THE MAGAZINE OF THEnew INSTITUTE OF CONTEMPORARY ART/BOSTON

WINTER 2015–16 “Extraordinary.” IN THIS ISSUE —New York Times 5 6 2 Meet Ruth Erickson The ICA Assistant Curator talks The Birthday “Genius abounds.” bringing , Mark Dion, Party —Boston Globe black mountain and guilty pleasures. Artists Ramin Haerizadeh, Rokni college to life Haerizadeh, and Hesam Rahmanian Jill Medvedow, Ellen Matilda Poss bring their madcap way of life and Director, on opening avenues. art to the ICA. Plus: 7 ways we’re “learning by doing” “The biggest show the ICA has during Leap Before You Look. ever mounted… You should visit.” —New Yorker

“A midcentury cultural Camelot.” —Wall Street Journal

Diane Simpson Now on the new The Chicago-based artist creates icaboston.org highly stylized sculptures inspired MEMBER Spotlight + • Life at Black Mountain by items of clothing from Amish Annual Donors College slideshow bonnets to samurai armor to George Fifield reflects on 25 years of ICA • Tour of Black Mountain everyday apparel. + COMING membership. Mentioned: Krzysztof Wodiczko, College–related attractions SOON: Walid Raad. Bill Viola, Chris Burden, Tara Donovan, and near Boston the days when the Back Bay was cheap. 8 • Exhibitions through 2017 10 • Holiday gift inspiration!

PERFORMANCE + PROGRAMS WINTER 2015–16 can we Program Guide be friends? Concerts, dance, film, talks, family programs, Like us on Facebook: facebook.com/ICA.Boston member events, and more this winter. Follow us on Twitter: @ICAinBoston Follow us on Instagram: @ICABoston

Cover: Silas Riener in Merce Cunningham’s Changeling at the Institute of Contemporary Art/Boston. Major support is provided by The Andrew W. Mellon Foundation and the Henry Luce Foundation. Photo by Liza Voll. Additional support is generously provided by Chuck and Kate Brizius, Robert and Jane Burke, Katie and Opposite: Buckminster Fuller at . Courtesy of Western Regional Archives, State Paul Buttenwieser, the Robert E. Davoli and Eileen L. McDonagh Charitable Foundation, Bridgitt and Archives of North Carolina, Asheville, NC. Bruce Evans, James and Audrey Foster, Erica Gervais and Ted Pappendick, Vivien and Alan Hassenfeld and the Hassenfeld Family Foundation, Curtis R. Kemeny, Kathleen McDonough and Edward Berman, Ellen Poss, David and Leslie Puth, Cynthia and John Reed, Charles and Francene Rodgers, and Leap Before You Look: Black Mountain Steinway & Sons + M. Steinert & Sons. College 1933–1957 has been made This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. possible in part by a major grant from the National Endowment for the Humanities: Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Celebrating 50 Years of Excellence Endowment for the Humanities. Bringing Black Mountain College to Life 7 ways we’re learning by doing this season By Jill Medvedow, Ellen Matilda Poss Director The ICA’s exhibition schedule inspires These aims—to open avenues, to facilitate critical thinking, and one of the most exciting aspects to foster a “personal sense of looking,” as Robert Rauschenberg of Leap Before You Look: Black Mountain College 1933–1957 everything from family programs to said—are central to our mission at the ICA. Black Mountain (on view through January 24, 2016) is its focus on pedagogy— College’s pedagogy resonates loudly with our ICA community— social events to what’s available in the teaching and learning—and the importance of the arts in a liberal artists, students, curators, educators, and audiences—as we education. Drawing on the progressive ideals of the school’s store. Here, get an overview of how strive to encourage visitors of all ages to look closely, learn founder, John Rice, and the educational reformer John Dewey, deeply, make informed choices about art-making and apprecia- the ideas, ideals, and artworks of Black at Black Mountain College students and faculty designed and tion, and carry those skills back to their own lives. As Louis constructed the school’s buildings, shared governance, and Mountain College are permeating all Menand writes in The New Yorker, “The goal was not to produce collaborated in and out of the classroom. Students were tasked painters, poets, and architects. It was to produce citizens.” to find and justify their own ideas and solutions, to think critically, of our education programs this season, and to “learn to see,” as famously said. As we celebrate the Black Mountain community, we continue from Teen Nights to performances to to strengthen and deepen our own, and I am thrilled to welcome A typical day at Black Mountain might find a student weaving two new members to the Board of Trustees. Geoff Cottrill, a community outreach. with Anni Albers in the morning, pouring cement in the afternoon, street-art and music lover who’s thrilled ICA Teens by facilitating and participating in a dance or poetry reading in the evening. the ICA’s long-standing partnership with Converse, where he Full-time faculty, summer institute artists, and students worked is VP/General Manager of Brand and Segments and Chief and played together in the safe space of the rural North Carolina Marketing Officer, comes aboard. Jim Pallotta, head of private ENCOUNTERING CUNNINGHAM: “We Do the Work” campus. Assistant Curator Ruth Erickson insightfully connects investment company Raptor Group Holdings; co-owner and the non-hierarchy among the arts at the institution to the Former Merce Cunningham Dance Company member Silas Executive Board Member of the Boston Celtics; Board Member “flourishing of interdisciplinary work” there. Riener has been not only performing work by the legendary for the Rock and Roll Hall of Fame, Berklee College of Music, choreographer as part of Leap Before You Look but also Arriving at Black Mountain College fresh from the closure of Children’s Hospital Trust, and a member of the MIT Media Labs teaching Cunningham’s renowned technique. “When you walk the Bauhaus under Nazi pressure, German émigré Josef Albers Advisory Council; and a trustee from 2005 to 