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When Julliard graduate Simone Dinnerstein found herself in her 30s without the sort of bookings and prospects she’d hoped for, the pianist took matters into her own hands. Pregnant with her first child, she devoted herself to a daunting piece of music that had captivated her since her youth, Bach’s Goldberg Variations.

Notoriously demanding, the piece became the focus of a months-long spiritual quest. Dinnerstein eventually raised money from family and friends to make a recording, samples of which she sent to potential managers. She rented Carnegie Hall’s Weill Recital Hall to play the piece for those who were interested, a performance the New York Times described as having “a level of coloration beyond the palette Bach knew.” Critics took notice, recording label Telarc bit, and within a week of its commercial release in 2007, Dinnerstein’s Variations hit No. 1 on the U.S. Billboard Classical chart. It was named one of the best albums of the year by the New York Times, the Los Angeles Times, and the New Yorker.

Bessie Award–winning choreographer Pam Tanowitz has likewise distinguished herself, as a “modern choreographer much admired for the way she recharges classical steps” (New York Times). Active since 1992, she formed her company, Pam Tanowitz Dance in 2000, creating challenging, critically acclaimed dances that have been performed at Jacob’s Pillow Dance Festival, the Guggenheim Museum’s Works & Process series, Dance Theater Workshop, Baryshnikov Arts Center, and the Joyce Theater, among many others. She’s frequently compared to Merce Cunningham, for the challenging and unique physicality of her work, and Mark Morris, for its pronounced musicality. 

This summer, Dinnerstein, Tanowitz, and seven dancers will occupy the ICA’s Barbara Lee Family Foundation Theater for a Summer Stages Dance @ the ICA/Boston residency July 10–15. They’ll return to the ICA to perform New Work for Goldberg Variations in December.

We spoke with Dinnerstein and Tanowitz about collaboration, risk, failure, and moving beyond the obvious. 

Both of you are known for your rigor, risk-taking, and bringing fresh approaches to classical forms, but your work is very different. What drew you to one another?

SD: I thought Pam had such an interesting way of integrating live music. The dancers respond to the music, but in a non-literal way. Sometimes I’ve found that choreography can seem a bit obvious—not understanding what’s lying underneath the music, just going with the step-by-step play of each beat as opposed to other elements like line, shading, and syncopation. 

PT: Thank you! It’s important to me that there’s a relationship between the dance and music that isn’t obvious. 

Pam, you haven’t worked with classical music much before.

PT: I did one piece in 2011 to Schubert’s Wanderer Fantasy, but I gravitate more toward new music and living composers. This collaboration is exciting for me because I’m pushing different things in my work. I think it’s important to not always do the same – just because I like something doesn’t mean I have to do it for the rest of my life.

Pam, has working with the Goldberg Variations changed your thinking or your movement? 

PT: Simone’s been playing the Goldberg Variations for 15 years. To have her in the room is great because when you’re choreographing, you have your dancers, but really you’re making all these decisions alone. Now I can say, “What do you think about this with this variation?” Or she’ll see a movement and say, “Oh, why don’t you try it with this, not this?”  

SD: Pam and I met before we started working with the dancers to really talk about the structure of the piece: the canons, some of the mirrors, the mathematical concepts that Bach is exploring—the musical, more theoretical background. Something we have in common is that we both like to start with a real intellectual understanding of what we’re doing, but then we tend to be guided by our instincts. I like that it starts from knowledge, and goes toward the unknown. 

PT: I wanted to learn everything I could from Simone. I was doing all this research, and then I almost wanted to forget it all, knowing that it’s in there somewhere.

SD: Pam is saving choreographing the aria until she finishes choreographing everything else, or at least that’s the plan right now. Now she’s starting to realize why that’s what she wanted to do: the aria provides the groundwork for the variations, but in order to find the aria, she had to go through the variations. I think that’s going to make the whole piece have a kind of integrity, which will be really beautiful.

Simone, you’ve been playing this piece for 15 years, and you’ve known it since you were practically a child. Are you seeing the music in new ways through this collaboration?

SD: Absolutely. Not that I was ever sick of it, but it’s really made me see it in a different way. There’s an abstract element to watching dance, so I feel the music coming to life three-dimensionally, and the shapes it’s taking are different than I would’ve thought. When I first was working on the piece, I went toward bringing out the asymmetry. It’s very, very symmetrical, but there’s an underlying asymmetry. Pam has also been bringing that out, and I realized that for maybe the past ten years or so, I’ve gradually become more symmetrical. 

