SHAPE OF IDENTITY IN A NEW COUNTRY. AT THE CROSSROADS OF ART, SCIENCE, POLITICS, AND SOCIAL ISSUES, HER PRACTICE INCLUDES DRAWING, SCULPTURE, SITE-SPECIFIC VIDEO INSTALLATIONS, COMMUNITY-ENGAGED PRACTICES, AND PUBLIC ART. WU RECENTLY EXHIBITED LANTERN STORIES AT CHIN PARK IN BOSTON'S CHINATOWN, A WIDELY ACCLAIMED COMMISSION BY THE GREENWAY CONSERVANCY FIRST INSTALLED IN 2020 AND REINSTALLED IN 2022; A SIMILAR PROJECT COMMISSIONED FOR SAN FRANCISCO CHINATOWN OPENED PERMANENTLY IN 2022. OTHER LARGE-SCALE COMMISSIONED WORKS INCLUDE THE POETRY OF REASON, A RECENT WALL SCULPTURE SPANNING TWO STORIES AT THE JOYCE CUMMINGS CENTER AT TUFTS UNIVERSITY, AND TERRAIN, A 38-FOOT-LONG SCULPTURAL DRAWING FOR THE CHAO CENTER AT HARVARD BUSINESS SCHOOL. WU'S RECENT EXHIBITIONS INCLUDE DISPLACED: CONTEMPORARY ARTISTS CONFRONT THE GLOBAL REFUGEE CRISIS AT SITE SANTA FE, NM, IN 2020; A SOLO EXHIBITION TITLED INTERNAL NAVIGATIONS AT PRAISE SHADOWS ART GALLERY IN BOSTON IN 2021; AND A PRESENTATION AT INDEPENDENT ART FAIR 2022 LISTED BY NEW YORK MAGAZINE CRITIC JERRY SALTZ AMONG "THE BEST NEW YORK ART SHOWS OF 2022." WU IS THE RECIPIENT OF THE 2019 INAUGURAL PRILLA SMITH BRACKETT AWARD AND THE 2021 MASS CULTURAL COUNCIL ARTIST FELLOWSHIP. HER WORK IS INCLUDED IN SEVERAL PUBLIC AND PRIVATE COLLECTIONS, INCLUDING THOSE OF THE HARVARD ART MUSEUMS, THE MIT LIST VISUAL ARTS CENTER, TUFTS UNIVERSITY ART GALLERIES, THE DAVIS MUSEUM AT WELLESLEY COLLEGE, AND THE WEISMAN ART MUSEUM IN MINNEAPOLIS. THE EXHIBITION AND PRIZE ARE GENEROUSLY ENDOWED BY JAMES AND AUDREY FOSTER. ORGANIZED BY ANNI A. PULLAGURA, ASSISTANT CURATOR. COLLECTION SPOTLIGHT: NAN GOLDIN AND JACK PIERSON SEPTEMBER 19, 2023 - AUGUST 4, 2024 THIRD FLOOR LOBBY NAN GOLDIN AND JACK PIERSON WERE PART OF THE "BOSTON SCHOOL" - A GROUP OF LOOSELY AFFILIATED ARTISTS WHO MET IN BOSTON IN THE LATE 1970S AND 80S AND FOCUSED MUCH OF THEIR WORK ON THE QUEER UNDERGROUND SCENE IN AND AROUND THE CITY. AT THE TIME, PHOTOGRAPHY WAS A POWERFUL FORM OF DOCUMENTATION IN AN ERA SHAPED BY THE AIDS PANDEMIC. TWO WORKS FROM THE ICA'S PERMANENT COLLECTION INSTALLED TOGETHER ON THE THIRD FLOOR POINT TO THE ARTISTS' SHARED INTEREST IN PERFORMANCE AND ITS EMOTIONAL CAPACITIES. GOLDIN ATTENDED SCHOOL OF THE MUSEUM OF FINE ARTS (1974-1978) AND HAS SPENT DECADES CAPTURING OVERLOOKED SUBJECTS AND THE INTIMACIES OF EVERYDAY LIFE. IN 1994, GOLDIN PUBLISHED TOKYO LOVE TOGETHER WITH JAPANESE PHOTOGRAPHER NOBUYOSHI ARAKI. AN ARTIST BOOK DOCUMENTING CONTEMPORARY ADOLESCENCE IN TOKYO, THE BOOK CELEBRATES YOUTHFUL ENERGY AND