Evgenya, Induction Center Tel Hashomer, Tel Hashomer, Israel, March 6, 2002; Evgenya, North Court Base, Pikud Tzafon, Israel, December 9, 2002, 2002. Chromogenic color print (Ektacolor), Two parts, each 49 5/8 × 42 1/8 inches (126 × 107 cm). Gift of Sandra and Gerald S. Fineberg. Courtesy the artist and Marian Goodman Gallery. © Rineke Dijkstra
Evgenya first saw me when I was a teenager, 14 or 15. She was about 18 and still is. Her double gaze found me many times in those first months I visited the gallery, in groups and alone, under the purview of various volitions, and by the fortune of my deepening familiarity with the museum. In time, the room became organized around her.
There are two Evgenyas present. At first, I was not sure.
Evgenya on the left reminded me of someone I knew, and I was sympathetic to her physical presentation. I wore dark clothes and my hair fell over my eyes; these made up the compass by which I navigated my young world, and thus Evgenya was someone that I could know, and would have wanted to. Her tensed brow and just turned neck had a secretive trepidation which I felt empathized with me.
Evgenya on the right and I did not know each other. Her role is clear from her clothes – gently worn, rusty, olive fatigues – in a way that was both alien and parallel to a young person in an art program, who thought they may become an artist. Yet I envied her relaxed, hidden arms and her calm, confrontational face.
There are two Evgenyas present, and I learned to see each in the glass of the other.
Rineke Dijkstra’s camera takes its place on either side of a decisive event – the start of compulsory military service. I feel for Evgenya a hovering respect and a delicate protectiveness. Something of a violence seems to have already taken place, and not one implied by political context. She changes between the photographs, so my instinct is to parse out this difference. Evgenya also stays the same; she may indeed have become herself. In the photographs, Evgenya is emergently revealed to herself and separated from herself; though it reminds me of lepidoptery – skewered butterflies preserved in cabinets – it is not photography that does this.
Most of my recent sojourns to the fourth floor have been with groups of teens participating in out-of-school programs. In past years we have been able to encounter Almerisa, also photographed by Dijkstra. More than once, gathering my group at the end of the last hour, I have sighted a teen lingering in her estimation, still absorbing her multiplicity. I think this kind of work, which follows on the heels of yet also keeps ahead of life, has an especial effect on young people, who are in the midst of such rapid outward change themselves – surely committed to the still image in even more frequent intervals than we see of Almerisa.
I’m excited for Evgenya to return this fall. I look forward to encountering her abiding change, which I expect to see with new eyes. And when I am in her view, her gaze will ask me, and ask me to ask myself, how have I changed? My hair and dress are different from when I was younger, reflecting altered station, altered world – but I hope that I have developed the soft, sure eyes which I have admired of her for so many years, with which to see others and myself.
Montgomery Alcott is the Teen New Media Program Assistant at the ICA. He cooks and reads.
Friday Art Notes are personal reflections on works of art shown or in the permanent collection of the ICA, written by ICA staff, volunteers, and supporters. Read more
We find ourselves in an uncertain world. A world that has changed suddenly. Now often we find ourselves reflecting on times past and dreaming about the days to come.
Make a memory mobile to remember and to hope. Write, draw, and decorate these memory tags. Display the memory mobile in your home to remind yourself of joyful times that have gone by and will return.
Nos encontramos en un mundo incierto. Un mundo que cambió repentinamente. Ahora nos encontrarnos a menudo reflexionando sobre los momentos del pasado y soñando sobre los días que vendrán.
Crea un móvil de recuerdos para recordar y tener esperanza. Escribe, dibuja y decora estos carteles de recuerdos. Decora tu móvil de recuerdos en tu casa para recordar los momentos de dicha que han pasado y que regresarán.
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Krina Patel is a Boston-based artist and educator who shares stories and memories through images and texts. Krina engages with visual processes, creating images using a range of media from pencils and brushes to digital pens and laser tools. Her creative process is collaborative as she invites viewers to participate directly and/or indirectly in creating and re-creating the art works.
Krina Patel es una artista y educadora de Boston que comparte relatos y recuerdos a través de imágenes y textos. Krina se dedica a los proyectos visuales, creando imágenes con una variedad de materiales, de lápices y pinceles, a bolígrafos digitales y herramientas láser. Su proceso creativo es de colaboración, ya que invita a los espectadores a participar de manera directa y/o indirecta en la creación y la recreación de sus obras de arte.
