SUMMER 2007 PHILIP-LORCA DICORCIA / ART ON THE HARBOR ISLANDS / A TALK WITH ERNESTO PUJOL / MUSIC AND DANCE ON THE HARBORWALK / WEB PICKS
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THE MAGAZINE OF THE INST IT UT E OF C ONT E MPOR A RY A R T /B O STO N
FROM THE DIRECTOR SUMMER IN THE CITY
CONTENTS 02 On View 04 Philip-Lorca diCorcia 10 Performance 12 Film 14 Talks & Tours 15 Families 16 Teens 17 Picks 18 Mediatheque 20 Members 22 Support 23 Store/Café 24 Looking Forward 26 Art on the Harbor Islands 30 Interview: Ernesto Pujol 32 Calendar
Dear Members and Friends, Over the past few months, we in New England have happily greeted our springtime milestones—opening day at Fenway Park, the Boston Marathon, the first day you can shed your overcoat—welcome signs that ice and snow are behind us, longer days and fewer layers are just on the horizon. At the ICA we’ve been eagerly awaiting our very first summer on Fan Pier. By now you’ve seen how the museum’s waterfront location is integral to its architecture; the grandstand and Putnam Investments Plaza represent the melding of museum, sky, water, and city. Offering people a place to gather and relax, it’s where Bostonians and visitors can enjoy the best of the city’s cultural and natural riches, resources whose pleasures we are just beginning to savor. In the new museum’s first three months alone, we welcomed more than 100,000 visitors, and our membership grew to more than 8500. Now with summer approaching, we are eager to share the pleasures of art, dance, music, food, and the magnificent harbor views. Public access to Boston Harbor lies at the heart of the ICA’s civic commitment. To celebrate, we’re presenting a number of fun, free programs that take advantage of our waterfront access and capture the energy of the warmer months. Programs like HarborWalk Sounds, bringing musicians from Berklee College of Music for an outdoor concert series, and You Dance Fridays, combining open-air dance lessons and lively performances, will bring new flavor to evenings at the museum (see p. 11), while the Water Café offers special summer offerings and outdoor seating. Play Dates, our free program for families that has been wildly popular with kids and parents alike, will bring some of its creative activities outside, like sketching on the HarborWalk on June 30 (see p. 15). Our ninth annual public art project will take you even further—all the way out to the Harbor Islands. Four projects by leading contemporary artists and architects plumb the complex histories of the Boston Harbor Islands and explore their current importance as a National Park Area, offering natural beauty and rare solitude just a short boat ride from downtown Boston. Don’t miss this issue’s feature on Art on the Harbor Islands (p. 26), with an interview with artist Ernesto Pujol (p. 30). See you on the waterfront! All the best,
Jill Medvedow Director
Jill Medvedow photo: Mitch Epstein
Misaki Kawai, Space House, 2006-7, Installation view at the Institute of Contemporary Art/Boston. Photo: John Kennard
02·ON VIEW
FROM GIANT SPIDERS TO PINT-SIZED BEATLES
BOURGEOIS IN BOSTON March 28, 2007 – March 2, 2008 Louise Bourgeois’s work draws from childhood memories and everyday struggles. Utilizing a variety of materials from wood to fabric, she crafts personal and evocative objects that reference the body, sexuality, family, anxiety, and trauma. Spanning six decades, Bourgeois in Boston brings together sculptures, prints, drawings, and painting all lent from area museums and private collections. The core of Bourgeois in Boston is a group of works owned by Boston philanthropic activist and ICA Trustee Barbara Lee. A champion of women artists with a strong interest in sculpture, she has collected work from the earliest part of Bourgeois’s career through the late 1990s. Lee’s pieces, alongside those from other significant Boston institutions and collections, form a uniquely-located portrait of this artist. Among the works in the exhibition are a rare, early painting and more than 25 works on paper, which will be rotated over the course of the exhibition. The selection of sculptures spans
the entirety of her career, from Untitled (1947–49), a painted wood piece from one of the artist’s first bodies of work, to Untitled (1999), a hand-stitched figure from the artist’s recent series of works made with her old fabric. Looming more than 10 feet tall is Spider (1996), a spindly bronze arachnid that, despite its menacing size, represents a maternal figure or female hero. The breadth of work in the city allows us to chart Bourgeois’s artistic shifts, as well as make links between themes that have long consumed her. Take the Audio Tour: Explore Bourgeois in Boston with unique perspectives from Louise Bourgeois, insights from collector Barbara Lee, and commentary from curator Emily Moore Brouillet. This audio tour also features music composed and performed by Louise Bourgeois. Download it now at www.icaboston.org. Bourgeois in Boston is sponsored by Merrill Lynch – Private Bank and Investment Group
ALSO ON VIEW:
Philip-Lorca diCorcia
p. 4
Art on the Harbor Islands
p. 26
Louise Bourgeois, Untitled, 1947-49. Collection of Barbara Lee, courtesy Cheim & Read, New York
NEW ACQUISITION BY CHRISTIAN JANKOWSKI IS ICA’S FIRST GIFT FROM AN ARTIST
MOMENTUM 7: MISAKI KAWAI March 28 – July 8, 2007 For the Momentum series, Japanese artist Misaki Kawai presents Space House, the artist’s version of a futuristic party pad. Equal parts diorama and dollhouse, this installation is populated by handmade figures of Kawai and her friends. They mingle with some of the artist’s favorite cultural icons and a few furry creatures. Space House consists of a floating, multi-room home with living pods connected by a winding monorail. Complete with an exercise space, hot tub, karaoke lounge, music studio, patio, and even a cat romper room, the compound comes with all the facilities one might expect in a luxury home, plus a few extras. Kawai creates her quirky, whimsical sculptures with wood, cardboard, fabric, found images, and low-tech, craft materials like beads, felt, stickers, and yarn. Space House is an energetic creation and intricate in its level of detail. Peer into the home’s ship-like portals to appreciate the elaborate detail of this miniature world. From the doll’s psychedelic clothing to the television programs they watch, each element the artist makes draws us further into her layered creation.
Born in Kagawa, Japan, in 1978, Kawai grew up in Osaka. Her artistic style grows out of her earliest influences; she was raised by an architect father who also painted and a mother who made clothing and puppets. She has taken an interest in handicraft, mixed it with an intuitive sense of space and scale, and added her fascination with western pop culture and 1960s counter-culture. What results is the artist’s own cosmos, as Kawai turns her vivid imagination into three dimensional form. Get an audio introduction to Momentum 7: Misaki Kawai from ICA Assistant Curator Emily Moore Brouillet. The 2006–2007 Momentum series is sponsored by Momentum 7: Misaki Kawai is supported by Group Momentum: Nick Adams, Janice and Mickey Cartin, Rebecca and Martin Eisenberg, Corinne and Tim Ferguson, Sue and Nat Jeppson, Barbara Lee, Carol and Sol LeWitt, and Marlene and David Persky.