ROMANCE AS WELL AS THE SUBJECTS' FLUID SEXUALITY AND GENDER IDENTITIES DURING A PERIOD OF GOVERNMENT-IMPOSED CENSORSHIP. NOA DRESSING FOR THE VENUS SHOW AT SHOGUN CLUB, TOKYO IS A PORTRAIT OF TWO PERFORMERS PREPARING FOR THE STAGE AS ONE FASTENS THE OTHER'S COSTUME. THE NAME SHOGUN CLUB REFERENCES A QUEER HISTORY OF SHOGUNS, TOP MILITARY COMMANDERS IN FEUDAL JAPAN, WHO OFTEN BROUGHT BEAUTIFUL YOUNG MEN AS GEISHAS FOR ENTERTAINMENT DURING WARTIME. THE NECESSITY OF QUEER KINSHIP AND CARE IS FOREGROUNDED HERE AND ACROSS GOLDIN'S WORK. |
| FORM 990, PART III, LINE 4A | A GRADUATE OF THE MASSACHUSETTS COLLEGE OF ART IN 1984, PIERSON IS KNOWN FOR HIS PHOTOGRAPHS, SCULPTURES, AND TEXT-BASED ARTWORKS THAT OFTEN DRAW ON COMMERCIAL SIGNAGE AND POPULAR CULTURE TO EXPLORE NOSTALGIA, DESIRE, AND DISILLUSION. APPLAUSE IS A RE-CREATION OF THE SIGN USED IN TELEVISION STUDIOS THAT, WHEN LIT, DIRECTS AUDIENCES TO CLAP AT PRE-DETERMINED MOMENTS DURING TAPINGS OF A PROGRAM. A KIND OF INSTRUCTIONAL DEVICE, APPLAUSE IS A WORK OF IRONY - DRAWING ATTENTION TO THE GULF BETWEEN WHAT ONE SAYS AND MEANS. PIERSON'S SCULPTURE ENCOURAGES VIEWERS TO QUESTION OUR EMOTIONAL REACTIONS TO SIGNS AND SIGNALS. ORGANIZED BY TESSA BACHI HAAS, CURATORIAL ASSISTANT. FORECAST FORM: ART IN THE CARIBBEAN DIASPORA, 1990S - TODAY OCTOBER 5, 2023 - FEBRUARY 25, 2024 BRIDGITT AND BRUCE EVANS AND KAREN AND BRIAN CONWAY GALLERIES FORECAST FORM: ART IN THE CARIBBEAN DIASPORA, 1990S - TODAY GATHERS ARTWORKS BY 28 ARTISTS CONNECTED TO THE REGION, INCLUDING STANDOUT WORKS BY MARIA MAGDALENA CAMPOS-PONS, TERESITA FERNANDEZ, FELIX GONZALEZ-TORRES, DEBORAH JACK, ANA MENDIETA, SUCHITRA MATTAI, LORRAINE O'GRADY, AND EBONY G. PATTERSON. FULL OF NEW IDEAS, THIS FAR-REACHING AND EVOCATIVE EXHIBITION LOOKS AT THE COMPLEXITIES OF THE REGION WITH "RIGOR, BEAUTY, AND APLOMB" (ART IN AMERICA). THE EXHIBITION IS ANCHORED IN THE CONCEPT OF DIASPORA, THE DISPERSAL OF PEOPLE THROUGH MIGRATION BOTH FORCED AND VOLUNTARY. HERE, DIASPORA IS NOT A LONGING TO RETURN HOME BUT A WAY OF UNDERSTANDING THAT WE ARE ALWAYS IN MOVEMENT AND THAT OUR IDENTITIES ARE IN CONSTANT STATES OF TRANSFORMATION. WORKS ON VIEW EXPLORE HOW MUCH OF OUR PERSONAL AND COLLECTIVE HISTORIES WE CARRY IN OUR BODIES AND HOW ART-MAKING CAN REFLECT CROSS-CULTURAL EXCHANGES. THE PROFOUND SOCIAL AND POLITICAL TRANSFORMATIONS OF THE 1990S FORM THE CULTURAL BACKDROP OF THE EXHIBITION. THE EMERGENCE OF GLOBALIZATION AND MULTICULTURALISM AT THAT TIME LED TO DEBATES AROUND IDENTITY AND DIFFERENCE THAT INFLUENCED STEREOTYPICAL PERCEPTIONS