PT: You also played it for the Paris Opera Ballet, in a different way for them, and now you’re playing it in a different way that we’re working on together. The first day of rehearsal, you said, “I play it differently now than I did ten years ago.” It’s cool how you have been evolving and changing with all these different experiences that you’ve had with it.

Simone, in 2001 you said, “I didn’t become a musician to become a historian. I became a musician because the music speaks to me today as I am right now.” Have you changed as a person, a musician, or both since you’ve started playing the Goldberg Variations?

SD: My life has entirely changed. I learned the piece more than 15, 16 years ago when I was pregnant with my son. Everything changed by becoming a mother and then things changed again very, very much when I released my recording. The piece is really significant to me. It’s reflective and it caused changes in my life.

PT: It’s like a touchstone. You keep coming back to it changed. It becomes something else.

How do you take a piece of music that’s been experienced by so many different people in so many different ways, and make it contemporary?

PT: That’s actually the question I’m asking myself as I make it. What do I have to add to this continuum of history? What do I have to add to the pot? What am I saying about this? I think it circles back to how we’re treating the music and the relationship of the structures of the dance and the music. There’s also the movement. My whole career is based on using known steps that are so-called balletic, or so-called traditional, which we perform and frame in different ways. 

Pam, you wrote that one of the biggest challenges of this collaboration is grappling with the iconic achievements of, and inevitable comparisons to, Glenn Gould’s recording and Jerome Robbins’s dance production.

PT: You cannot make work in a vacuum. That’s how I feel in general about being aware of all my dance history. When I first started working on this, I said to Simone, “I cannot believe I’m doing this. Jerry Robbins!” But once I actually started working, that all fell away. 

SD: And of course it’s been recorded a million times too. I had to stop listening to everything when I started learning the piece. It was so strong in my head, the way Gould played, that I never would’ve been able to play it if I kept listening to him. I had to wash it out and then react to the music itself and see what it showed me. As a classical pianist, that’s the biggest challenge: to have a genuine, authentic response to the music without thinking too much about the performance history of it.

Simone, you talked about kind of studying piece’s structure, theory, and mathematics. But when you’re playing, it almost looks like there’s no intellect in it at all. It looks channeled through you, and there’s a real physicality in how you play. That’s really interesting in terms of you working with dancers and a choreographer.

PT: I see what you’re saying. It’s amazing to have Simone in the room. The piano is in the middle of the space for the whole piece, and there’s dancing all around it, but there are also times where it’s very spare, so you can focus on Simone and that physicality that you’re talking about.

SD: I’ve always thought of music as being very physical and having a dance in it, having a lot of breath in it, and movement. When we were rehearsing recently I suddenly had this moment of realization, something I had forgotten about: I was led to the piano through dance. I took ballet when I was five. I was very serious about it and absolutely wanted to do it. There was this pianist who played in class, and I just completely fell in love with the piano from hearing her play Chopin. That’s what made me ask to play the piano.

Pam, you wrote that you wanted to create something inherently dangerous with this collaboration.

PT: Playing this piece and choreographing to this piece are both risky, and really exposing. The field that we’re in, you don’t know if something’s going to work until it’s in public. If it doesn’t work, it’s too late.

You’ve spoken publicly about a piece that you said had not worked.

PT: Yeah, I go around talking about that piece. There was a whole New York Times article about how I failed. People called me and said, “I can’t believe you admitted that. You should stand up for your piece.” I was like, “But I’m telling the truth. It didn’t work.” I set myself up for a really hard task, and that failure made me learn—I learned so much about what kind of work I wanted to keep making.

You’ll both be in residence at the ICA for a week this summer. How will you spend it?

PT: We have a lot of work to do. I have to choreograph. When I’m done, the dancers and Simone have to create a community onstage and a relationship. They’re conscious of each other and they look at each other. It all has to be integrated, besides working on the tempos and things.

Have there been any big surprises for either of you in the collaboration? Anything different from what you expected?

SD: I was very surprised that there’s not really timing.

PT: I don’t count.

SD: We don’t count. Pam doesn’t count. The dancers don’t count. I didn’t expect that at all.

PT: I never count… I feel like that restricts things happening.

SD: Your dancers are incredibly musical. They hear how the music is flowing and they adjust to it in different ways, which is really beautiful.