The ICA’s permanent collection is a record of our unique relationships with artists, representing watershed moments in both their careers and the museum’s history. For the first time, a new addition to the collection has come from an artist. Christian Jankowski, who was featured in the ICA exhibition Getting Emotional in 2005 and whose 3-channel video Point of Sale (2002) is among the works in the collection, has given an additional work to the ICA, his 1992 video The Hunt. A seminal project, The Hunt shows the earlier investigation of a theme explored in the witty Point of Sale—the intersection of art, commerce, and the effort to succeed. The Hunt cleverly tests the cliché of the starving artist, depicting a young Jankowski on a quest to eat only the groceries he shoots in the supermarket with a bow and arrow. The absurdity of “hunting” for shrink-wrapped, pricetagged products is heightened by the nonchalant cashier, who rings up the arrow-pierced items without reaction. In The Hunt, as in Point of Sale, Jankowski frames the uncertain stakes of pursuing art in a world now defined by commodities and consumption. The ICA is thrilled and grateful to Christian for his generosity and commitment. The second installation of the ICA collection, Accumulations: More Than the Sum of Their Parts, will be on view from July 25, 2007, through July 13, 2008.
Misaki Kawai, Space House, 2006-7, Installation view at the Institute of Contemporary Art/ Boston. Photo: John Kennard Christian Jankowski, The Hunt, 1992/1997. Gift of the artist.
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
04·PHILIP-LORCA DICORCIA ESSENTIAL VIEWING
“DICORCIA’S ESSENTIAL ART, HIS POETRY, IS HIS TIP-TOEING TO THE EDGE OF IDENTITY” —BENNETT SIMPSON, EXHIBITION CURATOR
JUNE 1 — SEPTEMBER 3, 2007 The work of Philip-Lorca diCorcia, one of the most innovative and influential photographers of the last 30 years, is enigmatic—carefully staged, suffused with dramatic light, only hinting at a possible narrative. Drawing on his experience in fashion and advertising, diCorcia was among the first to bring lighting techniques derived from commercial photography to his art, a practice that is now ubiquitous. Though diCorcia is often associated with his classmates from the School of the Museum of Fine Arts, Boston in the 1970s, including Nan Goldin and David Armstrong, his work turns away from the rawness and immediacy that characterizes their work, instead displaying studied detachment and a fascination with the space between documentary and fiction. Philip-Lorca diCorcia is the most comprehensive exhibition of the photographer’s art to date, featuring work from the earliest part of his career, depicting friends and family in domestic tableaux, to one of his most recent series, Lucky
Thirteen, large-scale photographs of female exotic dancers. Included in these 125 photographs are diCorcia’s most acclaimed bodies of work: Hustlers, portraits of male prostitutes in Los Angeles titled with the subject’s name, age, hometown, and price; Streetwork, images of passersby on city streets captured in diCorcia’s downtime while on commercial assignments around the world; and Heads, focusing on the faces of pedestrians caught unawares in the glare of the photographer’s flash. The exhibition also features the entirety of diCorcia’s experiment in photo-editing, A Storybook Life. Seventy-six prints from all periods of his career—landscapes, still-life, portraits of families or drifters, settings in far-flung locations or New England towns—are carefully selected and sequenced. What narrative connects these photographs, whose “life” the title refers to—these are left to the viewer to solve.
Philip-Lorca diCorcia, Hannah, 2004 © Philip-Lorca diCorcia Courtesy Pace/MacGill Gallery, New York
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
Philip-Lorca diCorcia, Head #11, 2001© Philip-Lorca diCorcia Courtesy Pace/MacGill Gallery, New York
Philip-Lorca diCorcia, Head #23, 2001 © Philip-Lorca diCorcia Courtesy Pace/MacGill Gallery, New York
NEW: THE NEW: MAGAZINE THE MAGAZINE OF THE OF INSTITUTE THE INSTITUTE OF CONTEMPORARY OF CONTEMPORARY ART/BOSTON ART/BOSTON · WINTER/SPRING · SUMMER 2007
Philip-Lorca diCorcia, DeBruce, 1999 (2003). © Philip-Lorca diCorcia Courtesy Pace/MacGill Gallery, New York
IN THE ICA STORE: PHILIP-LORCA DICORCIA CATALOGUE
Philip-Lorca diCorcia is accompanied by a catalogue, published by Steidl, that includes 60 full-color plates, an essay by curator Bennett Simpson, and an interview with diCorcia by New York-based novelist and critic Lynne Tillman. AUDIO TOUR
Hear commentary from artist Philip-Lorca diCorcia, exhibition curator Bennett Simpson, ICA Director of Programs David Henry, and novelist and critic Lynne Tillman. Download the tour at www.icaboston.org or rent an iPod from the admissions desk. RELATED PROGRAMS
Talks & Tours p. 14 Family Programs p. 15
Left to right: Ingrid Schatz, Alissa Cardone, and Zack Winokur. Photos: Jaye R. Phillips
10¡PERFORMING ARTS
COOL WAYS TO SPEND HOT SUMMER NIGHTS
STEPHAN KOPLOWITZ/SUMMER STAGES DANCE Saturday, July 28, 1 pm, 2 pm, and 3 pm Sunday, July 29, 1 pm, 2 pm, and 3 pm HarborWalk and ICA Grandstand Admission is free.
Grab a spot on the HarborWalk for one of these free performances. Choreographer Stephan Koplowitz will create a site-specific dance in conjunction with his residency at Summer Stages Dance at Concord Academy. The 20-minute dance will bring together as many as 20 dancers in a temporal spectacle that celebrates urban architecture. An
award-winning director and choreographer, Koplowitz has presented large-scale performances for public spaces including the British Library, Grand Central Terminal, Union Station, and The American Museum of Natural History. Left to right: Ingrid Schatz, Alissa Cardone, and Zack Winokur. Photo: Jaye R. Phillips
SUMMER MUSIC SURGE
June 8, July 12, August 2, and September 6 The ICA presents the soundtrack to your summer through a collaboration with The Critique of Pure Reason, an independent platform promoting underrepresented genres of music to Boston audiences. Discover the skill, innovation, and amazing sounds of the best indie bands with this series, kicked off by performances from Jandek and Deerhunter. Check our website for upcoming information about August and September shows. Jandek Friday, June 8, 7 pm This reclusive performer’s singular creative voice and introspective, stream-ofconsciousness lyrics have held music aficionados in thrall since 1978, when he began quietly releasing his music. His idiosyncratic mix of folk and blues music draws a small but devoted fan base that has included Sonic Youth and Kurt Cobain. Jandek, who prefers to work with local improvising musicians rather than a regular band, will be joined by Boston musicians Jorrit Dijkstra (alto saxophone, lyricon), Greg Kelley (trumpet), and Eli Keszler (percussion). Tickets: $27 general admission; $22 members, students and seniors Deerhunter Thursday, July 12, 7 pm This five-member band from Atlanta, Georgia, formed in 2001, combines garage rock influences with ambient and experimental aesthetics. Almost always leaving audiences polarized, Deerhunter’s live shows are described as bordering on “a religious experience” by the Yeah Yeah Yeahs’ Karen O. Tickets: $15 general admission; $10 members, students and seniors
HARBORWALK SOUNDS: BERKLEE COLLEGE OF MUSIC AT THE ICA
Putnam Investments Plaza Target Free Thursday Nights June 14, 21, and 28; July 5, 19, and 26; August 9, 16, and 23, 6 – 8:30 pm
Salsa Friday, July 27 You will bring the heat, while Manguito, an offshoot of the band Mango Blue, provides the Latin rhythm. Don’t be surprised if they slip in a little merengue or cha-cha.