Simone Leigh photographed at Stratton Sculpture Studios, 2020 . Courtesy of the artist and Hauser & Wirth. Photo by Shaniqwa Jarvis. © Simone Leigh
Simone Leigh, Jug, 2019. Bronze, 84 1/2 × 49 5/8 × 48 3/4 inches (214.6 × 126 × 123.8 cm). Courtesy of the artist and The Solomon R. Guggenheim Foundation. Photo by David Heald. Image © 2019 The Solomon R. Guggenheim Foundation. © Simone Leigh
Simone Leigh, Las Meninas, 2019. Terracotta, steel, raffia, porcelain, 182.9 x 213.4 x 152.4 cm / 72 x 84 x 60 inches. Courtesy of the artist and The Cleveland Museum of Art. Photo by Farzad Owrang © Simone Leigh
Simone Leigh, Cupboard IX, 2019. Stoneware, raffia, and steel armature, 78 × 60 × 80 inches (198.1 × 152.4 × 203.2 cm). Acquired through the generosity of Bridgitt and Bruce Evans and Fotene Demoulas and Tom Coté. Courtesy the artist. © Simone Leigh
Simone Leigh, Hagar, 2020. Glazed stoneware , 81.3 x 62.2 x 33 cm / 32 x 24 1/2 x 13 inches. Courtesy of the artist. Photo by Dan Bradica. © Simone Leigh
(Boston, MA—October 14, 2020) The Institute of Contemporary Art/Boston (ICA), in cooperation with the U.S. Department of State’s Bureau of Educational and Cultural Affairs, is pleased to announce that Simone Leigh will represent the United States at the 59th International Art Exhibition of La Biennale di Venezia in 2022. Leigh’s unique sculptural work explores and elevates ideas about history, race, gender, labor, and monuments, creating and reclaiming powerful narratives of Black women. She will create a new series of sculptures for the U.S. Pavilion in Venice, Italy, on view April 23–November 27, 2022.
The 2022 U.S. Pavilion is co-commissioned by Jill Medvedow, Ellen Matilda Poss Director, and Eva Respini, Barbara Lee Chief Curator at the ICA. The museum is organizing Leigh’s first survey exhibition—which will include works from the forthcoming Biennale—and a major monograph to be presented in Boston in 2023.
“Over the course of two decades, Simone Leigh has created an indelible body of work that centers the experiences and histories of Black women and at such a crucial moment in history, I can think of no better artist to represent the United States,” said Medvedow. “The scale and magnificence of Leigh’s art demands visibility and power; it is probing, timely, and urgent. We are proud and honored to share this work with audiences from around the globe at the next Biennale in Venice.”
Leigh’s new body of work for the Biennale will include a monumental bronze sculpture for the U.S. Pavilion’s outdoor forecourt. The Pavilion’s five galleries will house interrelated works in ceramic, bronze, and raffia, populating the gallery space with figurative representations for the first time in many years. Central to the project is a partnership with the Atlanta University Center Art History + Curatorial Studies Collective, an innovative program based in the Department of Art & Visual Culture at Spelman College, which prepares future curators, art historians, and museum professionals. Nikki Greene, Assistant Professor of the Arts of Africa and the African Diaspora at Wellesley College and Paul Ha, Director of the MIT List Visual Arts Center are advisors to the project.
“Simone Leigh is one of the most gifted and respected artists working today. For the U.S. Pavilion, Leigh will create a series of new sculptures and installations that address what the artist calls an ‘incomplete archive’ of Black feminist thought, with works inspired by leading Black intellectuals. Her work insists on the centrality of Black female forms within the cultural sphere, and serves as a beacon in our moment,” said Respini.
Simone Leigh
Simone Leigh’s (b. 1967, Chicago, IL) works in sculpture, video, and installation—all are informed by her ongoing exploration of the experiences of Black femmes. Her work traverses across time, geography, and cultures, and her objects often employ materials and forms traditionally associated with African art and vernacular traditions across the African Diaspora.