2012, returns to into a room of people who have either never heard of Merce (limited English notwithstanding) revolutionized how art was the fold. We also welcome two avid participants in ICA events, Cunningham or never been exposed to his work before,” Riener taught in the United States. Hazel Larsen Archer, whose trips, and programs to the Board of Overseers: Ed Berman, says, “the best way—and Merce would probably say the only beautiful photographs are one of the great discoveries for me Chairman and CEO of Atlantic Vision, and Robin Hauck, who way—is to do it. So we do the work. We start with class.” in the exhibition and who was deeply influenced by Albers, said as the Director of Group Sales & Marketing and Go Ahead See the program guide for upcoming performances. he “had this tremendous capacity to teach. And I don’t mean to Tours at Education First has been active in establishing a instruct or to pass on. But to sort of open avenues.” high-level relationship with the global organization. On staff, Curator Dan Byers has a new role at the ICA: Mannion Family Senior Curator, endowed by longtime supporters Tristin A show not only every art-school and Martin Mannion and family. Family Programs and Art Lab student in this region but every Coordinator Kathleen Lomatoski was honored with the 2015 RETHINKING COLOR: The Bank of America Art Lab Community Art Educator award from the Massachusetts Art Like his legendary Bauhaus Vorkurs (Preliminary Course), artist, every student, every Education Association, nominated by a former volunteer and Josef Albers’s teaching at BMC followed a three-part model: teacher, and every former student parent impressed with her work at monthly Play Dates. And an color, design, and matière or material studies. Albers “felt that anonymous group of donors has generously endowed a position color was ‘the most relative medium in art,’” curator Helen will profit from seeing. I imagine that at the ICA, the Bill T. Jones Director of Performing and Media Molesworth writes in the exhibition catalogue, “and his accounts for everyone.” Arts. The position is named in honor of American artistic director, systematic explorations of color, which involved testing one choreographer, and dancer Bill T. Jones, whose work has been color against another and subtly shifting a color’s context, —Sebastian Smee, The Boston Globe performed at the ICA four times, most recently in 2014 with the elucidate how perception is radically contingent.” Red looks Bill T. Jones/Arnie Zane Dance Company in Story/Time. “His different when next to orange than when next to green–both passion for dance, his commitment to the role art must play in a effect and meaning change dramatically through context. GOING IN-DEPTH: ICA Forums civil society, and his compassion for others have and will forever serve as guideposts for performing and media arts programming The ICA is looking at Albers’s color theory, and adding another ICA Forums are a new series of discussions on social, at the ICA,” says David Henry, who currently holds the new title. layer of shifting implications as well. In partnership with the cultural, and political topics raised by work on view at the Massachusetts College of Art and Design, our Bank of ICA. Drawing on the educational and scholarly communities From students performing Merce Cunningham dances in our America Art Lab features an activity that allows participants of the Boston area, these talks engage local art historians, galleries to audiences attempting to emulate Josef Albers’s to interact with Josef Albers’s foundational ideas about color professors, curators, artists, and other specialists to share influential color theory exercises, to the Teen Arts Council theory as well as the social, political, and historical implications their expertise while facilitating in-depth conversations working with artist Sandrine Schaefer to create their own of color. Available weekend days from 2 to 4. about art. Upcoming forums will explore education and Happening, there’s never been a better time to learn by doing Elaine de Kooning (center), Buckminster Fuller, Ray Johnson, Albert Lanier, and others with the Supine sexuality at Black Mountain College. Dome, 1948. Courtesy of Western Regional Archives, State Archives of North Carolina, Asheville, NC.; and build community at the ICA. Similar activities, suitable for all ages, will be offered during Opposite: Boston Conservatory students rehearse Merce Cunningham choreography at the ICA/Boston. Photo by Liza Voll. December vacation week. See PROGRAM GUIDE for details. See PROGRAM GUIDE or icaboston.org for more details.

2 3 GETTING MULTIDISCIPLINARY: Teen Happening MEET RUTH ERICKSON Proudest accomplishment: PhD in art history. One of the most legendary single occurrences during Black Little-known skill/passion: I can mend most things with Mountain College’s 24-year run was in August 1952, when a sewing machine. John Cage convinced Charles Olson, M.C. Richards, Robert from happening upon 23-year-old Robert Guilty pleasure: A second breakfast—preferably something Rauschenberg, David Tudor, Merce Cunningham, and Nicholas Rauschenberg’s application to Black Mountain College in sweet—around 9:30 AM. Cernovich to take part in a multidisciplinary event that has the State Archives of North Carolina while researching Leap On your to-do list for living in Boston: My husband and I since been dubbed both “Theater Piece No. 1” and the first Before You Look to bringing the feel of the American South have a hilarious obsession with wanting to take a duck tour. Happening. The ICA’s Teen Arts Council (TAC) is putting to the galleries in last year’s When the Stars Begin to Fall to There’s a revolving list of new restaurants that we’d like to try, together an interpretation of this historic event this December, commissioning a new work by musician Andrew Bird for and I am intrigued to visit other harbor islands after a wonder- open to youth from several local teen organizations, including