Grab a drink from the Water Café, feel the cool sea breeze, and listen to hot sounds from Berklee College of Music’s best bands. A different kind of music will be highlighted each month, including jazz, Brazilian, and World Music. Admission is free. Seating is limited and available on a first-come, first-served basis.
YOU DANCE FRIDAYS
Fridays, July 13, 20, and 27, August 3 6 – 8:30 pm Putnam Investments Plaza Start your weekend with a waterfront dance party. On four consecutive Fridays, you can learn a new style of dance from professional performers and teachers from 6 to 7 pm. Test out your new moves with great music from 7 to 8:30 pm, and cool off with a Water Café drink created just for the occasion. Free with museum admission. Hip-Hop 101 Friday, July 13 Lino Delgado, Alex Diaz, and Ivan Cofield of the Floorlords, a troupe that has been breakdancing for more than 20 years, come to the ICA to teach popping. Unleash your inner b-boy and b-girl while DJ Leanrock sets the groove.
Polka Friday, August 3 Think polka can’t be punk? Meet the Grammy-winning Brave Combo from Denton, Texas. True to their name, the band dares to mix diverse musical styles into an eclectic sound—everything from klezmer surf rock to rocking cha-cha. Come for the Hokey-Pokey, and you might end up dancing what The Washington Post dubbed “mosh pit polka.” Photo: Jane Finch
Tango Friday, July 20 Be seduced by the tango as Fernanda Cajide and Dario Da Silva introduce the finer points of this dramatic dance. Take to the floor as the electrifying Bernardo Monk and MassTango meld traditional tango rhythms and instruments with untraditional jazz sounds.
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
12·FILM
PICTURES THAT MOVE YOU
NEW PORTUGUESE CINEMA NEW DOCUMENTARIES FROM PORTUGAL
Saturday, June 16, 12 pm A New Life (Uma Vida Nova) (2006, 30 min.) by Nuno Pires Throughout the 20th century, Portugal was a country of emigration, with thousands of citizens seeking employment abroad and sending their wages back home. Follow the story of Jose and Guiomar, who left for France in the 1970s, not yet 20 years old and without speaking a word of French, and returned to Portugal thirty years later.
Manuela Bairos, Consul-General of Portugal, will introduce the series on Thursday, June 14. THE CRIME OF FATHER AMARO (O CRIME DO PADRE AMARO) (2005, 100 MIN.) BY CARLOS COELHO DA SILVA
Thursday, June 14, 7 pm Portugal’s biggest box office hit ever is adapted from the 19th-century novel written by celebrated writer Eça de Queiroz. Telling the story of a new priest in town who has a secret affair, this film is set in the crime-ridden suburbs of today’s Lisbon and features an electrifying soundtrack by some of the best Portuguese hip-hop artists, including Da Weasel, Sam The Kid, and Clã. Strong sexual content.
ANDRÉ VALENTE (2005, 71 MIN.) BY CATARINA RUIVO
Introduction by the director Friday, June 15, 7 pm The first feature film from Ruivo, a young Portuguese film director who received the Don Quixote Award in 2004, André Valente is a moving family drama about a sensitive little boy who lives with his mother after his father has left them. The 8-year-old André, played by Leonardo Viveiros, learns how to keep his balance on the tight rope that is everyday life.
Eleven Donkeys Fall in an Empty Stomach (Onze Burros Caem no Estômago Vazio) (2006, 28 min.) by Tiago Pereira A documentary about traditional stories and songs about donkeys on the Miranda do Douro plateau in Northern Portugal, this film won the Tóbis prize for the best Portuguese short documentary film at the Doclisboa Festival in 2006. Wanting (Falta-Me) (2005, 20 min.) by Cláudia Varejão One hundred people from Lisbon were asked to write on a small blackboard about what they miss in their life, what they long for, and what hurts them. This film looks at the answers, capturing people from all walks of life and creating an intimate portrait of contemporary Portuguese society.
SKIN (PELE) (2005, 100 MIN.) BY FERNANDO VENDRELL
Sunday, June 17, 3 pm Skin is set in Lisbon in the 1970s, when Portugal had a dictatorial government and territories in Africa, and racism issues were present in society. The film tells the story of Olga, the daughter of a wealthy businessman who realizes that she will never be fully accepted by her peers or by society because of her skin color and mixed heritage.
All films are in Portuguese with English subtitles. Tickets: $10 general admission, $8 members, students, and seniors New Portuguese Cinema was organized in collaboration with the Boston Portuguese Festival and World Music/CRASHarts.
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON ¡ SUMMER 2007
14·TALKS & TOURS
GOING BEHIND THE CAMERA AND INSIDE THE BUILDING
WORDS FROM THE WALK: CARL PHILLIPS
Thursday, July 19, 6:30 pm The ICA’s Words from the Walk poetry series, a collaboration with the Creative Writing Program at the University of Massachusetts, Boston, presents Carl Phillips, who will read from his work, including Sunset, with Severed Head of Orpheus, which will be installed on the HarborWalk throughout the summer. Phillips is the author of nine books of poetry, most recently Riding Westward and Quiver of Arrows: Selected Poems 1986– 2006. A Chancellor of the Academy of American Poets, he has received numerous awards, including the Kingsley Tufts Prize and fellowships from the Guggenheim Foundation and the Library of Congress. Free Public Tours The ICA offers six docent-led tours weekly, free with museum admission. Tours leave from the lobby. Target Free Thursday Night 6 pm Philip-Lorca diCorcia 7 pm Introduction to the ICA This tour focuses on the museum as a whole, showing architectural highlights and discussing the concepts behind architects Diller Scofidio + Renfro’s design of the new ICA. Saturdays and Sundays 1 pm Philip-Lorca diCorcia 2:30 pm Introduction to the ICA
Philip-Lorca diCorcia, Eddie Anderson; 21 years old; Houston, Texas; $20, 1990-92 © Philip-Lorca diCorcia. Courtesy Pace/ MacGill Gallery, New York
PHILIP-LORCA DICORCIA
in conversation with curator Bennett Simpson Friday, June 1, 6:30 pm Barbara Lee Family Foundation Theater Your only opportunity to hear directly from the artist—come see our brand new exhibition of Philip-Lorca diCorcia’s best known photographic series. Join the artist as he talks about the ideas behind his work and his techniques in realizing them, and together with curator Bennett Simpson, expands on the concept behind the show. Following the talk, have diCorcia sign a copy of the ICA’s exhibition catalogue. Tickets: $15 general admission; $12 students and seniors; $5 members. Ticket price includes gallery admission.