Leigh’s monumental sculpture Brick House is currently installed on the High Line Plinth, New York. She received the prestigious Hugo Boss Prize in 2018 and has been the subject of solo exhibitions at the Solomon R. Guggenheim Museum, New York (2019); Hammer Museum, Los Angeles (2016); Studio Museum in Harlem in Marcus Garvey Park, New York (2016); Crystal Bridges Museum of American Art, Bentonville, Arkansas (with Chitra Ganesh, 2016); New Museum, New York (2016); Creative Time and Weeksville Heritage Center, Brooklyn (2014); and The Kitchen, New York (2014). She has been included in group exhibitions at the Whitney Museum of American Art, New York (2019); 10th Berlin Biennale for Contemporary Art, KW Institute for Contemporary Art, Berlin (2018); New Museum, New York (2017); MoMA PS1 (2015); and Dak’Art 11th Biennale of Contemporary African Art, Dakar, Senegal (2014). Her work is in the collections of The Whitney Museum of American Art, New York; The Solomon R. Guggenheim Museum, New York; The Art Institute of Chicago; and the ICA/Boston, among others.
Jill Medvedow, Ellen Matilda Poss Director, ICA/Boston
Co-Commissioner
Throughout her career, Medvedow has championed the intersection of contemporary art and civic life. At the ICA, she led the museum’s transformation from a small, non-collecting institution into a major presence in the contemporary art world and on Boston’s waterfront. She is responsible for building the first new art museum in Boston in nearly a century, beginning a focused permanent collection, launching a nationally recognized teen arts education program, providing artistic leadership to pioneering exhibitions and performances, and exponentially increasing the museum’s audiences and impact. In 2018, Medvedow led the significant expansion of the ICA with the opening of the Watershed, a reclaimed industrial space in East Boston for large-scale artistic commissions and community engagement.
Eva Respini, Barbara Lee Chief Curator, ICA/Boston
Co-Commissioner
For two decades, Respini has been curating groundbreaking and ambitious exhibitions and has consistently worked with a diverse roster of artists exploring themes around representation and history, political agency, and material culture. Respini curated the critically acclaimed thematic exhibitions When Home Won’t Let You Stay: Migration through Contemporary Art (2019) and Art in the Age of the Internet, 1989 to Today (2018); and organized ambitious solo presentations with artists such as Firelei Báez (2021); John Akomfrah (2019); Huma Bhabha (2019); and William Forsythe (2018). Her other notable exhibitions include the retrospectives of Cindy Sherman (2012) and Walid Raad (2015) at the Museum of Modern Art. Well respected in the art field, she teaches curatorial studies at Harvard University, and publishes widely. Respini is currently working with Leigh on her first museum survey exhibition, scheduled for 2023 at the ICA.
Since its founding in 1936, the ICA has shared the pleasures of reflection, inspiration, imagination, and provocation that contemporary art offers with its audiences. A museum at the intersection of contemporary art and civic life, the ICA has advanced a bold vision for amplifying the artist’s voice and expanding the museum’s role as educator, incubator, and convener. Its exhibitions, performances, and educational programs provide access to the breadth and diversity of contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas. The ICA is located at 25 Harbor Shore Drive, Boston, MA, 02210. The Watershed is located at 256 Marginal Street, East Boston, MA 02128. For more information, call 617-478-3100 or visit our website at icaboston.org. Follow the ICA at Facebook, Twitter, and Instagram.
Established in 1895, the International Art Exhibition of La Biennale di Venezia is considered the most prestigious contemporary art exhibition in the world, introducing hundreds of thousands of visitors to exciting new art every two years. The 59th International Art Exhibition of La Biennale di Venezia (April 23–November 27, 2022) is directed by Cecilia Alemani.
The United States Pavilion, a building in the neoclassical style in the Giardini della Biennale, Venice, opened on May 4, 1930. Since 1986, the U.S. Pavilion has been owned by the Solomon R. Guggenheim Foundation and managed by the Peggy Guggenheim Collection in Venice, which works closely with the U.S. Department of State and exhibition curators to install and maintain all official U.S. exhibitions presented in the Pavilion. Every two years, museum curators from across the country detail their visions for the U.S. Pavilion in proposals that are reviewed by the National Endowment for the Arts’s Federal Advisory Committee on International Exhibitions (FACIE), a group comprising curators, museum directors, and artists, who then submit their recommendations to the U.S. Department of State’s Bureau of Educational and Cultural Affairs. Past exhibitions can be viewed on the Peggy Guggenheim Collection’s website at guggenheim-venice.it.