OF THE CARIBBEAN AS AN EXOTIC TROPICAL PARADISE. CHALLENGING CONVENTIONAL IDEAS ABOUT THE REGION, WHICH IS CONSTITUTED BY MORE THAN 700 ISLANDS AND LANDMASSES, FORECAST FORM REVEALS NEW WAYS OF UNDERSTANDING THE CARIBBEAN AS A PLACE DEFINED NOT BY GEOGRAPHY, LANGUAGE, OR ETHNICITY, BUT BY CONSTANT EXCHANGE, DISPLACEMENT, AND MOVEMENT. ORGANIZED BY MUSEUM OF CONTEMPORARY ART CHICAGO. ORGANIZED BY CARLA ACEVEDO-YATES, MARILYN AND LARRY FIELDS CURATOR, WITH IRIS COLBURN, CURATORIAL ASSISTANT, ISABEL CASSO, FORMER SUSMAN CURATORIAL FELLOW, AND NOLAN JIMBO, SUSMAN CURATORIAL FELLOW, MUSEUM OF CONTEMPORARY ART CHICAGO. THE ICA/BOSTON PRESENTATION IS COORDINATED BY JEFFREY DE BLOIS, ASSOCIATE CURATOR AND PUBLICATIONS MANAGER. WU TSANG: OF WHALES FEBRUARY 15, 2024 - AUGUST 4, 2024 PAUL AND CATHERINE BUTTENWIESER AND FOTENE DEMOULAS GALLERIES WU TSANG (BORN 1982 IN WORCESTER, MASSACHUSETTS) IS A CROSS-DISCIPLINARY ARTIST WHO MAKES NARRATIVE AND DOCUMENTARY FILM, LIVE PERFORMANCE, AND VIDEO INSTALLATIONS.THE IMMERSIVE INSTALLATIONOF WHALES FORMS PART OF HER FILMIC TRILOGY INSPIRED BY HERMAN MELVILLE'S CLASSIC 1851 AMERICAN NOVEL MOBY DICK. OF WHALES OFFERS A POETIC MEDITATION ON THE PERSPECTIVE OF A SPERM WHALE, WHO PLUNGES TO THE DEPTHS OF THE OCEAN FOR AN HOUR AT A TIME, SURFACING OCCASIONALLY FOR A BREATH OF AIR. CREATED ON THE UNITY GAMING PLATFORM WITH XR (EXTENDED REALITY) TECHNOLOGIES, THE DYNAMICALLY GENERATED REAL-TIME VIDEO AND SOUND INSTALLATION IMMERSES VIEWERS IN A LUSH, DREAMY OCEANSCAPE FOR IMAGINATION, CONTEMPLATION, AND PROVOCATION. FIRST PRESENTED AT THE 59TH VENICE BIENNALE IN 2022, THE WORK FEATURES A MUSICAL SCORE COMPOSED BYASMA MAROOF AND DANIEL PINEDA, WITH TAPIWA SVOSVE, JALALU-KALVERT NELSON, MIAO ZHAO, AND AHYA SIMONE. THE SCORE BLENDS HORNS, SAXOPHONE, CLARINET, AND CONTRABASS, IN A MULTI-LAYERED SOUNDSCAPE THAT FILLS THE ENTIRE GALLERY SPACE. AT THE ICA, OF WHALES IS PRESENTED IN A GALLERY ADJACENT TO THE BOSTON HARBOR, CONNECTING AUDIENCES TO THE ICA'S WATERSIDE LOCATION AND REFERENCING NEW ENGLAND'S WHALING HISTORY. ORGANIZED BY RUTH ERICKSON, BARBARA LEE CHIEF CURATOR AND DIRECTOR OF CURATORIAL AFFAIRS, AND TESSA BACHI HAAS, CURATORIAL ASSISTANT. FIRELEI BAEZ APRIL 4, 2024 - SEPTEMBER 2, 2024 BRIDGITT AND BRUCE EVANS AND KAREN AND BRIAN CONWAY GALLERIES "MY WORKS ARE PROPOSITIONS, MEANT TO CREATE ALTERNATE PASTS AND POTENTIAL FUTURES, QUESTIONING HISTORY AND CULTURE IN ORDER TO PROVIDE A SPACE FOR REASSESSING THE PRESENT." FIRELEI BAEZ THIS IS THE FIRST NORTH AMERICAN SURVEY DEDICATED TO THE RICHLY