Admission is free. Space is limited. Free tickets available on a first-come, firstserved basis at the admissions desk one hour before the program. Photo: Doug Macomber
15·FAMILIES
IT’S OK IF YOU HAVE AS MUCH FUN AS THE KIDS DO
PLAY DATES Come on the last Saturday of the month for family-friendly films, performances, and activities. These programs are suitable for children 5–12 accompanied by an adult. Lights, Camera, Action Saturday, June 30, 10 am – 4 pm Find out how photographer PhilipLorca diCorcia uses light, time, and split-second happenings in his work, then invent and photograph your own staged moments together with your family. Watch a family performance in the theater, and make sketchbooks to use along the HarborWalk. Harbor Islands Adventure Saturday, July 28, 10 am – 4 pm Pick up your “art detective” kit at the ICA, then step aboard a ferry to the Boston Harbor Islands to see works by contemporary artists and architects. Back at the ICA, create your own water-carrying vessel, and cool off with family films in the Barbara Lee Family Foundation Theater.
Color, Light, and Movement Saturday, September 29, 10 am – 4 pm Celebrate the arrival of autumn at the ICA. Take a family tour of the permanent collection, try your hand at easel sketching with help from artists, and investigate color mixing in the art lab. Get tips for inventing your own colorful stories from a professional storyteller in the theater. Admission is free for up to 2 adults accompanied by a child 12 and under. Seating for films and performances is limited; tickets are free and available first-come, first-served on the day of the program in the lobby. ICA Family Programs and Play Dates are made possible by support from The Fuller Foundation and the JPMorgan Chase Foundation.
Inside Out and Upside Down Saturday, August 25, 10 am – 4 pm Discover how architects Diller Scofidio + Renfro incorporated the sea and sky into the design of the museum. Bring the outdoors in with pen and ink drawings in the Bank of America Art Lab, take a family tour of the galleries, or step outside to create a magic carpet. Check our web site for upcoming details about a special family performance.
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
16·TEENS
THE COOLEST ANSWER TO “WHAT DID YOU DO THIS SUMMER?”
ARTIST ENCOUNTER FOR TEENS: ART ON THE HARBOR ISLANDS
With Art on the Harbor Islands artists June 23, July 10 and 28, and August 25 Explore three Art on the Harbor Islands installations by Teri Rueb, Anna Schuleit, and Ernesto Pujol, then create your own artwork in response. No experience is necessary; limited space available. For more information, please e-mail Rosanna Flouty, Teen Programs Manager, at rflouty@icaboston.org.
TEEN NEW MEDIA CLASSES Digital Photography for High-School Teens Tuesday, July 17 – Friday, July 20, 2 – 5 pm Explore the work of photographer Philip-Lorca diCorcia, and then create your own snapshots using a digital camera. Fee: $200, materials fee $30; scholarships available for BPS students Flash Intensive for Teens Tuesday, July 24 – Friday, July 27, 2 – 5 pm Look at video work by Paul Chan, Julian Opie, and others in the ICA’s permanent collection, and learn how to create your own Flash MX movie. Open to students entering grades 8 and 9. Fee: $200, materials fee $30; scholarships available for Boston Public Schools students For more information, e-mail Rosanna Flouty, Teen Programs Manager, at rflouty@icaboston.org.
The John Hancock Teen Education Program is made possible by significant support from John Hancock Financial Services.
Additional support is provided by the The Clowes Fund, The Fuller Foundation, the U.S. Institute of Museum and Library Services, the JPMorgan Chase Foundation, The Ramsey McCluskey Family Foundation, the William E. and Bertha E. Schrafft Charitable Trust, the Carl and Ruth Shapiro Family Foundation, the Surdna Foundation, and The Wallace Foundation.
To reserve a space in Teen New Media Classes, call 617-478-3103 for ticketing. TEEN VIDEO BOOTCAMP
Summer Video Camp: The ICA and the Boston Harbor Islands Monday through Friday, August 6 –17 10 am – 5 pm Capture the sights and sounds of the Boston Harbor Islands and create videos in the Paul and Phyllis Fireman Family Digital Studio. No experience is necessary; open to high school-age students. All equipment will be provided. Limited space is available through an application and interview process. For more information, please e-mail Joe Douillette, Fast Forward Program Director, at jdouillette@icaboston.org. Fee: one week $300; two weeks $600; plus $30 materials fee
Background design by Teen Arts Council member Fatimah Kabba
17·PICKS
WARNING: THESE SITES MAY BE HABIT-FORMING
WHAT ARE YOUR MUST-READ WEB SITES AND BLOGS? PATRICIA DELLORFANO, TOUR PROGRAM MANAGER
ROSANNA FLOUTY, TEEN PROGRAMS MANAGER
www.theartnewspaper.com One of my favorite art-related websites is The Art Newspaper. I recommend signing up for the publication’s free enewsletter. You’ll be sent a weekly selection of articles from the current edition plus special bulletins with breaking news and updates. The scope of articles run the gamut from the latest art tax laws, criminal cases, and art world controversies, to a worldwide exhibition guide listing close to 1,500 current shows around the globe. EMMA FERNANDEZ, EDUCATION AND INTERPRETATION SPECIALIST
www.ubu.com Created in 1996, UbuWeb is a completely independent resource dedicated to all strains of the avant-garde, ethnopoetics, and outsider arts. This never-ending archive of sound, video, and words is totally free. Anything you’d like to see, hear, or read, you’ll probably find it on UbuWeb. As for me, every time I’m homesick for my native Spain, I log on for a dose of Luis Buñuel.
www.rhizome.org Rhizome has been committed to new media practices for over ten years now, and I am amazed at how it has continually remained porous, inclusive, and reactive towards constantly shifting issues in contemporary art that utilizes new technologies. It evolved from a humble database and archive for online projects and threaded discussions between artists and practitioners in the 1990s into a dynamic online platform to connect individual artists and art communities all over the planet. DAVID HENRY, DIRECTOR OF PROGRAMS
www.pbs.org/art21/ This is the official site of the PBS show Art 21. This fall will be its fourth season of profiling contemporary artists, many of whom have exhibited at the ICA. The show is remarkable in that it really focuses on the words and process of the artists, and the web site takes that even further with interviews, educational materials, portfolios, and interactive features. It’s a great place to learn how artists create.