Sonic Arboretum, Ruth Erickson has covered a lot of ground ful trip to Spectacle Island this past summer. the Hyde Square Task Force and Isabella Stewart Gardner in her first year as Assistant Curator. Museum Teens. The event will include a multidisciplinary Book on your nightstand right now: It’s a stack: Corita Kent For this season, she’s also worked closely with Boston artist Teen Happening by our TAC, a Slam Team performance, a and the Language of Pop (the catalogue for Susan Dackerman’s Ethan Murrow in creating his monumental drawing Seastead, Performance Workshop led by the TAC and Boston perfor- great exhibition that opened at the Harvard Art Museums CONNECTING THROUGH ART: WallTalk currently on view, and helped reimagine Black Mountain mance artist Sandrine Schaefer (recently seen in our James this fall), How to Get Your Toddler to Sleep, and a backlog of College’s historic first Happening,Theater Piece No. 1, as a and Audrey Foster Prize exhibition), and teen-led tours of A multidisciplinary learning program for 7th–12th graders, New Yorkers. series of readings, performances, and other actions by local Leap Before You Look: Black Mountain College 1933–1957. WallTalk encourages close observation, open discussion, and artists throughout the museum (see Program Guide). In Digital or analog: It’s complicated: iPhone, though I still connection to contemporary art and culture through writing, December, she’ll bring a madcap installation titled The Birthday keep a datebook; laptop to write, but I edit on paper; podcast visual art, and spoken word. Over the course of the school year, Party by the Dubai-based, Iranian artists Rokni Haerizadeh, junkie who loves listening to vinyl; frozen burritos for weekday students from ten Boston schools make several visits to the ICA Ramin Haerizadeh, and Hesam Rahmanian to the ICA. And lunch and slow roasts on Sunday. In the end, I’d choose to observe, question, interpret, and respond creatively to the art then? Ruth rests. But only a little. Up next, among other things, analog, I guess. I’m an art historian after all. on view. At the end of the program, students’ exhibition-inspired At school, there are “rights” is a major survey of artist Mark Dion, opening in 2017. If I weren’t a curator I’d be: An art history professor. writing and art are published in book form; a final event, the and “wrongs” to the questions or WallTalk Reading Jam, allows students to share spoken word Birthplace: Albuquerque, NM, where my Yankee father challenges the teachers present. work with their peers. The program on the whole is intended was finishing his PhD in English. to improve writing, language, critical thinking, public speaking Languages spoken: English and French. The ICA doesn’t know the rights and and presentation skills. Most powerful early memory of an experience with art wrongs, and they encourage us not In conjunction with Leap Before You Look, students will discuss (or visiting a museum): While not that early, I often think to know either.” crossover and influence in works by Josef and Anni Albers, about my encounter with Mark Dion’s Library for the Birds of Ruth Asawa, Susan Weil, and Robert Rauschenberg, as well Massachusetts. It was 2005, and I was traveling from Vermont — Nick Shea, Teen Arts Council member as creatively respond to Weil’s Secrets. to New York and stopped at Mass MoCA to see the exhibition Becoming Animal. In the center of a cavernous room was an almost 20-foot cage with dozens of finches and an enormous REACHING OUT: Boston Children’s Hospital Frankenstein-like tree built of branches and piles of ornithol- ogy books. The work stages this great meeting between the Our commitment to providing Boston’s youth a quality arts animals and the apparatuses we use to study and understand education extends to some who can’t make it onsite. Once them. Binoculars and nets hang from the tree, and in pictures a month, ICA staff offer art activities to kids age 8 to 18 in and thick tomes, naturalists attempt to describe the birds who the Psychiatry Inpatient Service at Boston Children’s Hospital. perch blithely nearby. The work introduced me to a central This season, the ICA will bring the beauty and wonder of topic of Dion’s work: the culture of nature. Leap Before You Look to them with art-making activities Artist or work of art that especially speaks to you: that introduce Buckminster Fuller’s interest in merging Robert Rauschenberg’s Bed (1955). It’s this disarming form and function to solve complex issues. combination of a tucked-in quilt and pillow—Rauschenberg’s own, we think—splashed with colorful paint. I love how the Photo above by Allana Taranto. work so effortlessly merges the everyday with midcentury The ICA’s Teen Arts Council and Teen Nights are generously sponsored by Blue Cross Blue Shield of abstraction, how it evokes the residue of a body, and how Massachusetts and MFS Investment Management. WallTalk is supported in part by an award from the Nathaniel Saltonstall Arts Fund. its appeals to a sense of touch. The John Hancock Teen Education Program is made possible by significant support from John Hancock. MAPPING BMC: Crossroads and Cosmopolitanism Teen Programs are made possible in part by the Institute of Museum and Library Services, Award Number MA-10-14-0235-14. at Black Mountain College Additional support is provided by the Cabot Family Charitable Trust; The Robert Lehman Foundation; the Thomas Anthony Pappas Charitable Foundation, Inc.; the Rowland Foundation, Inc.; the William E. Created in conjunction with the opening of Leap Before You Schrafft and Bertha E. Schrafft Charitable Trust; the Surdna Foundation; and the Tiny Tiger Foundation. Look, this interactive digital resource tells the stories of several Black Mountain College artists and thinkers as they move across borders, engage in new pursuits, and cross paths with the rural location of Black Mountain College. Access it through the Poss Family Mediatheque or mappingbmc.org.