LAYERED WORK OF FIRELEI BAEZ (B. 1981, DOMINICAN REPUBLIC). ONE OF THE MOST EXCITING PAINTERS OF HER GENERATION, BAEZ DELVES INTO THE HISTORICAL NARRATIVES OF THE ATLANTIC BASIN. OVER THE PAST FIFTEEN YEARS, SHE HAS MADE WORK THAT EXPLORES THE MULTILAYERED LEGACY OF COLONIAL HISTORIES AND THE AFRICAN DIASPORA IN THE CARIBBEAN AND BEYOND. SHE DRAWS ON THE DISCIPLINES OF ANTHROPOLOGY, GEOGRAPHY, FOLKLORE, FANTASY, SCIENCE FICTION, AND SOCIAL HISTORY TO UNSETTLE CATEGORIES OF RACE, GENDER, AND NATIONALITY IN HER PAINTINGS, DRAWINGS, AND INSTALLATIONS. HER EXUBERANT PAINTINGS FEATURE FINELY WROUGHT, COMPLEX, AND LAYERED USES OF PATTERN, DECORATION, AND SATURATED COLOR, OFTEN OVERLAID ON MAPS MADE DURING COLONIAL RULE IN THE AMERICAS. BAEZ'S INVESTMENT IN THE MEDIUM OF PAINTING AND ITS CAPACITY FOR STORYTELLING AND MYTHMAKING INFORMS ALL HER WORK, INCLUDING HER SCULPTURAL INSTALLATIONS, WHICH BRING THIS QUALITY INTO THREE DIMENSIONS. THIS EXHIBITION WILL OFFER AUDIENCES A TIMELY OPPORTUNITY TO GAIN A HOLISTIC UNDERSTANDING OF BAEZ'S COMPLEX AND PROFOUNDLY MOVING BODY OF WORK, CEMENTING HER AS ONE OF THE MOST IMPORTANT ARTISTS OF THE EARLY 21ST CENTURY. THE EXHIBITION IS ACCOMPANIED BY A RICHLY ILLUSTRATED CATALOGUE. THE EXHIBITION WILL TOUR THROUGHOUT NORTH AMERICA TO THE VANCOUVER ART GALLERY (NOV. 3, 2024 - MAR. 16, 2025) AND THE DES MOINES ART CENTER (JUN. 14, 2025 - SEP. 21, 2025). ORGANIZED BY EVA RESPINI, DEPUTY DIRECTOR AND DIRECTOR OF CURATORIAL PROGRAMS, VANCOUVER ART GALLERY, (FORMER BARBARA LEE CHIEF CURATOR, ICA/BOSTON), WITH TESSA BACHI HAAS, CURATORIAL ASSISTANT. HEW LOCKE: THE PROCESSION MAY 23, 2024 - SEPTEMBER 2, 2024 ICA WATERSHED A PROCESSION IS PART OF LIFE; PEOPLE GATHER AND MOVE TOGETHER TO CELEBRATE, WORSHIP, PROTEST, MOURN, ESCAPE, OR CALL FOR CHANGE. THESE EXPRESSIONS ARE ALL AT THE HEART OF THE PROCESSION, AN AMBITIOUS INSTALLATION FIRST COMMISSIONED BY TATE BRITAIN, UK, AND MAKING ITS NORTH AMERICAN DEBUT AT THE ICA WATERSHED. THROUGH HIS MULTIVALENT PRACTICE, HEW LOCKE OBE RA (BORN 1959 IN EDINBURGH, UNITED KINGDOM; LIVES AND WORKS IN LONDON) EXPLORES INDIVIDUAL AND COLLECTIVE RELATIONSHIPS TO POWER, CULTURAL MEMORY, AND MIGRATION. THE ARTIST SPENT HIS FORMATIVE YEARS IN THE THEN NEWLY INDEPENDENT COUNTRY OF GUYANA, A FORMER BRITISH COLONY, WHERE HE BECAME FASCINATED BY THE SYMBOLS THROUGH WHICH INDIVIDUALS AND GROUPS ASSERT THEIR IDENTITIES. HIS WORK HAS TOUCHED ON A WIDE ARRAY OF SUBJECTS, FROM BRITISH COLONIALISM AND CARIBBEAN CARNIVAL TO POLITICAL ICONOGRAPHIES AND PUBLIC MONUMENTS. HE