Photos: John Kennard
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
18·POSS FAMILY MEDIATHEQUE A VIEW TO BLOW YOUR MIND, RESOURCES TO FEED IT
THE MEDIATHEQUE MAILBAG By clicking on “Contact ICA” on the computers in the Poss Family Mediatheque, you can submit questions about the building, the art on view, or the museum in general. Our staff dipped into this electronic mailbag recently to answer some of our visitors’ questions. What’s the story behind your font? This distinctive, angular font was designed especially for us. It plays with ideas of revealing and concealing and is part of our overall visual identity that experiments with planes, depth, and space. Like our building, the font brings things in and out of view, and when you see it, you know immediately that it’s the ICA. —Brigham Fay, Communications Coordinator
I am wondering about the installation of works. Who makes the decisions—the artists or the curators? The answer is both. Curators decide how works might be grouped and/or sequenced in relation to an exhibition’s themes. If works require specific conditions—light or sound blocking, a pedestal, audio-visual equipment— these dictate the curator’s decisions about placement. For highly complex installations, artists are often consulted to oversee the final details of presentation. In all cases, the aim is to present each work in the best light in the context of the exhibition. —Jen Mergel, Assistant Curator
Who founded the ICA? The ICA was founded in 1936 as a branch of the Museum of Modern Art by Nathaniel Saltonstall, Moses Williams, Jr., Dorothy Hillyer, William G. Russell Allen, Ellen MacVeagh, Thomas N. Metcalf, and Stuart Montgomery. It was conceived as a laboratory where innovative approaches to art could be championed, and later changed its name to become the Institute of Contemporary Art in 1948. —Nora Donnelly, Senior Registrar
What is the weight of your building? It would be very difficult to estimate the weight of all the materials used in the building, but we do know that the structural steel alone weighs 700 tons—or, as architect Charles Renfro calculated, the equivalent of about 350 SUVs. – BF
Other than serving the public, are there any other purposes for the large glass elevator? The main elevator is also our freight elevator, which we use to move works of art. It allows us to transport large objects such as Sigmar Polke’s painting I Live in My Own World, but It’s OK, They Know Me Here, measuring more than 10 feet by 16 feet, and Anish Kapoor’s Turning the World Inside Out, a stainless steel sculpture estimated at over 2.5 tons. —Tim Obetz, Chief Preparator
Every museum should have these interactive programs to ask questions, especially contemporary art museums. We agree! To be moved or challenged by art, I think you have to feel connected to it. The interactive features in the Mediatheque give you an active voice in the dialogue about today’s art. You can ask us questions, participate in polls, contribute to the ever-evolving vocabulary of contemporary art, and of course, let us know how we are doing. —Emma Fernandez, Education and Interpretation Specialist
MATCH GAME Here are some of the words visitors have submitted in the “Tag It” section of the Mediatheque. Connect the tag to the artwork you think it describes.
escape transcendence
torture
funny vertigo
Taylor Davis, Untitled, 2001. Purchased through funds provided by The Robert E. Davoli and Eileen L. McDonagh Charitable Foundation Thomas Hirschhorn, Wood-Chain VIII (Pisa Tower), 2004. Fractional and promised gift of Beth and Anthony Terrana Laylah Ali , Untitled (Greenheads) (detail), 1998. Promised gift of Barbara Lee Nan Goldin, Self-portrait on the train, Germany, (detail) 1992. Fractional and promised gift of Beth and Anthony Terrana Paul Chan,1st Light, 2005. Gift of Kimberly and James Pallotta
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
20·MEMBERS FROM VIPS TO FAQS
MEMBER EVENTS Design Life Now: National Design Triennial Members’ Opening Reception Wednesday, September 26, 6 – 10 pm Members-only Daytime Viewing Hours Thursday, September 27, 10 am – 9 pm
NEW GROUP
Take your involvement to new heights! Experience Boston’s lively contemporary art scene through an exciting series of events focusing on championing emerging and mid-career artists and fostering knowledge of collecting art. Events range from panel discussions and guest lectures to VIP opening receptions for the Momentum series and the Annual New Group Benefit. Act Fast Join by June 12 to attend this special lecture: “The Art of Discovery: Finding Undervalued Prints in a Hot Market” Christopher Gaillard, Sotheby’s Senior Specialist and Vice President in Prints Tuesday, June 19, 6:30 pm Save the Date Attend New Group-exclusive events on June 19 and September 11, and the VIP Opening Reception for Momentum 8: Dave McKenzie on July 24. Any ICA member at the Individual level and above can join the New Group by paying annual program dues. For more information, call the membership office at 617-478-3102 or email membership@icaboston.org.
MEMBERSHIP FAQS
Q: What if I lose my membership card? A: You can request a replacement card for a $5 fee. Call membership at 617-478-3102, send an email to membership@icaboston.org, or visit a membership station at the admissions desk. In the meantime you can still visit the ICA by presenting a photo ID. Q: What is a reciprocal membership? A: Members at the Friend level and above receive reciprocal membership privileges such as free admission and discounts at 35 of the country’s modern and contemporary art museums including the ICA, Philadelphia; Museum of Contemporary Art, Chicago; the Phillips Collection, Washington, D.C.; and the Walker Art Center, Minneapolis. For a complete listing, please visit our web site. Q: How do I receive my member discount on tickets to ICA programs? A: ICA members receive discounts on ICA-produced public programs and performances. Call the Box Office at 617478-3103 or log onto www.icaboston.org, where you can click on “Tickets” in the top right corner of each page. The first time you log in, use your Member ID as both your log-in and password in order to receive your discount. After your first log-in, you can personalize both your log-in and password for future purchases. Please note that the membership office is unable to process ticket orders. Q: Do I have access to advance ticket privileges? A: Associate level members and above can purchase advance tickets for ICA-produced public programs, performances, and films. Buy tickets two weeks before the general public by calling the Box Office at 617-478-3103 or by logging onto www.icaboston.org. See more FAQs and answers at www.icaboston.org/ membership.
Photos: John Kennard
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
22·SUPPORT
GETTING BEHIND ART’S FOREFRONT
FOUR QUESTIONS: GERALD FINEBERG Longtime ICA donor Gerald Fineberg, who, along with his wife Sandra, named the Sandra and Gerald Fineberg Art Wall in the museum lobby, sat down with the ICA’s Paul Bessire to share the reasons behind their support of the new ICA. there would be a new piece every year appealed to our desire to engage ICA visitors by experiencing the excitement of cutting edge art and artists. The Divine Gas is the ideal inaugural piece—it is accessible, witty, visually stimulating and can be appreciated on so many levels. PB: What do you think is the most exciting thing about the new ICA? GF: The Art Wall, of course!