The U.S. Department of State’s Bureau of Educational and Cultural Affairs (ECA) builds relations between the people of the United States and the people of other countries through academic, cultural, sports, professional, and private exchanges, as well as public-private partnerships and mentoring programs. These exchange programs improve foreign relations and strengthen the national security of the United States, support U.S. international leadership, and provide a broad range of domestic benefits by helping break down barriers that often divide us, like religion, politics, language and ethnicity, and geography. ECA programs build connections that engage and empower people and motivate them to become leaders and thinkers, to develop new skills, and to find connections that will create positive change in their communities. For more information, please visit exchanges.state.gov/us.
The Institute of Contemporary Art/Boston
Colette Randall, crandall@icaboston.org, 617-478-3181
Margaux Leonard, mleonard@icaboston.org, 617-478-3176
Office of Public Affairs and Strategic Communications
The U.S. Department of State’s Bureau of Educational and Cultural Affairs
202-632-6452
ECA-Press@state.gov
Additional images and portraits of the artist and co-commissioners are available upon request.
Simone Leigh, Jug, 2019. Bronze, 84 1/2 × 49 5/8 × 48 3/4 inches (214.6 × 126 × 123.8 cm). Courtesy of the artist and The Solomon R. Guggenheim Foundation. Photo by David Heald. Image © 2019 The Solomon R. Guggenheim Foundation. © Simone Leigh
The ICA is pleased to announce that it has been selected as the commissioner of the 59th International Art Exhibition of La Biennale di Venezia in 2022, presenting the work of Simone Leigh in cooperation with the U.S. Department of State’s Bureau of Educational and Cultural Affairs.
Over the past two decades, Simone Leigh has created an indelible body of work that centers the experiences and histories of Black women, elevating ideas about history, race, gender, labor, and monuments.
For the U.S. Pavilion in Venice, which consists of five rooms, the artist will create a new series of sculptures in ceramic, bronze, and raffia, inspired by leading Black intellectuals. It is a tremendous honor to present her work to audiences from around the globe in Venice in 2022, and then to bring this work home to Boston to share with U.S. audiences when we open Simone Leigh’s first major survey exhibition at the ICA in 2023.
The 2022 U.S. Pavilion is co-commissioned by Jill Medvedow, Ellen Matilda Poss Director, and Eva Respini, Barbara Lee Chief Curator at the ICA. Central to the project is a partnership with the Atlanta University Center Art History + Curatorial Studies Collective, an innovative program based in the Department of Art & Visual Culture at Spelman College, which prepares future curators, art historians, and museum professionals. We are strengthened by the participation of Nikki Greene, Assistant Professor of the Arts of Africa and the African Diaspora at Wellesley College, and Paul Ha, Director of the MIT List Visual Arts Center, who will serve as advisors to the project.
The Venice Biennale takes place from April 23 to November 27, 2022. We look forward to sharing updates about this exciting project in the months to come. In the meantime, learn more about Simone Leigh, her work, and the Biennale.
Sterling Ruby, HRG Suite, 2006. Collages on paper. 57 x 58 x 2 inches (144.8 x 147.3 x 5.1 cm). Sterling Ruby Studio, Los Angeles. © Sterling Ruby
Collages catch my eye due to their multiple interpretations. They are reminiscent of magazine cutouts one might use for a scrapbook or as posters on a bedroom wall, but looking back serve deeper meanings.
During undergraduate studies, I took a few cinema studies classes that included dense, critical essays on films, genres, and authorship. The essays could often be enigmatic, just as Sterling Ruby’s works can. Without pondering them for quite a while, it can be hard to reach a full meaning. In my time spent at home during quarantine, I steadily viewed films. That time spent gave me much to think about. What I ascertain and enjoy from HRG Suite is a dreaded nature of oppression and confinement with a rebellion from the norm inside oneself.
Imagine our lives as two halves when considering this piece: one in the physical realm, the other in imaginary/thought. If we think of each frame as a person, the work presents a grid of isolated people split between worlds. For instance, happiness and the macabre merge with the Scarecrow from The Wizard of Oz alongside two forms in a dreamlike state. The Scarecrow from The Wizard of Oz is a sense of wonderment but ignorance. Alongside that are two shadow-like figures: judgement and doubt. Their facing away from each other creates a division of emotions that clouds the reach for joy. Tattoos express the person’s emotions through imagery on themselves as this confliction arises.