Ruth Erickson in Ethan Murrow’s studio. 4 Photo by Liza Voll.5 since 2009, brothers Ramin and Rokni Haerizadeh Ramin Haerizadeh, Rokni Haerizadeh, and their childhood friend Hesam Rahmanian have formed an extraordinary living and working space together in a house and Hesam Rahmanian: they share in Dubai. Inside an unassuming tan villa on a quiet residential street, the interior is plastered with color and The Birthday Party pattern, the spaces overflowing with paintings, sculptures, Dec 16, 2015–Mar 27, 2016 videos, drawings, and assemblages of the trio’s own making or that they’ve collected from others. Improvisational, accumu- Paul and Catherine Buttenwieser Gallery lative, democratic, and ever-changing, the house is subversive, surprising—and totally consuming. Each artist has his own studio, and they rise and begin their individual and collaborative work each day before sunrise, concluding many days with an evening film screening in their living room. For their first U.S. museum exhibition, the ICA has invited the three artists to transport the feel, frenzy, and ephemera of their shared space and practice to Boston. A pastiche of pattern, painting, and performance, the exhibition revels in the artists’ distinctive aesthetic and explores their critical engagement with globalized contemporary culture. The artists will spend a week constructing their installation, which began as a performance they staged in a vacant Dubai gallery earlier this year. Based on Nobel Prize winner Harold Pinter’s play The Birthday Party, which centers around a party for a man who does not know it is his birthday, the Dubai performance included the artists shuffling around in long prayer robes that covered their eyes, spilling paint across a floor they had installed, unwrapping presents and adding their contents to accumulative sculptures. At the ICA, the artists will install the floor, sculptures, and video documentation of the action, in addition to a selection of paintings, drawings, a 2014 exhibition in Dubai “a spectacular visual orgy.” Painting, and video works. They will also integrate works by other artists performance, pattern, and pastiche all serve the artists’ into the installation; drawing from their personal collection and breakdown of various societal norms, satirical approach to the ICA’s permanent collection, they will present works by more contemporary politics, and critical engagement with globalized than a dozen artists, including Louise Bourgeois, Hassan contemporary culture—and are delivered with a singular Sharif, Bahman Mohassess, and Ree Morton, among others. collective sensibility and wit. “Satire, gender-bending, and exuberantly mixed mediums are Born in Iran, Ramin and Rokni Haerizadeh have lived in Dubai among the feats of this art extravaganza, an exhibition that since 2009, after the Iranian government raided the home of never stops giving,” wrote the New York Times of a gallery one of their collectors while they were abroad in Paris. Fearing exhibition by the artists earlier this year, while Artforum called imprisonment, they have never returned to Iran. Their collabora- tive projects with Hesam Rahmanian have been presented at ARTISTS’ CHECKLIST the Sharjah Biennial 10, Isabelle Van Eynde Gallery in Dubai, The three artists integrate a wide array of found, pur- the Carnegie International, Kunsthalle Zürich, Callicoon Fine chased, and modified materials into their work, combin- Arts in New York, and Brisbane Festival. In 2014, the three ing the everyday with the offbeat in sincere and probing artists participated in the Robert Rauschenberg Foundation’s assemblages. Some of the materials currently in transit residency in Captiva, Florida. from Dubai to Boston as part of their upcoming show are: Organized for the ICA by Ruth Erickson, Assistant Curator, with Jeffrey ✓✓Campbell’s Soup ✓✓Artificial baguette DeBlois, Curatorial Assistant. can candle ✓✓Artificial lettuce Support for Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian: ✓ Two sets of bird The Birthday Party is generously provided by Lori and Dennis Baldwin. ✓ ✓ Two papier-mâché dresses ✓ All images: Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian, pigs (Tooth Pig Untitled, 2015, performance still. Courtesy of the artists. © 2015 Ramin Haerizadeh, ✓✓Two gardening forks and Pig Punk) Rokni Haerizadeh, and Hesam Rahmanian. ✓✓Mermaid ✓✓E.T. finger DEC 15 | VIP Opening ✓✓Three Uglydolls ✓✓Aluminum and duct tape rabbit ✓✓One crutch See PROGRAM GUIDE for details 6 7 COMING SOON Diane Simpson WALID RAAD Dec 16, 2015–Mar 27, 2016 Feb 24–May 30, 2016 Fotene Demoulas Gallery West Gallery

Curator Dan Byers asked Simpson about her work over the past 35 years, artist Diane Simpson has produced a body of sculptural work unique in its construc- and process: tion, process, and subject matter. Inspired by items of clothing Dan Byers: So, you set yourself a problem to solve, say, ranging from historical sources such as samurai armor and a problem of translation. I think about a bib or apron in Amish bonnets to common domestic accessories like aprons relation to your bib and apron works. How do they equal and bibs, the works begin as highly detailed drawings often each other? Is it a process of abstracting? Or of making informed by collected images. Using a rigorous approach to something familiar unfamiliar? making, Simpson then translates the drawings into striking, Diane Simpson: Yes, it’s an abstracting process. I simplify stylized sculptures that mix elements of clothing with and keep simplifying. But it’s also additive, in the sense that construction techniques and elements gleaned from at some point or other, new forms enter into the drawing vernacular architecture, store window display, and from that collection I think we all have of subconsciously interior design. Fifteen of these works, stored forms. The drawing begins as a created between 1980 and 2014, response to the original source image and make up this first solo museum can then morph into a form that often is far exhibition for the under-recognized removed. Then the construction process, the Chicago-based artist. scale, and the materials chosen can remove For Simpson, creating sculpture is a it further, especially if the construction mimics process of translation, her construction the perspective in the drawing. Many of the recent methods and choices of material