INVESTIGATES THESE IDEAS THROUGH MATERIALS SUCH AS CARDBOARD, COSTUME JEWELRY, AND REPURPOSED EMBLEMS OF BRITISH IDENTITY, CREATING ELABORATE ARTWORKS WITH LAYERED AND EXPANSIVE MEANINGS THAT ENGAGE WITH THE HISTORIES AND CONTEMPORARY LEGACIES OF COLONIALISM AND EMPIRE. DRAWING UPON A SERIES OF MOTIFS AND CONCERNS THAT HAVE OCCUPIED THE ARTIST OVER DECADES, THE PROCESSION IS A COLORFUL GATHERING OF APPROXIMATELY 140 LIFE-SIZE SCULPTURES OF MASKED FIGURES OF ALL AGES AND ABILITIES ADORNED IN PRINTED FABRICS AND EMBROIDERIES - CARIBBEAN CARNIVAL QUEENS, DANCERS, REFUGEES, HORSEBACK-MOUNTED MILITARY FIGURES, FISHERS, LABORERS, PREGNANT WOMEN, CHILDREN, DRUMMERS, AND FLAG BEARERS. THE FORWARD-FACING FIGURES CARRY PROPS OR WEAR COSTUMES THAT REPRODUCE IMAGERY FROM HISTORICAL PAINTINGS, ADVERTISEMENTS, SHARE CERTIFICATES, MAPS, AND PHOTOGRAPHS, INCLUDING REPRODUCTIONS OF THE ARTIST'S OWN WORK. POETIC AND POWERFUL, THIS INSTALLATION DRAWS ON THE METAPHOR OF THE VOYAGE TO, IN THE ARTIST'S WORDS, "REFLECT ON THE CYCLES OF HISTORY, AND THE EBB AND FLOW OF CULTURES, PEOPLE, FINANCE, AND POWER." SEEN WITHIN THE HARBORSIDE SETTING OF THE ICA WATERSHED IN EAST BOSTON, THE PROCESSION IS A COMPELLING AND IMMERSIVE INVITATION FOR VISITORS TO CROSS HISTORICAL AND NARRATIVE TIME IN AN EXPERIENCE THAT DELIGHTS THE EYES AND EXPANDS THE MIND. HEW LOCKE: THE PROCESSION WAS ORIGINALLY COMMISSIONED BY TATE BRITAIN FOR ITS 2022 TATE BRITAIN COMMISSION. THE ICA WATERSHED PRESENTATION IS ORGANIZED BY RUTH ERICKSON, BARBARA LEE CHIEF CURATOR AND DIRECTOR OF CURATORIAL AFFAIRS, AND ANNI A. PULLAGURA, CONSULTING ASSISTANT CURATOR, IN COLLABORATION WITH TATE. |
| FORM 990, PART III, LINE 4B | ADULT & INTERPRETIVE PROGRAMS ALL LECTURES LISTED WERE OFFERED ON-SITE UNLESS OTHERWISE NOTED BELOW. ADULT PROGRAMS SERVED 3,007 PEOPLE THROUGH LECTURES, WORKSHOPS, GALLERY TALKS AND MORE. ADULT WORKSHOPS AND GALLERY TALKS * WATERSHED HEALING WORKSHOP: LATIN AMERICAN DANCE * WATERSHED HEALING WORKSHOP: QIGONG * DROP-IN DANCE SESSION: CARIBBEAN DANCE FORMS (2) * EDUCATOR OPEN HOUSE: SCHOOL YEAR PREVIEW * GALLERY TALK: TAMMY NGUYEN WITH JEFFREY DE BLOIS * GALLERY TALK: JEFFREY DE BLOIS ON FORECAST FORM: ART IN THE CARIBBEAN DIASPORA, 1990S - TODAY * LET'S DANCE: POPULAR CARRIBEAN DANCE FORMS (4) * GALLERY TALK: TESSA HAAS ON FIRELEI BAEZ * GALLERY TALK: PEDRO ALONZO AND ERIKA UMALI ON SHEPARD FAIREY * GALLERY TALK: ANNI PULLAGURA ON HEW LOCKE: THE PROCESSION * POP-UP TALKS (21) LECTURE PROGRAMS * THE ARTIST'S VOICE: CICELY CAREW, VENETIA DALE, AND YU-WEN WU * THE ARTIST'S