The colorful backgrounds mask the division of the frames. They are separate individuals with similar emotions. The Exorcist’s Linda Blair and a transformative picture of a woman embraced by a shadow figure of sorts. Someone who shows tattoos on their arm. As these two worlds of horror and change collide, a path emerges to create an image that reflects growth from trauma within oneself. Seen through the lens of film and other images, Sterling Ruby’s work creates a reflection of society of thoughts manifesting and rebellion, looking to break up the order and structure of our lives. Certainly, our natural order has been disrupted this year. While order is a natural thing, so is rebellion.
We try to create order in our minds, but as this piece is reminding me, we can also gain satisfaction from the unstructured thoughts clouding our minds, and released in physical transformations of art.
Kyle Kittredge is a Visitor Services Associate who has been working at the ICA for just over a year now. Besides appreciating the art that the museum has, he enjoys hiking in the Blue Hills area and photographing around Boston.
Friday Art Notes are personal reflections on works of art shown or in the permanent collection of the ICA, written by ICA staff, volunteers, and supporters. Read more
The Aztecs used a variety of wind and percussion instruments to make music, including rattles and different kinds of drums. For the Aztecs, dance and songs were ways of praying and meditating to be in harmony with nature, earth, and the universe. In their dances they represented the elements (Wind, Fire, Water, and Soil) and performed to the four cardinal points (North, South, West, and East) to request from Mother Earth the permission to live and work.
The symbol “Nahui Ollin” (pro — nounced as naw-wee-oh-leen) represents the day of the Aztec calendar associated with Xolotl. Xolotl is the god of shifting shapes, twins, and Venus, the Evening Star. Nahui means four, and Ollin means movement.
There are beautiful songs and poetry in Nahuatl, the language of the Aztec people and their descen — dants. Create your own Ayacachtli, or Aztec rattle, and play and sing along to “Huey Tonantiz,” which means Great Mother Earth.
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Los aztecas usaban una variedad de instrumentos de viento y de percusión para crear música, como sonajeros y diferentes tipos de tambores. Para los aztecas, la danza y las canciones eran maneras de rezar y meditar para estar en armonía con la naturaleza, la tierra y el univer — so. En sus danzas, representaban los elementos (aire, fuego, agua y tierra) y bailaban en dirección a los cuatro puntos cardinales (Norte, Sur, Este y Oeste) para pedirle per — miso a la Madre Tierra para vivir y trabajar.
El símbolo de “Nahui Ollin” (se pronuncia na-hui-o-lin) representa el día de Xolotl en el calendario azteca. Xolotl es el dios de las formas cambiantes, los mellizos y Venus, la estrella de la tarde. Nahui significa cuatro, y Ollin significa movimiento.
En el idioma de los aztecas y sus descendientes, el nahuatl, existen bellas canciones y poemas. Crea tu propio ayacachtli, o sonajero azteca, para tocar y cantar “Huey Tonantiz,” que significa la Gran Madre Tierra.
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1. Decorate your cup. Color and cut out the image of the “Nahui Ollin” symbol. Glue it on to your cup. Add your own drawings and symbols. Be as creative as you like! 2. Very carefully (and with adult supervision), create a small hole in the bottom of the cup and insert the stick into the cup to attach it. 3. Use the masking tape to wrap the stick and secure it to the cup. 4. Fill your cup with rice. 5. Close the cup with the lid and seal it with masking tape. Note: The sound will be louder with rice. It will sound different if you use beans. You can also try plastic beads or other similar mate — rials. Explore the sounds and beats of nature and try to imitate them with your Ayacachtli.