fueled pieces have not followed that special orientation by a desire to realize each drawing in of the drawings, so they appear more normal. But three dimensions. Through this practice, I sometimes return to that perspective, because Simpson creates sculptures that I like the challenges in constructing the piece consider both formally and conceptu- with skewed angles, and there are often visual ally the way bodies are covered, surprises that occur that I can’t foresee in the The first comprehensive North American museum survey shaped, and defined through dress. drawing. of the internationally recognized artist Walid Raad, this Her works appear both vividly exhibition will feature a selection of works produced in Read the full conversation in the exhibition corporeal, revealing the body catalogue, available at the ICA Store or the past 25 years in photography, video, sculpture, and through spaces left around clothing, icastore.org. performance, and will investigate the distinctions between and abstract, with a restrained fact and fiction and the ways we represent, remember, vocabulary of simple forms. The and make sense of history. Dedicated to themes exploring results are carefully constructed, Organized by Dan Byers, Mannion Family the veracity of archives and photographic documents, the Senior Curator, with Jeffrey DeBlois, deceptively complex sculptures Curatorial Assistant role of memory and narrative within discourses of conflict, that interweave structure and and the construction of histories of art in the Arab world, function and are layered with Raad’s work is informed by an upbringing in Lebanon ideas about gender and dress, during the civil war (1975–90) and the socioeconomic domestic and urban spaces, and and military policies that have shaped the Middle East in an ethics of labor and making. the past few decades. The artist will perform in the gal- Also on view will be a selection leries on select dates throughout the run of the exhibition. See icaboston.org for details. of related drawings and a slideshow made in collaboration with artist Vincent Fecteau. This exhibition is organized by The , New York. This exhibition is curated by Eva Respini, Barbara Lee Chief Curator, The Institute of Contemporary Art/Boston, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, The Museum of Modern Art, New York. The Boston presentation is coordinated by DEC 15 | VIP Opening Jeffrey DeBlois, Curatorial Assistant, The Institute of Contemporary Art/Boston. MAR 3 | The Artist’s Voice: Support for the Boston presentation of Walid Raad is generously Diane Simpson provided by Jean-François and Nathalie Ducrest. See PROGRAM GUIDE for details Image: Walid Raad, Civilizationally, we do not dig holes to bury Diane Simpson, Formal Wear, 1998. Polyester, poplar, and cotton, 47 x 50 x 7 inches. Courtesy ourselves_Plate 922, 1958–59/2003. Pigmented inkjet print, of the artist, Corbett vs. Dempsey, Chicago, and JTT, New York. © 2015 Diane Simpson. 10 x 8 inches. Courtesy of the artist and Paula Cooper Gallery, New York. © 2015 Walid Raad 8 9 Nada and Steven Kane Clay Rives and Emily Bevis Rives membeR SPOTLIGHT: GEORGE FIFIELD ANNUAL DONORS Jane Karol and Howard Cooper Kristine Shadek Peggy Koenig Virginia Shannon and JK Nicholas Alvin and Barbara Krakow Stephanie and Brian Spector george fifield is a renaissance man Jim Hodges. The curated group shows, like last year’s Fiber: The ICA Boards of Trustees and Overseers; Jill Medvedow, William H. Kremer Pat and Arthur Stavaridis Sculpture 1960–present are also wonderful, but these are the Barbara H. Lloyd Meg Tallon —an artist, media arts curator, writer, teacher, and long-term Ellen Matilda Poss Director; and the ICA staff extend our Isabelle Loring Anne Lovett and Steve Woodsum member at the ICA. So long-term, in fact, that he was recently shows I remember the best. profound gratitude to the following individuals, corporations, JR and Suzanne Lowry Rose Zoltek-Jick recognized by the James Sachs Plaut Society, which honors foundations, and government agencies for their contributions Kristen and Kent Lucken Anonymous Why is the ICA important to Boston? John and Catherine Mandile those who have made a planned gift to the museum, donated between July 1, 2014 and June 30, 2015. Their generosity Sheryl Marshall and $2,000–$4,999 First is that it opens Boston to the contemporary art of the rest artworks, or maintained a membership for more than 25 years. ensures our ability to share the pleasures of reflection, inspira- Howard Salwen Pamela Allara Not only has George seen the museum through a quarter of the world. Second, it has a long history of examining the tion, provocation, and imagination that contemporary art offers Jacqueline and George McCabe Justin E. Amaral century of change and growth, he has also produced art videos contemporary arts in greater Boston. Vita Brevis highlighted through public access to art, artists, and the creative process. Francis McGrail Murray Forman and that have been exhibited at the ICA and participated in the many local artists along with the international artists it William McQuillan and Zamawa Arenas Linda McQuillan Stéphane and Brenda Bancel collective VideoSpace, which has presented work at the ICA. presented. The James and Audrey Foster Prize just gets better INDIVIDUALS AND FAMILIES Jean-François Formela and $100,000 and above Rachel Somer Corinne Nagy and Richard Miner Carlotte and Samuel Berk and better and has been very successful at introducing George is also the founder and director of Boston Cyberarts Nancy W. Adams and Maisie K. Houghton Dell and Tim Mitchell Ellen Fels Berkman and Inc., a nonprofit that produces the Boston Cyberarts Festival excellent Boston artists to the ICA’s audience. Scott A. Schoen Maggie and Jim Hunt Emily and Steven Moskowitz David A. Bryant and operates the Boston Cyberarts Gallery. We spoke with him Lori and Dennis Baldwin Stephen J. Javaras Marion and David Mussafer Rosalind and If you could mount a show at the ICA, what would it be? Nikki and Harry Nudelman Walter S. Bernheimer about his longstanding involvement with the ICA. Kate and Charles Brizius Abigail Johnson and Paul and Catherine Buttenwieser Christopher McKown Jeryl and Stephen Oristaglio Robert Berstein In the 1980s, the most important source of funding for video Karen and Brian Conway Anna Davydova and Donald Jones Jane and