PAUL BESSIRE: How long have you and your wife Sandra been donors to the ICA? GERALD FINEBERG: Sandra and I have been supporting the ICA in one way or another since the mid-1980s. PB: Why did you decide to support the ICA’s campaign, and in particular the Art Wall? GF: Sandra and I are passionate about contemporary art, collecting, and museums in the Boston area. With our interest and support of the ICA’s bold vision for the waterfront, it was important to us to make a contribution to the ICA’s campaign. When the ICA approached us about supporting the Art Wall, it spoke to our commitment to sharing a newly created work of art with the public. And the fact that
PB: What is the ICA’s role in Boston and how do you think this will benefit, change, or enhance the community? GF: We believe that the ICA has already demonstrated incredible leadership by daring to build a new architectural icon for Boston. But the architecture is not the most incredible thing—the art inside is. Boston has never had this kind of forum for contemporary art and performance, and I think that the ICA will expose its members and visitors to amazing experiences and profoundly change how our community views contemporary art. We are so thrilled to be a part of it. Photo: © Richter-Colella
JAMES AND AUDREY FOSTER MEET WITH 2006 FOSTER PRIZE FINALISTS
The Fosters, who endowed the prize given biennially to a Boston artist, met with the four finalists and personally congratulated Kelly Sherman, who was selected by a jury to receive the $25,000 award. “Kelly Sherman’s skillful and subtle work demonstrates the innovation, individuality, and adventurousness that the prize represents,” said James Foster. Sherman’s Wish Lists, a spare yet emotionally charged installation of 40 lists collected from the internet, was recently accepted into the ICA’s permanent collection, along with Karaoke Wrong Number, a video from fellow Foster Prize finalist Rachel Perry Welty. Their works will be on view from July 25, 2007, through July 13, 2008, as part of Accumulations: More Than the Sum of Their Parts. Photo: John Kennard
DIRECTOR’S CIRCLE SAVE THE DATE Opening Reception Design Life Now: National Design Triennial Exclusive to Director’s Circle members at any level Tuesday, September 25, 5:30 – 7:30 pm
23·STORE/CAFE
TURNING HEADS AND WETTING WHISTLES
FEATURED DESIGNER: RYAN KUNDRAT Strike just the right balance between edgy and elegant. Ryan Kundrat turns the preciousness of pearls on its head with handmade jewelry influenced by his background in industrial design. A graduate of Rhode Island School of Design, Kundrat produced furniture and lighting before using his unconventional methods to create sophisticated works of wearable art. The necklace and earrings from his new “tink black” collection feature freshwater pearls, oxidized silver, and 14k gold. $120 each ($108 members)
WATER CAFÉ BY WOLFGANG PUCK
The warmer weather means outdoor dining and fresh new options at the Water Café. Whether you’re listening to jazz, dancing the tango, or simply enjoying our waterside spot, our specialty drinks and summer fare are the perfect complements to those balmy nights. The Water Café by Wolfgang Puck is open during regular museum hours. Members receive a 10% discount.
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
24·LOOKING FORWARD WHAT’S ON THE HORIZON
DESIGN LIFE NOW: NATIONAL DESIGN TRIENNIAL
September 28, 2007 – January 6, 2008 This fall, the ICA will host the National Design Triennial. Inaugurated in 2000, the Triennial presents work by the most innovative American designers from the prior three years in a variety of fields, including product design, architecture, furniture, film, graphics, new technologies, animation, science, and fashion. The work of more than eighty designers and firms will be on view, from established design leaders such as Apple, architect Santiago Calatrava, and Nike Inc., to emerging designers including Joshua Davis, Jason Miller, and David Wiseman. Design Life Now was organized by
The exhibition was made possible by Generous support was provided by
Additional funding was provided by Agnes Bourne.
MOMENTUM 8: DAVE MCKENZIE
July 25 – October 28, 2007 The ICA’s ongoing exhibition series devoted to new developments in art will feature New York-based artist Dave McKenzie. Momentum 8 will be his first solo museum exhibition and the first presentation of his work in Boston. McKenzie will debut a two-channel video installation that reflects on the social utility of artists today. Describing the work as a cross between Kafka’s Metamorphosis and the Don Knotts children’s film The Incredible Mr. Limpet, McKenzie himself portrays a young artist who is suddenly transformed into an animal. The 2006-2007 Momentum series is sponsored by
Apple, iPod nano, 2005. Photo: Apple Computer, Inc. The Boeing Company, The Boeing 787 Dreamliner, 2005. Photo: The Boeing Company Dave McKenzie, still from two-channel video (work-in-progress) for Momentum 8, 2007.
Momentum 8: Dave McKenzie is supported by Group Momentum: Nick Adams, Janice and Mickey Cartin, Rebecca and Martin Eisenberg, Corinne and Tim Ferguson, Sue and Nat Jeppson, Barbara Lee, Carol and Sol LeWitt, and Marlene and David Persky.
26·VITA BREVIS
TAKING YOU BEYOND THE WATER’S EDGE
ART ON THE HARBOR ISLANDS
BOSTON HARBOR ISLANDS NATIONAL PARK AREA JUNE 23 – OCTOBER 8, 2007
ERNESTO PUJOL TERI RUEB ANNA SCHULEIT OFFICE DA
Art on the Harbor Islands is a multi-sensory discovery of the Boston Harbor Islands’ remarkable resources—water and sky, sand and city, historic sites and new trails, all just a ferry ride from the heart of Boston. This national park area, home to beaches, marinas, walking trails, picnic sites, and wildlife, provides inspiration for four new contemporary art projects. Leading artists and architects who examine our relationship to the spaces around us—whether abandoned buildings, progressive design, or the natural world—present work that goes below the surface and into the past, exploring the built environment, the natural landscape, and our connection to it all.
NEW: THE NEW: MAGAZINE THE MAGAZINE OF THE OF INSTITUTE THE INSTITUTE OF CONTEMPORARY OF CONTEMPORARY ART/BOSTON ART/BOSTON · WINTER/SPRING · SUMMER 2007
TERI RUEB CORE SAMPLE Spectacle Island A professor in the Graduate Department of Digital Media at RISD, Teri Rueb creates installations that consider issues of architecture and urbanism, landscape and the body, and sonic and acoustic space. Her interactive sound pieces include Trace, set along hiking trails in the Canadian Rockies, and Drift, set along the tidal flats of the Wadden Sea in Germany. Core Sample responds to the complex, storied past of Spectacle Island, which, over the years, has been home to casinos and hotels, a horse rendering plant, city dumping, and to families who made their livelihoods and educated their children there. Spectacle is now a model of effective landscape reclamation, with drumlins shaped from excavated material from the Big Dig and replanted with trees, shrubs, and grasses. Using Global Positioning Technology, Rueb has created an interactive walk with a series of audio “core samples,” or sonic mixes, that explore the island’s many subterranean layers. Blending fact, fiction, and voices of former residents, Rueb combines natural and processed sounds to evoke what lies beneath while also calling attention to the island’s present soundscape. Her piece can be heard at twelve locations on the island using headphones that can be borrowed at Spectacle’s Visitor Center and through an interactive sculpture in the ICA’s Founders Gallery.
ANNA SCHULEIT WATERSIDE Lovells Island
Winner of a 2006 MacArthur Fellowship, Anna Schuleit has created a number of large-scale installations that explore architecture and abandoned spaces. Bloom (2003) filled 180,000 square feet of the Massachusetts Mental Health Center with flowers, and Habeas Corpus (2000) was a sound installation in the former Northampton State Hospital. With Waterside, Schuleit takes us inside her artistic process. Having spent extensive time on Lovells Island— she lived in a yurt there last summer—Schuleit is fascinated by its peculiar mix of crumbling military ruins and rugged, natural beauty. Housed in a yurt similar to Schuleit’s temporary home, Waterside is a display of models, drawings, and artist’s books that imagine two ambitious site-specific projects. Intertidal would place 10-foot-high, mirror-like walls in the island’s intertidal zones, reflecting sea, sky, bathers, and the decaying artillery structures, symbolically reversing their purpose. Sightlines, a series of four large-scale drawings etched on a rare grade of glass, would be situated on Fort Standish’s gun emplacements, reflecting and refracting the changing light. On several occasions throughout the exhibition Schuleit will be present to answer visitors’ questions—check www.icaboston. org for a schedule.