PT: That’s the whole point of having living, breathing dancers with a living, breathing musician on the stage. If it was robotic and counting and precise, it takes a little bit of the life out.

It seems like a really strenuous piece for the dancers, even mentally.

PT: Oh yeah. They’re not used to me working with music in this way. They’re musical, but it’s different, so we’re all learning, and it’s really pushing all of us.

This interview was condensed and edited.

New Work for Goldberg Variations was commissioned by Duke Performances/Duke University and Peak Performances/Montclair State University, co-commissioned by Opening Nights Performing Arts/Florida State University and Summer Stages Dance at the Institute for Contemporary Art/Boston, and received creative development support from the Maggie Allesee National Center for Choreography (MANCC) at Florida State University, The Yard at Martha’s Vineyard, the NYU Center for Ballet and the Arts, and New York City Center.

New Work for Goldberg Variations was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. General Operating support for Pam Tanowitz Dance was made possible by the New England Foundation for the Arts’ National Dance Project with funding from the Doris Duke Charitable Foundation.

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Summer Stages Dance @ the ICA/Boston is made possible, in part, with the support of Jane Karol and Howard Cooper, David Parker, The Aliad Fund, George and Ann Colony, and Stephanie McCormick-Goodhart.

ICA/BOSTON PRESENTS MAJOR, MID-CAREER RETROSPECTIVE OF MARK DION

First U.S. Survey of Internationally Recognized Artist Spans 30 Years
 

The Institute of Contemporary Art/Boston (ICA) presents the first U.S. survey of the American artist in Mark Dion: Misadventures of a 21st-Century Naturalist. Dion has forged a distinct, interdisciplinary practice by exploring and appropriating scientific methodologies to question how we collect, interpret, and display nature. On view October 4, 2017, through December 31, 2017, the exhibition covers the last 30 years and brings together several hundred objects—including live birds, books, curiosity cabinets, plant and animal specimens, vintage photos, and much more—offering a rare look at the unique course of the artist’s practice. The exhibition is organized by Ruth Erickson, Mannion Family Curator, with Jessica Hong, Curatorial Associate, and Kathrinne Duffy, Research Fellow.

“Dion’s sculptures and installations are full of the wonder of the world, and he brings a welcome earnestness for what we, as a society, see, make, discard, discount, and prize. Dion combines this sense of amazement with a piercing awareness of what we risk when we squander our natural resources and contribute to their demise,” said Jill Medvedow, the ICA’s Ellen Matilda Poss Director. “We are particularly pleased that this exhibition, his first museum survey in North America, is just up the road from the beaches and marshlands of New Bedford, Massachusetts, where Mark grew up and where his curiosity and treasure hunts began.”

Dion has created sculptures, installations, prints, drawings, and public projects that capture the imagination, but also critique the power assumptions within the scientific study of natural history—for example, the placement of “man” at the top of animal hierarchies. His work invites viewers to reexamine the history and development of human knowledge about the natural world, connecting these beliefs to environmental politics and public policy in the age of the Anthropocene.

“Using archaeological and other scientific methods of collecting, ordering, and exhibiting objects, Dion acts as an intermediary between times and disciplines, and between the cultural and natural worlds, said Erickson. “His work reveals that nature, for all the resources and pleasures it gives us, is a primary area for the expression of power and ideology.”

Mark Dion: Misadventures of a 21st-Century Naturalist presents more than 20 of the artist’s most significant artworks, as well as a newly commissioned interactive sculpture and a salon titled The Time Chamber containing ephemera, journals, prints, and drawings. The exhibition’s organization was influenced by the methods Dion has developed over the past three decades. It begins with collecting as an activity foundational to knowledge, and then moves into fieldwork, excavation, and cultivation. Each approach has been necessary to the acquisition of information about the natural world. With these techniques as the exhibition’s organizing principle, visitors can better understand the genesis of Dion’s practice and, in turn, those of art history and the museum.

Exhibition Highlights
Playing with the scale differences present in Dion’s work, the exhibition includes immersive single-room installations, expansive galleries of sculptures, and an intimate salon room with three-dimensional models of major public artworks. In all of these works, Dion marries conversations of science with those of the art museum, revealing the interrelationships between the two as sources of knowledge and truth.