A. Neil Pappalardo Afshan Bokhari and art was the CAT Fund, run jointly by the ICA and WGBH. They The Robert E. Davoli and Eileen L. Beth and Michael Jones David Parker Scott Chisholm The ICA opens Boston to the commissioned the best international video artists and, toward McDonagh Charitable Sinesia and William Karol Nirva and Paresh Patel Jonathan Brown Marlene and David Persky H. Paris Burstyn the end, interactive videodisc artists as well. In 1997, I curated Foundation Stephen T. Kunian and Bridgitt and Bruce Evans Lois R. Kunian Elizabeth and Robert Pozen John C. Cannistraro contemporary art of the rest an exhibition called The History of Video Art in Boston, Part II, Negin and Oliver Ewald Robert J. Nagle Lawrence Pratt and Melinda Hall Andrea Carson and Robert Carson of the world.” The 80s: The CAT Fund, with works by Bill Viola, Tony Oursler, James and Audrey Foster Sandy and Les Nanberg Dana Rashti Ingrid B. Chung Joan Logue, William Wegman, etc. I was curator of video art at Vivien and Alan Hassenfeld Shelly and Ofer Nemirovsky Tracey Roberts and Paul Haigney Peter and Catherine Creighton Karen and Michael Rotenberg Paul Cucinatti and MaryRose Pino the deCordova Museum then, so that’s where it ran, but I’d love and Hassenfeld Family Mario Russo and Frank Gilligan How did you first get involved at the ICA? Foundation B.J. and Malcolm Salter Holly Safford and Chuck Ophelia Dahl and Lisa Frantzis to do it at the ICA as well. The essay is already written. Weilbrenner Carol Taylor and John Deknatel I’ve been involved ever since I moved to Boston in 1972. At Jodi and Hal Hess Maggie Gold Seelig and Swanee Hunt Jonathan Seelig Lisa Schiff Joanne and Charles C. first I lived right around the corner in the Back Bay, when the For more info about the James Sachs Plaut Allison and Edward Johnson Caroline Taggart and Mary Schneider Enriquez and Dickinson, III Juan Enriquez Cabot Stephanie Dodson and Back Bay was cheap. Maybe the first things that attracted Society, contact [email protected] Barbara Lee Robert Sachs me were the video art exhibits that Bob Riley and Kathy Rae Tristin and Martin Mannion Anthony Terrana Sue and John Simon Jamie Cornell or 617-478-3183. Karen and Peter Sonnabend Judith Donath Huffman were curating. Then in 1994 the ICA generously The O’Hanley Family Nick and Tricia Winton “ Poss Family Foundation Nicole Zatlyn and Jason Weiner Laurene and Scott Sperling Melis Dural and Charlotte Riggs allowed me to organize my VideoSpace program in the Cynthia and John Reed Anonymous Heather Wells Sandy and Paul Edgerley basement auditorium, where I co-curated shows with artists Charles and Fran Rodgers Anonymous (2) Nina and David Fialkow like Tony Oursler, Jane Hudson, and Joan Braderman. That Charlotte and $10,000–$24,999 Anne Fitzpatrick $5,000–$9,999 Kenneth Freed same year two of my videos, An Exquisite Party, made with Herbert S. Wagner III Alexandra Cherubini and Michael Wilens and Camilo Alvarez Naomi Aberly and Larry Lebowitz John Frishkopf Andrei Codrescu, and Crystal Blocks of Yankee Coldness Carolyn Longacre Less Arnold Jill and John Avery Jeffrey Zinsmeyer and Shanti Fry were exhibited at the Public Interventions exhibition. Anonymous Anita and Josh Bekenstein Bruce A. and Robert L. Beal Ann Gallo Steven Bercu and Tatiana Jacqueline Bernat Mark Granovsky What have been some of your favorite exhibitions or $50,000–$99,999 Kolossova Lisa and Tom Blumenthal Linda and William Green other moments at the ICA over the years? Kathleen McDonough Margaret and Tomas Bergstrand Dan Bornstein Carol Greene and Edward Berman Clark and Susana Bernard Gordon Burnes and Suzie Tapson Nicholas and Marjorie Greville There are too many to count, but some that leap to mind are The Binder Foundation Katrine Bosley Richard and Nonnie Burnes Christine C. Hall and the 1989 survey for Chris Burden, his first in the United States. Holly and David Bruce Eleanor and Brian Chu Julie and Kevin Callaghan Andrew J. Hall Gerald and Kate Chertavian Timothy T. Hilton In 1996, Bill Viola’s Buried Secrets, which came direct from the Robert and Jane Burke Vin Cipolla and Celine McDonald Ronni and Ronald Casty Grace Colby Ann and Marvin Collier Connie and James Houghton Venice Biennale. Vita Brevis, which added so much great public Stephanie Formica Connaughton Timothy and Kathryn Conway Marilyn Fife and John Cragin Michelle and Frank Ingari art to Boston, especially Krzysztof Wodiczko’s projection on and John Connaughton Esta Gordon Epstein and Laura and Mike Dreese David Jegen and Cynthia Greene the Bunker Hill monument, which then makes me think of The Corkin Family Robert Epstein Rebecca and Martin Eisenberg Charla Jones Jennifer Epstein and Bill Keravuori Emily Kahn Krzysztof’s incredibly powerful . . . OUT OF HERE: The Veterans Jean-François and Margaret and Hank Erbe Nathalie Ducrest David Feinberg and Marina Kalb Elizabeth Erdreich White and Charlotte Kaitz Project. A recent one is Ragnar Kjartansson’s The Visitors. Sandra and Gerald Fineberg Mark A. Fischer† and Ogden White Azra and Fiyaz Kanji Tom and Jeanne Hagerty Marney Fischer Leslie Riedel and Scott Friend Molly Kapor and Tom McClennan What do you feel the ICA does differently than Curtis R. Kemeny John S. Foster Ann and Graham Gund Paul Karger other institutions? Ted Pappendick and Lois Foster Christine and Alan Huber Wesley and Ashley Karger Erica Gervais Pappendick Betsey and Charles Gifford Jason H. Jenkins Lynne Kortenhaus What I feel the ICA does best, which no other David and Leslie Puth Abigail and Mark Goodman Mimi Jigarjian Jim and Peri Kutchin organization in Boston can really do, is present Mark and Marie Schwartz Debi and Mark Greenberg Chris and Lisa Kaneb Frank and Ruta Laukien comprehensive looks at A-list artists who have Hilary and Geoffrey Grove Barbara and Leo Karas Lisa and Stephen Lebovitz Lucy and Richard Lim Michelle and Ira Lefkowitz not yet been seen in the area, like that early $25,000–$49,999 Holly Hartman and David and Amy Abrams Cynthia Wilkerson Elaine and Charles Mangum Sondra and Norman Levenson Chris Burden show. Recent examples are the Mr. C. Hunter Boll and Robin and Steven Hauck Rania Matar and Beth and Rick Marcus exhibitions of Tara Donovan, Dr Lakra, and Dr. Patricia Nilles Becky and Brian Hlidek Jean Abouhamad Polly and Kevin Maroni John and Angela DesPrez Elizabeth L. Johnson Carroll and Robert Pierce, Jr.