OFFICE DA
Photo: Blaine Anderson and Ernesto Pujol, 2007
ERNESTO PUJOL THE WATER CYCLE
Spectacle, Lovells, Georges, and Little Brewster Islands A former sequestered monk and current Buddhist, Ernesto Pujol creates photography, installation, and performance art that explores spirituality, memory, and the body. Wearing authentic late 19th-century seaman’s clothing, Pujol will become the “Water Carrier,” a pilgrim who travels to several Boston Harbor Islands to collect water in hand-blown glass vessels and returns them to the museum as part of a sculptural work. Join Pujol as he makes five of these walks throughout the summer, beginning and ending at the ICA. Check www.icaboston.org for performance dates. To learn more about Ernesto Pujol and The Water Cycle, see the interview on p. 30.
VOROMURO Georges Island The work of this Boston-based design firm ranges from furniture to architecture and urban design. Led by principals Monica Ponce de Leon and Nader Tehrani, Office dA has won a number of awards and competitions, including two Progressive Architecture Awards. Their projects include the MacAllen Building, Boston’s first green residential building; the main library at RISD, converted from a former bank; and the interior of Beacon Hill’s Upper Crust Pizzeria. Ponce de Leon and Tehrani are creating work for Georges Island, home to Fort Warren and perhaps the park’s best known island. The architects are compelled by the rich interplay between Georges’s natural topography and its intricate built environment. Voromuro, made with acrylic “boulders,” forms a 16-foot-high wall in the elegant interior of the fort’s Powder Magazine, referencing the rural New England stone wall and the fort’s extensive stone masonry.
A brochure for Art on the Harbor Islands will be available at the ICA and at Spectacle Island’s Visitor Center. Please visit www.bostonislands.com for ferry schedule information. The project will be also featured in the Poss Family Mediatheque. Art on the Harbor Islands is supported in part by the Nimoy Foundation, the LEF Foundation , and Urban Glass through a grant from the Rockefeller Brothers Fund. The ICA is grateful to the Boston Harbor Islands Partnership for its invaluable support and assistance, with special thanks to the Island Alliance, the Department of Conservation and Recreation, and the City of Boston.
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
30·ERNESTO PUJOL
BUDDHISM, BILLY BUD, AND BOSTON HARBOR
“THE WATER CARRIER SLOWS US DOWN. HIS SILENT JOURNEY INTRODUCES CONTEMPLATION INTO THE DISTRACTED PUBLIC SPHERE.” A CONVERSATION WITH ERNESTO PUJOL
The ICA’s Brigham Fay talks to artist Ernesto Pujol about The Water Cycle, his project for Art on the Harbor Islands that aims to reconnect Boston’s people with their harbor. A former monk who observed a vow of silence, Pujol portrays a silent character in a series of performances that create stillness in the midst of an overstimulated world.
BRIGHAM FAY: After studying painting, you spent a number of years as a Roman Catholic monk before returning to art-making. How did spirituality inform your approach to creating this work? ERNESTO PUJOL: The Boston Harbor Islands elicit various responses from me. Zen Buddhism envisions a bodhisattva as one who sells water by the river—a public fool who acts for the sake of awakening consciousness. From a Christian monastic perspective, they evoke the ancient notion of pilgrimages to sacred sites like Jerusalem or Mecca, to receive blessings or collect holy water. A pilgrimage is about the journey, not the destination. Traveling there is what cleanses, edits, and purifies you, losing unnecessary baggage along the way.
Finally, from the environmentalist’s point of view—a sort of spirituality of the future—I am in awe of the immensity of the ocean, confronting us just minutes from downtown Boston. Its ferocity and depth are barely contained—once you’re out of the Inner Harbor, there is no question of who is stronger.
BF: Tell me about the water carrier, or aguador, the role you will play in these performances. What is the significance of his costume? Why is he silent?
EP: People speak about the looming oil crisis, but the true future crisis will be the lack of fresh drinking water. I am also interested in the history of the human body, remembering the many men and women who used to carry things publicly for us, and the miraculous act of walking—one of the things that makes us human. The postmodern body lives in a world of interiors; technology keeps us inside. The body does not move, even as it desires to be moved on many levels. The costume includes authentic late-19th and early-20th-century pieces: a shirt, vest, pants, skullcap, and glasses. It engages in the familiar visual language of historical reenactments and follows Herman Melville’s description of the sailor’s faded white, shroud-like garments in Billy Bud. The white butoh makeup sets a boundary, enabling me to feel safe among hundreds of people. It’s a hybrid of classic theatrical costuming, a modern dancer’s lightness, and performance art. I will also be barefoot every time I can. BF: The Boston Harbor Islands have each had very different histories, uses, and inhabitants. How do you incorporate each island’s individual story into your performance?
EP: Much of it is organic, stemming from the Buddhist concept of not knowing. We have coordinated the performances with the National Park
Service and Island Alliance, along with the Massachusetts Department of Conservation and Recreation, but in the end, each performance will have unpredictable components, which are just as important as what is planned. These are not lessons but a way to find the deeper meaning of the place. We will find it together, both during the event and as we remember it later. For example, I’ll walk the perimeter of Spectacle Island, which has shifted so many times, near the summer solstice. It will be amazing to walk it slowly while others walk briskly past me. I plan to approach the battery of Lovells and visit the lighthouse of Little Brewster, where I’ll have tea with its lady keeper and gather water from its cistern. I will roam through the fort at Georges. But there is also rain, wind, tides, children, wildflowers, birds, and butterflies—there should be surprises.
BF: For The Water Cycle, you work with sculptors, a costume historian, and another performer, while members of the public can follow the performance. What role do collaboration and participation play in your work?
EP: I am increasingly interested in collaboration. I like to generate creative partnerships through my projects at all levels. Public art should be generous, an expression of the citizenship of the artist, and the artistic process should be transparent. But I am still learning about collaboration. Partners educate you, and their unexpected questions spontaneously generate new ideas, expanding and improving projects, making them richer. So processes must be fluid, constantly adaptable. Photos and selections from the water carrier’s journal will be posted in the Poss Family Mediatheque, so that visitors can read his thoughts leading up to, during, and after the performance. I would love to have a conversation with the people of Boston.
BF: You have described these journeys to collect water as “pilgrimages.” What kind of experience do you hope to provide the viewers who follow the performance?
EP: I want viewers to experience a bit of silence in public. The experience of being on a silent journey is unique. In the end, what I do is extremely simple, even anticlimactic. It’s not about me; it’s reclaiming public space as a place for quiet reflection, for finding the self, rather than for consumption. Some viewers will be bored after a while and decide to drop out from the long journey—I don’t expect people to follow me for hours. I recognize there’s a bit of an endurance ritual here, but that adds character to the performance, generating a sort of respect. I hope that everyone discovers their own renewed relationship with the place. Photo: Blaine Anderson and Ernesto Pujol, 2007
CALLING ALL TEENS Visit the Boston Harbor Islands with Ernesto Pujol and other artists at the Artist Encounter (see p. 16). Want to help program events like these? Join the Teen Arts Council! Log on to our web site for an application. Visit www.icaboston.org for the dates and times of Pujol’s walks and for more information about Art on the Harbor Islands.