  • Seminal pieces The N.Y. State Bureau of Tropical Conservation (1992) and Toys ’R’ U.S. (When Dinosaurs Ruled the Earth) (1994) offer two strikingly distinct collections—a storeroom of natural specimens gathered from a Venezuelan rainforest; and a child’s dinosaur-themed bedroom—reflecting on consumption, extinction, and the global environmental crisis.
  • In Rescue Archeology (2005), a project not seen since its creation, Dion excavated the grounds of The Museum of Modern Art, New York, during a major expansion, salvaging and displaying fragments of wallpaper, mantles, and ceramics to uncover the museum’s material origins at a moment of irreversible change.
  • In the immersive The Library of the Birds of New York / The Library for the Birds of Massachusetts (2016/2017), Dion will place in a gallery a 20-foot cage that houses live finches and canaries commingling with the accessories of ornithology—nets, binoculars, and books—arranged around a tree. The library about birds becomes a library for them, a home and site of spectacle within the museum.

Catalogue
Mark Dion: Misadventures of a 21st-Century Naturalist will be accompanied by an illustrated publication, co-published with Yale University Press, with major essays by Erickson, James Nisbet, Sarina Basta, and Petra Lang-Berndt, as well as reflections by Lucy Bradnock, Andrea Barrett, Lisa Corrin, Denise Markonish, Alastair Gordon, Colleen Sheehy, and Sarah Suzuki, and an interview between Dion and the esteemed curator Mary Jane Jacob.

Symposium
A symposium inspired by Dion’s practice will take place on October 12 and 13, 2017. Artists and scholars will deliver talks about their work and invite discussion on the cultural history and future of nature through various disciplinary perspectives. The ICA is organizing this event in partnership with the University of Massachusetts at Dartmouth, Lowell, and Boston; and Northeastern University.

Biography
Dion lives in New York City and received a BFA (1986) and an honorary doctorate (2003) from the University of Hartford School of Art, Connecticut. He also studied at the School of Visual Arts in New York from 1982-84 and participated in the Whitney Museum of American Art’s Independent Study Program from 1984-85. He has received numerous awards, including the Smithsonian American Art Museum’s Lucida Art Award (2008) and the ninth annual Larry Aldrich Foundation Award (2001).

Exhibition History
Dion’s work has been the subject of major exhibitions worldwide. Notable solo exhibitions include Mark Dion: Wayward Wilderness at Marta Herford in Herford, Germany (2015), Mark Dion: The Academy of Things at The Academy of Fine Arts Design in Dresden, Germany (2014), The Macabre Treasury at Museum Het Domein in Sittard, The Netherlands (2013), Oceanomania: Souvenirs of Mysterious Seas at Musée Océanographique de Monaco and Nouveau Musée National de Monaco / Villa Paloma in Monaco (2011), The Marvelous Museum: A Mark Dion Project at Oakland Museum of California (2010-11), Systema Metropolis at Natural History Museum, London (2007), The South Florida Wildlife Rescue Unit at Miami Art Museum (now Pérez Art Museum Miami) (2006), Rescue Archaeology, a project for The Museum of Modern Art (2004), and his renowned Tate Thames Dig at the Tate Gallery in London (1999).

Major support is provided by The Andrew W. Mellon Foundation.

Additional support is generously provided by Jane and Robert Burke, Steve Corkin and Dan Maddalena, Jean-François and Nathalie Ducrest, and Cynthia and John Reed.

Visitors can experience the art of summer at the Institute of Contemporary Art/Boston (ICA) this season with an exciting line-up of exhibitions, performances, outdoor art, and events. Tickets for events and programs are on sale to members on Tuesday, May 9; and Thursday, May 11 for non-members. Visit www.icaboston.org for complete schedule and details.

MUSIC

HARBORWALK SOUNDS
JULY 6 – AUGUST 31 | 6-8:30 PM
On ICA Free Thursday nights, visitors can enjoy outdoor concerts on the waterfront as part of Harborwalk Sounds, a collaboration between the ICA and Berklee College of Music. These popular evenings include free admission to the galleries, free concerts by some of Berklee College of Music’s best bands, and summer-inspired food and drink.

SUMMER FRIDAYS AT THE ICA
Kickstart the weekend every Friday at the ICA. From July through Labor Day, every Friday offers waterfront music, dancing, and the best vibes in the city.  The museum’s popular First Fridays program (June 2, July 7, Aug 4) is rounded out with DJ nights featuring artists such as Devendra Banhart, Spinderella, and Baio (of Vampire Weekend).