10 11 $50,000–$99,999 Ellen Fels Berkman and ANNUAL DONORS (continued) Institute of Museum and David A. Bryant New + Noteworthy Library Services Susana and Clark Bernard Massachusetts Cultural Council Julie Bernson Jane and Scott Maxwell $10,000–$24,999 Massachusetts Cultural Facilities Andrew Black Katie and Onnie Mayshak Blue Cross Blue Shield Fund Libby Blank 3D LIVING ROOM Rose Ellen and Brian McCaig of Massachusetts Bob and Denise Blumenthal National Endowment for the Arts On the occasion of Leap Before You Look: Black Mountain James McCoy and Charles River Laboratories National Endowment for Mary Rose Bolton Alfio Hernandez Christie’s the Humanities Kate and Chuck Brizius College 1933–1957, the ICA is presenting the short film Patrick McKee and Citi Private Bank Surdna Foundation Paul Buttenwieser, Chairman, Summerspace 3D in the State Street Corporation Lobby. Kimberly Reisman Deutsche Bank and Catherine Buttenwieser The film captures segments of Merce Cunningham’s dance Jill Medvedow and Richard Kazis Goldman, Sachs & Co. $25,000–$49,999 Elaine Carmen and Patricia Rieker Summerspace, created in 1958 in collaboration with the Will Montero Goodwin Procter LLP The Angell Foundation Mickey Cartin Marcia Morris and Arnold Hiatt MFS Investment Management Cabot Family Charitable Trust Ronni and Ronald Casty visual artist Robert Rauschenberg, who designed the décor Laura DeBonis and Scott Nathan NewStar Financial, Inc. The Coby Foundation, Ltd. Mariagnese Cattaneo and costumes, and composer Morton Feldman. This work was Dave and Monique Nerrow Sikkema Jenkins & Co. Doris Duke Charitable Foundation Phyllis and Daniel Cerys recreated for the film last year, performed by dancers including Ron Nordin Skinner Auctioneers & Appraisers Patricia P. Chappell Highland Street Foundation several alumni of the Merce Cunningham Dance Company. Faith and Glenn Parker State Street Corporation The Andrew W. Mellon Foundation Barbara Cheresh Wendy Shattuck and TwinFocus Capital Partners Rowland Foundation, Inc. Alexandra Cherubini and Directed by Alla Kovgan, Summerspace 3D offers new ways Samuel Plimpton Camilo Alvarez William E. Schrafft and Bertha E. for dance to be passed down to future generations. During Mike Porter $5,000–$9,999 Schrafft Charitable Trust Mary L. Cornille and Christopher Prokop and The Abbey Group John F. Cogan, Jr. her research for what will be a feature-length film about Mark Battista Bank of America $10,000–$24,999 Grace Colby Cunningham, his life, and works created between 1942 and Alison Quartermain Gersten Bloomberg The Robert Lehman Foundation Ann and Marvin Collier 1972, Kovgan learned that while making Summerspace, William L. Rawn BNY Mellon William Connor Frank Reed & Margaret Jane Cunningham came across the Albert Einstein quote “There Jean Rhodes and Karl Wittrup The Cultivist Peters Memorial Fund I, Steve Corkin William and Jennifer Ruhl Eaton Vance Corporation Bank of America, N.A., Trustee Thomas and Charles Dahill are no fixed points in space.” This idea may have inspired John and Lorinda Russell Natixis Global Asset Management Nathaniel Saltonstall Arts Fund The Robert E. Davoli and Cunningham’s interest in having his dances seen from all Summerspace 3D Arnold E. Sapenter and New Balance Athletic Shoe Support for has been provided by: The Merce Cunningham Eileen L. McDonagh Charitable directions, rather than a singular proscenium point of view. Trust, Le Centre National du Cinéma et de l’Image Animée (Nouvelles Joseph C. Reed, Ph.D. Old Mutual Asset Management $2,000–$9,999 Foundation Kovgan translate this idea into cinema, creating a new Technologies en Production), The Rockefeller Foundation, Dance Films Linda Sawyer and John Harris Room & Board Boston Cultural Council Peter Deveney Association, The Robert Rauschenberg Foundation, The Walker Art Center, Leslee Shupe Anonymous Roy A. Hunt Foundation Clare Dunsford and Stephen Pfohl cinematic experience of the dance. La Maison, Sophie Dulac Productions, Stephanie Dillon, and Clara Wainwright. Lori and Matthew Sidman New England Foundation Ingeborg Endter and Lucille and Rick Spagnuolo $2,000–$4,999 for the Arts Juern Juergens Ingrid and Steven Stadler Acadian Asset Management LLC Thomas Anthony Pappas Esta Gordon Epstein and Reza and Demetra Taleghani AEW Capital Management Charitable Foundation, Inc. Robert Epstein Michael Taubenberger and Agero Amelia Peabody Charitable Fund Elizabeth Erdreich White and Mark and Marie Schwartz The Boston Globe Kristen McCormack Arrowstreet Capital, Limited The Tiny Tiger Foundation Ogden White ANNUAL DONORS (continued) Nancy Seymour and Richard Brightcove Beth F. Terrana Partnership Emily Hall Tremaine Bridgitt and Bruce Evans Goldberg Duane Morris LLP Perry and Robin Traquina B.R. Alexander & Co. Foundation (EHTF) Diane Feldman Denise and Rich Simon Frost Productions John Travis Barclays Jesseca Ferguson and Abigail Housen and Harry Lasker Michael Mulhern Jody and Andy Snider Harpoon Brewery Cecily Tyler