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1. Decora el vaso. Colorea y recorta la ima — gen del símbolo de “Nahui Ollin”. Pégalo al vaso. Agrega tus propios dibujos y símbolos. ¡Sé todo lo creativo que quieras! 2. Con mucho cuidado (y con la supervisión de una persona adulta), crea un pequeño orificio en el vaso e inserta el palillo en él para unirlo. 3. Forra el palillo con la cinta adhesiva y sujétalo al vaso. 4. Llena el vaso con arroz. 5. Cierra el vaso con la tapa y séllalo con cinta adhesiva. Nota: El sonido será más fuerte si usas arroz. Sonará diferente si empleas frijoles. Tam — bién puedes probar con cuentas de plástico y otros materiales parecidos. Investiga los sonidos y los ritmos de la naturaleza e intenta imitarlos con tu ayacachtli. |
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IN ENGLISH “GREAT MOTHER EARTH” Great Mother Earth Translated by Veronica Robles
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“HUEY TONANTZIN” ¡Huey Tonantzin, Tonantzin, ¡Huey Tonantzin, Tonantzin, Ipalnemohuani Noyolo Paqui Ipalnemohuani Noyolo Paqui EN ESPAÑOL “GRANDIOSA MADRE TIERRA” Grandiosa Madre Tierra, Traducido por Veronica Robles |
This activity was developed by Veronica Robles, a Mariachi singer, musician, and folkloric dancer. Robles has become a cultural icon for Latinos in Boston. She has effectively utilized the power of arts and culture to bring the community together by raising awareness on the importance of diversity. She offers in-person and virtual educational programs for K-12 students in schools and cultural organizations.
Veronica Robles es una cantante, música y bailarina folklórica mariachi que se ha convertido en un referente cultural para los latinos de Boston. Ha recurrido de manera eficaz al poder del arte y la cultura para reunir a la comunidad al crear conciencia sobre la importancia de la diversidad. Ofrece programas presenciales y virtuales para estudiantes de primaria y secundaria en escuelas y organizaciones culturales.
Ana Mendieta, Silueta Works in Mexico, 1973–77/1991. Pigmented inkjet prints, four parts, 13 1/4 x 20 inches (33.7 x 50.8 cm); eight parts, 20 x 13 1/4 inches (50.8 x 33.7 cm). Gift of Barbara Lee, The Barbara Lee Collection of Art by Women. Courtesy the Galerie Lelong. © The Estate of Ana Mendieta Collection, LLC.
I find myself mostly reading poetry these days. In her recent book Night Philosophy, the Massachusetts-based poet Fanny Howe writes, “Sometimes the syntax of poetry helps me to see what life is really doing, and to find the key to the open air.” Many of us are trying to see; most of us are longing for open air.
I find myself regularly thinking through what it might look like to live differently, and the imperative to do so.
At the same time that I was reading Night Philosophy, among other things, I was thinking about Cuban-born, American artist Ana Mendieta’s Silueta Works in Mexico. Readings braided together.
“Here is a lesson: what happens to people and what happens to the Earth are the same thing.” This, according to Chickasaw poet, essayist, and environmentalist Linda Hogan in her book Dwellings: A Spiritual History of the Living World.
I have always found that Ana Mendieta’s art works deploy a unique sense of poetry. The lyrical Silueta earth-body sculptures, known widely through photographs and films, reassert the ties between a body and the earth, in “a dialogue between the landscape and the female body,” according to the artist. Separated from her family in Cuba at the age of twelve and exiled to the United States, Mendieta set out to “re-establish the bonds that unite me to the universe,” as she said, while she pursued a “return to the maternal source.” Through these works, Mendieta herself sought models for living differently, such as the legend of the Black Venus of Cienfuegos, which the artist summoned as a symbol of refusal through which she reconnected herself and her work to Cuba. In the Silueta works, Mendieta used her body, or its silhouette, to create an ephemeral impression of the female form on the Earth’s surface. This figure-ground relationship embodies the interconnectedness, the lyrical braiding together, of our own bodies to the land, and a consideration of the layers of meaning to be found in, and beneath, such gestures. This is carried forward even through images that often stage an unresolvable interplay between presence and absence.
According to Howe, “One definition of the lyric might be that it is a method of searching for something that can’t be found.”
For me, Mendieta’s environmental works, if they can be called that, continue to resonate, reverberate even, along these lines. This impulse draws a sharp contrast to the contemporaneous masculine, sometimes permanent, incursions into the environment.
I continue to give attention to the meaning I find in these readings, but maybe they are just surface readings. As Howe says, however, “sometimes a surface reading seems to bring you closer to the intention of the poem.”
Jeffrey De Blois is Assistant Curator and Publications Manager.
Friday Art Notes are personal reflections on works of art shown or in the permanent collection of the ICA, written by ICA staff, volunteers, and supporters. Read more