NEW: THE MAGAZINE OF THE INSTITUTE OF CONTEMPORARY ART/BOSTON · SUMMER 2007
32·CALENDAR
THERE ARE 95 DAYS OF SUMMER—USE THEM WISELY
JUNE
JULY
SEPTEMBER
Friday 6/1
Thursday 7/5
Saturday 7/28
Monday 9/3
Artist Talk
Music
Dance
LABOR DAY
PHILIP-LORCA DICORCIA
HARBORWALK SOUNDS
6:30 pm
6 – 8:30 pm
STEPHAN KOPLOWITZ AND SUMMER STAGES DANCE
The ICA is Open 10 am – 5 pm
Friday, 6/8
Thursday 7/12
Summer Music Surge
Summer Music Surge
Sunday 7/29
JANDEK
DEERHUNTER
Dance
Design Life Now: National Design Triennial
7 pm
7 pm
STEPHAN KOPLOWITZ AND SUMMER STAGES DANCE
MEMBERS’ OPENING RECEPTION
Thursday 6/14
Friday 7/13
1 pm, 2 pm, and 3 pm
6 – 10 pm
Music
You Dance Fridays
HARBORWALK SOUNDS
HIP-HOP 101
6 – 8:30 pm
AUGUST
Thursday 9/27
6 – 8:30 pm
Thursday 6/14
Tuesday 7/17
Film
Teen New Media Classes
You Dance Fridays
THE CRIME OF FATHER AMARO
DIGITAL PHOTOGRAPHY FOR HIGH-SCHOOL TEENS
6 – 8:30 pm
7 pm
Through Friday 7/20 2 – 5 pm
1 pm, 2 pm, and 3 pm
Friday 6/15
Friday 8/3 POLKA
Monday 8/6 Summer Teen Video Bootcamp
Film
Thursday 7/19
ANDRÉ VALENTE
Music
7 pm
HARBORWALK SOUNDS
Through Friday 8/17
6 – 8:30 pm
10 am – 5 pm
Thursday 7/19
Thursday 8/9
Saturday 6/16 Film NEW DOCUMENTARIES FROM PORTUGAL
Words from the Walk
12 pm
6:30 pm
Sunday 6/17
Friday 7/20
Film
You Dance Fridays
SKIN
TANGO
3 pm
6 – 8:30 pm
Thursday 6/21
Tuesday 7/24
Music
Teen New Media Classes
HARBORWALK SOUNDS
FLASH INTENSIVE FOR TEENS
6 – 8:30 pm
Through Friday 7/27 2 – 5 pm
Thursday 6/28
CARL PHILLIPS
Music
Thursday 7/26
HARBORWALK SOUNDS
Music
6 – 8:30 pm
HARBORWALK SOUNDS
6 – 8:30 pm
Saturday 6/30 Play Date
Friday 7/27
LIGHTS, CAMERA, ACTION
You Dance Fridays
10 am – 4 pm
SALSA
6 – 8:30 pm
Saturday 7/28 Play Date HARBOR ISLANDS ADVENTURE
10 am – 4 pm
THE ICA AND THE BOSTON HARBOR ISLANDS
Music HARBORWALK SOUNDS
6 – 8:30 pm
Thursday 8/16 Music HARBORWALK SOUNDS
6 – 8:30 pm
Thursday 8/23 Music HARBORWALK SOUNDS
6 – 8:30 pm
Saturday 8/25 Play Date INSIDE OUT AND UPSIDE DOWN
10 am – 4 pm
Wednesday 9/26
Design Life Now: National Design Triennial MEMBERS-ONLY VIEWING HOURS
10 am – 9 pm
Saturday 9/29 Play Date COLOR, LIGHT, AND MOVEMENT
10 am – 4 pm
HOW TO BUY TICKETS To purchase tickets, log onto www.icaboston.org. Tickets can also be purchased at the ICA box office during regular museum hours or one hour before the program, or by phone at 617-478-3103 (during regular museum hours). A $3 processing fee per ticket will be added to phone orders for non-members. Wheelchair seating and assistive listening devices are available; please call the box office in advance to make a request. If you need further assistance, including sign language interpretation, please contact the ICA box office at least two weeks in advance of program. FREE PUBLIC TOURS
See p. 14 TEEN PROGRAMS
See p. 16 MEMBER EVENTS
See p. 20 The ICA’s public programs are supported in part by the U.S. Institute of Museum and Library Services.
The ICA is supported in part by the Massachusetts Cultural Council, a state agency, and the Boston Cultural Council, a local agency funded by the Massachusetts Cultural Council and administered by the Mayor’s Office of Arts, Tourism, and Special Events.
Photo: Peter Vanderwarker
GENERAL INFORMATION WHEN, WHERE, AND HOW MUCH
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Target Free Thursday Nights are sponsored by Target.
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THE INSTITUTE OF CONTEMPORARY ART/ BOSTON
100 Northern Avenue
$12 general admission $10 students and seniors Free members and children 17 and under Free after 5 pm every Thursday for Target Free Thursday Nights Free families (up to 2 adults accompanied by children 12 and under) on the last Saturday of each month
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WATER CAFÉ BY WOLFGANG PUCK World Trade Center
DIRECTIONS
The ICA is located at 100 Northern Avenue in Boston. It is a short walk from downtown and easily accessible by public transportation. There is also ample, affordable parking in the area. Via public transportation: From South Station, take the MBTA Silver Line to the World Trade Center stop. Exit left onto Congress Street. Walk one block to the corner of B Street and turn right, crossing Congress Street. Follow B Street for one block. At the corner of B Street and Seaport Boulevard cross the street and turn left. At the next corner, turn right onto Northern Avenue. The ICA is on the right. You will pass the entrance to Anthony’s Pier 4 and two parking lots before coming to the driveway leading to the ICA entrance. By car: The ICA is easily accessible from both I-90 and I-93. Please visit www.icaboston.org for detailed driving directions. MUSEUM, STORE, & CAFE HOURS
Tuesday and Wednesday 10 am – 5 pm Thursday and Friday 10 am – 9 pm Saturday and Sunday 10 am – 5 pm Closed Monday, except on the following national holidays: Martin Luther King, Jr. Day, Presidents’ Day, Memorial Day, Labor Day, Columbus Day, and Veterans’ Day.
THE IN ST IT U T E OF CO NT EMPORARY A R T/ B OS TON
100 Northern Avenue Boston, MA 02210
Breakfast, Lunch, Dinner ICA Members receive a 10% discount ACCESSIBILITY
The ICA is fully wheelchair and stroller accessible. CONTACT
General Information 617-478-3100 Membership 617-478-3102 Box Office 617-478-3103 ICA Store 617-478-3104 Web www.icaboston.org E-mail info@icaboston.org OFFICIAL MEDIA PARTNERS
OFFICIAL PERFORMING ARTS MEDIA PARTNER
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