Bowditch & Dewey LLP The James Sachs Plaut Mark Pevsner Christian Jankowski Robert Nagle Paula Soares and Brian Zink Martignetti Company Sandra Urie and Frank Herron Cabot Corporation Society Lynne and George Fifield Arlette and Gus Kayafas Nan Niland and Ralph Helmick Peter and Karen Sonnabend Menton Scott Utzinger Cambridge BioMarketing Group The James Sachs Plaut Society Sandra and Gerald Fineberg Gretchen Keyworth Joan Nissman and Morton Lucille and Rick Spagnuolo MVS Studio PhotoBooths Philipp and Anja von Rosenstiel CBRE/New England was established to honor ICA Alan Fink Alvin and Barbara Krakow Abromson Ingrid and Steven Stadler PBD Events Laura and Martin Wattenberg Compass Group friends who have made an Anne and Aaron Fink Deena Scaperotta and David Kulik Joan and H. Roderick Nordell Don and Jeanne Stanton Ana Sortun Roberta and Steve Weiner Global Partners enduring commitment to the Joanna Fink Lois and Stephen Kunian Arthur and Judith Obermayer Pat and Arthur Stavaridis W Boston K.C. Whelen Hill Holliday ICA’s mission, programs, and James and Audrey Foster Judith and Peik Larsen Catherine Opie Kristen Struebing-Beazley and Winston Flowers Miranda White Insulet Corporation collections either by including Lois Foster Barbara Lee and David Damroth Susan W. Paine Robert M. Beazley, M.D. Wolfgang Puck Catering Frank C. Wuest Intarcia Therapeutics the ICA in their estate plans, Niki and Alan Friedberg Barbara H. Lloyd Jim and Kim Pallotta Margaret Sundell Anonymous Mark E. Young InterSystems Corporation donating works of art to the Lena Sorensen and Elisabeth Luick Ted Pappendick and Erica Gervais Anthony Terrana Judi Rotenberg Ross Zuker and Jones Lang LaSalle ICA Collection, or maintaining Alice Friedman Rodolfo Machado and Pappendick Beth F. Terrana UNIVERSITY PARTNERS Edward Zuker Krug Champagne a membership for over 25 years. Gerald Frug Jorge Silvetti Marlene and David Persky Mia Thurlow Berklee College of Music Randi and David Zussman LogMeIn Bink and Weezie Garrison Clara Sandler and Bruce Petri Nan Tull and Frank Wezniak Emerson College Anonymous (3) Matrix Partners John Achatz and Mary Farrell Dr. Lucretia Hoover Giese Juan Mandelbaum Barbara J. Popken and David Joyce Tyler Framingham State University † deceased MSLGROUP Boston Jan Aceti and K.M. Peterson Réme Gold Tristin and Martin Mannion Howell Andrea and Glen Urban Franklin W. Olin College Par 4 Technology Group Nancy W. Adams Judy Ann Goldman Beth and Richard Marcus Ellen M. Poss Elizabeth P. Van Buren of Engineering CORPORATIONS Pioneer Global Investments Corinne and Gerald Adler Anne and Arthur Goldstein Sheryl Marshall and William L. Rawn Peter J. Wheeler Harvard University $100,000 and above Sotheby’s Pamela Allara Abigail Ross Goodman Howard Salwen Jay Reeg and Janice Colombi Kevin Wiant Lasell College Converse UBS Financial Services Lucille Aptekar and and Mark Goodman Sally Mayer Ellen and David Rich Barbara Wilkes and Lesley University John Hancock WellPet Gerald C. Leader Jean Goodman Patricia McGrath Martha Richmond and John Berg Bernard Collins Massachusetts College Marilyn Arsem Florence and Alan Gordon Roy McMakin Alison A. Righter Alice and William Wimer of Art and Design $50,000–$99,999 Government and Robert Asher and Jo Sandman Ann and Graham Gund Diana and William McNamara Stephen Romano and Pat Capozzi Katherine and Howard Yezerski Massachusetts Institute Citizens Bank Foundations Alan Axelrod Lorie and Richard Hamermesh Tom Meek Karen and Michael Rotenberg Sue Zimmermann of Technology Louis Vuitton North America $100,000 and above Smoki Bacon and Jane Hans Sara J. Miller Jonathan Rotenberg Anonymous (8) School of the Museum The Northern Trust Company Barr Foundation Richard Concannon Marilyn Pappas and William Harby Annette and Michael Miller William and Jennifer Ruhl of Fine Arts The Klarman Family Foundation Martha and Marjorie Bakken Vivien and Alan Hassenfeld Dorian Mintzer and David Feingold B.J. and Malcolm Salter In-Kind Partners Suffolk University $25,000–$49,999 The Andy Warhol Foundation for Bruce A. Beal and the Hassenfeld Family Kyra and Jean Montagu Steven Samuels and Ami Cipolla Jody Adams First Republic Bank the Visual Arts Robert L. Beal Foundation Sara Rubin and David Montanari Arnold E. Sapenter and Joseph C. Be Our Guest Lehmann Maupin Gallery Anonymous Barbara and Jonathan Beckwith Gregory Heidelberger Sandra Moose and Eric Birch Reed, Ph.D. Bose Corporation Vertex Pharmaceuticals Denise Benoit and Jodi and Hal Hess Meredyth and John Moses Susan Schmidt Boston Calling/Crash Line George Touchstone William Hogan Suzanne Piening and Debra and Dennis Scholl Productions

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Left to right: Coloring poster by Pirasta. $40, members $36 | “Dude No. 1” Cologne by MCMC Fragrances. $90, members $81 | Sigrid Calon Notecard Set by Chronicle Books. $16.95, members $15.25 | Maplewood Cutting Board by Ironwood. $50, members $45 | Blue Leather Tote by Baggu. $175, members $157.50