VOICE: TERESITA FERNANDEZ * ICA FORUM: A CARIBBEAN BOSTON * THE ARTIST'S VOICE: WU TSANG * BOOK TALK: HELEN MOLESWORTH WITH JILL MEDVEDOW * THE ARTIST'S VOICE: FIRELEI BAEZ * AIGA + ICA PRESENT: BRIAN COLLINS FAMILY PROGRAMS OVER THE PAST FISCAL YEAR, FAMILY PROGRAMS WELCOME 9,800 VISITORS FOR ARTMAKING IN THE ART LAB. FAMILY PROGRAMS ALSO DISTRIBUTED 10,800 GALLERY GAMES RESOURCE CARDS TO VISITORS OVER THE COURSE OF THE FISCAL YEAR WHILE VISITOR ASSISTANTS ENGAGED 498 PEOPLE WITH BOOKS AND LOOKS. PLAY DATES * SELF-CARE WITH HAUS OF GLITTER * SELF-WORTH WITH URBANITY DANCE * CRAFTING A NARRATIVE WITH RUBIN BROTHERS AND JO HAM * SPOOKY SHADOWS WITH LILY XIE * NEW BEGINNINGS WITH PRETZEL KIDS YOGA * CARIBBEAN CELEBRATION WITH BRANCHES STEEL ORCHESTRA * LET'S TAKE A JOURNEY * WORDPLAY WITH URBANITY DANCE * WORLD BUILDING * PARADE + PARTY WITH 126 ARTMAKING PLAY DATES (VIRTUAL) * FAMILY FILMS WITH BOSTON INTERNATIONAL KIDS FILM FESTIVAL FAMILY WORKSHOPS AND PROGRAMS * BOOKS AND LOOKS (13) * WEEKEND AND MONDAY HOLIDAY DROP-IN ART MAKING (100) * DECEMBER SCHOOL VACATION WEEK: PAINTING OFF THE PAGE * FEBRUARY SCHOOL VACATION WEEK: DESTINY DOORWAYS BY MITHSUCA BERRY * APRIL SCHOOL VACATION WEEK: WHAT'S YOUR STORY? ZINE-MAKING WITH NON-ISSUE STUDIO SCHOOL PROGRAMS IN FISCAL YEAR 2024, 75 CLASSROOM ART KITS CONNECTED TO THE SPRING 2024 FIRELEI BAEZ EXHIBITION WERE DISTRIBUTED, INCLUDING TO THE FOLLOWING BOSTON PUBLIC SCHOOLS: * BOSTON ADULT TECHNICAL ACADEMY * BOSTON INTERNATIONAL HIGH SCHOOL & NEWCOMERS ACADEMY * CONDON K-8 SCHOOL * CURTIS GUILD ELEMENTARY * DEARBORN STEM ACADEMY * EAST BOSTON HIGH SCHOOL * ENGLISH HIGH SCHOOL * FENWAY HIGH SCHOOL * JAMES HENNIGAN K-8 SCHOOL * JOHN WINTHROP ELEMENTARY * LILLA G. FREDERICK PILOT MIDDLE SCHOOL * MARIO UMANA ACADEMY * MARGARITA MUNIZ ACADEMY * MATTAHUNT ELEMENTARY SCHOOL * MICHAEL J. PERKINS ELEMENTARY * NEW MISSION HIGH SCHOOL * O'BRYANT SCHOOL OF MATH AND SCIENCE * PATRICK J. KENNEDY ELEMENTARY SCHOOL * RAFAEL HERNNDEZ K-8 SCHOOL * SAMUEL ADAMS SCHOOL * SARAH GREENWOOD ELEMENTARY * TECHBOSTON ACADEMY * WINSHIP ELEMENTARY SCHOOL WALL TALK SCHOOL PARTNERSHIP PROGRAM PARTNERS * BOSTON COMMUNITY LEADERSHIP ACADEMY - MCCORMACK * CHARLESTOWN HIGH SCHOOL * DEARBORN STEM ACADEMY * DONALD MCKAY K-8 SCHOOL * EXCEL HIGH SCHOOL * MEL KING SOUTH END ACADEMY TEACHER ADVISORY GROUP REPRESENTATIVES * BEAVER COUNTRY DAY SCHOOL * BROOKLINE HIGH SCHOOL * CONCORD-CARLISLE HIGH SCHOOL * ENGLISH HIGH SCHOOL * INLY SCHOOL * O'BRYANT SCHOOL OF MATH & SCIENCE * SAMUEL ADAMS ELEMENTARY SCHOOL TOUR AND GROUP VISIT PROGRAMS THE TOURS AND GROUP VISIT PROGRAMS OFFER GUIDED AND SELF-GUIDED VISITS FOR ALL AGE GROUPS. IN THE K-12 AGE GROUP ALONE, 4,955 PEOPLE WERE SERVED THROUGH 246 GROUP VISITS. A TOTAL OF 4,135 COLLEGE AND UNIVERSITY, ADULT AND SENIOR VISITORS ATTENDED 263 SELF-GUIDED VISITS, GUIDED VISITS, AND PUBLIC TOURS IN FISCAL YEAR 2024. TEEN PROGRAMS TEEN PROGRAMS SERVED A TOTAL OF 3,661 PEOPLE, 3,159 OF WHICH WERE TEENS, IN FISCAL YEAR 2024. THIS INCLUDES PEOPLE WHO ATTENDED PROGRAMS OR EVENTS IN THE TEEN GALLERIES LOCATED IN SEAPORT STUDIO. AN ADDITIONAL 366 PEOPLE VISITED THESE GALLERIES SIMPLY TO VIEW EXHIBITIONS OF TEEN ART. ALL PROGRAMS AND EVENTS ARE LISTED BELOW. EDUCATIONAL RESOURCES AND ARTWORK CREATED BY PARTICIPANTS IN ICA TEEN PROGRAMS WERE ALSO ACCESSIBLE VIA THE ICATEENS.ORG WEBSITE AND SOCIAL MEDIA CHANNELS. ARTIST ENCOUNTERS & INTERVIEWS * ARTIST INTERVIEW: IGSHAAN ADAMS * ARTIST INTERVIEW: HEW LOCKE EXTENDED TEEN PROGRAMS * FAST FORWARD * MUSIC PRODUCTION: AMP * PHOTOGRAPHY COLLECTIVE * PHOTOGRAPHY: SPECIAL FOCUS * TEEN ARTS COUNCIL (SUMMER 2023; SCHOOL YEAR 2023-2024) * TEEN DIGITAL COOPERATIVE (SUMMER 2023) * TEEN EXHIBITIONS PROGRAM (SUMMER 2023; SCHOOL YEAR 2023-2024) IN SUMMER 2023, STUDENTS FROM THE FOLLOWING SCHOOLS WERE REPRESENTED IN THE TEEN ARTS COUNCIL: * BOSTON ARTS ACADEMY * BOSTON DAY AND EVENING * BOSTON INTERNATIONAL NEWCOMERS ACADEMY * BOSTON LATIN ACADEMY * BROOKLINE HIGH SCHOOL * DEARBORN STEM ACADEMY * JOSIAH QUINCY UPPER SCHOOL * ROXBURY LATIN SCHOOL * SOMERVILLE HIGH SCHOOL IN SUMMER 2023, STUDENTS FROM THE FOLLOWING SCHOOLS WERE REPRESENTED IN TEEN EXHIBITIONS PROGRAM: * ARLINGTON HIGH SCHOOL * BOSTON ARTS ACADEMY * BOSTON LATIN ACADEMY * BOSTON LATIN SCHOOL * INTERNATIONAL SCHOOL OF BOSTON * MILTON HIGH SCHOOL * PIONEER SCHOOL OF SCIENCE * SNOWDEN HIGH SCHOOL * SOMERVILLE HIGH SCHOOL IN SCHOOL YEAR 2023-2024, STUDENTS FROM THE FOLLOWING SCHOOLS WERE REPRESENTED IN THE TEEN ARTS COUNCIL: * BOSTON ARTS ACADEMY * BOSTON LATIN ACADEMY * BOSTON LATIN SCHOOL * BOSTON UNIVERSITY ACADEMY * BROOKLINE HIGH SCHOOL * DEARBORN STEM ACADEMY * EXCEL ACADEMY CHARTER HIGH SCHOOL * JEREMIAH E. BURKE HIGH SCHOOL * JOSIAH QUINCY UPPER SCHOOL IN SCHOOL YEAR 2023-2024, STUDENTS FROM THE FOLLOWING SCHOOLS WERE REPRESENTED IN THE TEEN EXHIBITION PROGRAM: * BOSTON ARTS ACADEMY * BOSTON LATIN ACADEMY * BOSTON LATIN SCHOOL * CRISTO REY BOSTON HIGH SCHOOL * EXCEL ACADEMY GREENWAY * FENWAY HIGH SCHOOL * INTERNATIONAL SCHOOL OF BOSTON * O'BRYANT SCHOOL OF MATH AND SCIENCE * MADISON PARK TECHNICAL VOCATIONAL HIGH SCHOOL * SNOWDEN HIGH SCHOOL BOSTON PUBLIC SCHOOLS ARTS CREDIT PROGRAM PARTNER SCHOOLS * 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 * GREATER EGLESTON HIGH SCHOOL * NEW MISSION HIGH SCHOOL * O'BRYANT SCHOOL OF MATH AND SCIENCE * SNOWDEN HIGH SCHOOL TEEN NIGHTS * SUMMER TEEN NIGHT: BOLD AND BOLDER * FALL TEEN NIGHT: NIGHT OF THE MASQUERADERS * SPRING TEEN NIGHT: NEW WAVE TEEN NEW MEDIA WORKSHOPS * UMASS BOSTON URBAN SCHOLAR PROGRAM MUSIC PRODUCTION WORKSHOPS * GATHERING, LISTENING, AND PHOTOGRAPHING STORYTELLERS WITH PHOTOGRAPHY COLLECTIVE OTHER WORKSHOPS * ANNUAL YOUTH MENTAL HEALTH FORUM: FINDING PEACE WITHIN * BUILDING COMMUNITY THROUGH CREATIVE ICEBREAKERS AT EAST BOSTON BRANCH LIBRARY, GROVE HALL BRANCH * LIBRARY, AND TEEN CENTRAL (CENTRAL LIBRARY) * EXPLORING CONNECTIONS: GROUP EXHIBITION AT HYDE PARK BRANCH LIBRARY, MATTAPAN BRANCH LIBRARY, AND ROXBURY BRANCH LIBRARY * PHOTOGRAPHY COLLECTIVE EXCHANGE WITH IBA (INQUILINOS BORICUAS EN ACCIN) BOSTON * START STRONG INITIATIVE OF CHILD & ADOLESCENT HEALTH DIVISION FROM BOSTON PUBLIC HEALTH COMMISSION WORKSHOP OTHER EVENTS * THE CURRENT: HOME IS WHERE THE HEART IS * FENWAY PROJECT WEEK * SPRING SHOWCASE * TEEN GALLERY ACTIVATION: FROM THE GROUND UP & AS YOU ARE * TEEN GALLERY ACTIVATION: POP UP THRIFT SHOP * TEEN GALLERY ACTIVATION: POTTING AND FORAGING * TEEN GALLERY ACTIVATION: TEEN FASHION NIGHT OUT * ULTRAFUSION: ALL TEENS ICA GATHERING * WALLTALK READING JAM COMMUNITY PARTNERSHIPS THE ICA COLLABORATED WITH NUMEROUS ORGANIZATIONS THROUGHOUT FISCAL YEAR 2024. BELOW IS A LIST OF SELECT PARTNER ORGANIZATIONS COMMUNITY PARTNER ORGANIZATIONS (SELECT LIST) * AIGA BOSTON * BIKFF (FILMMAKERS COLLECTIVE) * BOSTON PUBLIC LIBRARIES * BOSTON PUBLIC SCHOOLS * BRANCHES STEEL ORCHESTRA * EAST BOSTON HEALING CENTER PROJECT * HAUS OF GLITTER * MASACOTE ENTERTAINMENT * NORTHEASTERN UNIVERSITY * PHAIDON * PRETZEL KIDS YOGA * RUBIN BROTHERS AND JO HAM * URBANITY DANCE * VERONICA ROBLES CULTURAL CENTER * 126 ARTMAKING |
| 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 FINANCIAL OFFICER, CHIEF CURATOR, DEPUTY DIRECTOR, DIRECTOR OF DEVELOPMENT, DIRECTOR OF EDUCATION, DIRECTOR OF PERFORMING AND MEDIA ARTS, AND SENIOR DIRECTOR FOR CULTURE AND EQUITY) 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 CANDID AND THE MASSACHUSETTS ATTORNEY GENERAL'S WEBSITE. |
| FORM 990, PART XI, LINE 9: | GAIN ON SPLIT INTEREST AGREEMENT 21,863. LOSSES FROM UNCONDITIONAL PROMISES TO GIVE WRITE OFFS AND ALLOWANCES -22,071. |
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