FIRST FRIDAYS
The first Friday of every month from 5 to 10 PM is an evening of art, music, fun activities, specialty cocktails, and dancing all night. FREE for members. $15 for nonmember advance purchases / $20 day-of.

  • JUNE 2 | HOT HOT HOT: A preview of Boston Caribbean Fashion Week, a harborside cocktail, Island Creek Oysters, and an al fresco dance party with DJ Mikey D.
  • JULY 7 | SUMMER POP: The magnetic Ed Balloon, a Boston-based musician who splits R&B and rap with a heavy dose of glam-pop, plus a few ice-cold brews.
  • AUG 4 | WHITE HOT VOL 4: A harborside dance party, oysters on the half shell, and a refreshing cocktail to match white outfits.

DJ NIGHTS
FRIDAYS JULY 14–AUG 25*| 6:30–10 PM
$5 ICA members/$15 general admission unless otherwise noted
Big-name DJ dance parties, vibrant art installations, and the perfect waterfront setting.
*except August 4, a First Friday

DANCE

Simone Dinnerstein + Pam Tanowitz Open Rehearsal
JULY 15 | 2-5 PM, free with museum admission
This summer, Dinnerstein, Tanowitz, and seven dancers will occupy the ICA’s Barbara Lee Family Foundation Theater for a weeklong Summer Stages Dance @ the ICA/Boston residency, before returning to the ICA to perform New Work for Goldberg Variations in December.

Skeleton Architecture, The Future of Our Worlds
JULY 23 | 3 PM, free with museum admission; tickets available onsite on day of performance
Skeleton Architecture will reconvene at the ICA this summer in conjunction with Summer Stages Dance @ the ICA/Boston, with 24 leading black performing artists from Boston and New York. Representing different generations and dance genres, the artists will gather for a weeklong investigation of the collaborative process, creative strategies, and improvisational practices that will culminate in an informal performance.

FAMILY + TEENS

PLAY DATES
Family Play Dates are the last Saturday of every month with themes and activities varying each month. In July, Play Dates cross the harbor for a day of fun in East Boston.

Making Bridges Together
SAT, JUNE 24 | 10 AM – 4 PM
Try contemporary art sleuthing skills in the galleries with the help of visiting assistants: how does the art on view connect to your lives? Design and construct small-scale bridges with the help of onsite architects and engineers as a guide, then “test” how the bridges bear weight. Don’t miss a family performance at 1:30 pm.

**Special East Boston Play Date
Creating Wonderful Worlds
SAT, JULY 29 | 10 AM – 4 PM
Visitors enjoy time at the ICA’s waterfront location, then celebrate the museum’s pending expansion to East Boston. BYO picnic and cruise across Boston Harbor for adventures in East Boston’s Piers Park from noon to 3 PM, including a family concert and sailboat rides.

ICA Seaside Adventures
SAT, AUG 26 | 10 AM – 4 PM
Gallery Games and family Pop-Up Talks, paint scenes of the sea en plein air, and enjoy a concert by the Farewells at 1:30 pm. To soak up the waning summer, bring a picnic, relax on the ICA grandstand overlooking Boston Harbor, and try outdoor family yoga and sketching activities for all ages.

SUMMER TEEN NIGHT
AUG 16 | 6–9 PM, Hosted by the Teen Arts Council, free for teens
Organized by teens for teens, the evening features teen-led art tours, art making activities, and youth performances in the coolest theater in Boston, the Barbara Lee Family Theater. See icateens.org for more details on activities.

FREE FUN FRIDAY
AUG 18 | 10 AM–9 PM
The seventh annual Free Fun Fridays program sponsored by the Highland Street Foundation allows the ICA to open its doors at no cost to visitors all day long, with activities for all ages. For a complete schedule of participating institutions, visit www.highlandstreet.org

EXHIBITIONS

OPENING THIS SUMMER
Dana Schutz
JULY 26 – NOV 26, 2017
Dana Schutz, a concise survey of the artist’s recent work, comprises 16 paintings, several at monumental scale, and five charcoal drawings, including two new ones. Schutz’s enormous new painting, Big Wave (2016), acquired by the ICA in December, is on view for the first time in the United States. Additionally, one new painting will premiere in this exhibition.

ONGOING
2017 James and Audrey Foster Prize
THROUGH JULY 9, 2017
The James and Audrey Foster Prize is key to the ICA’s efforts to nurture and recognize Boston-area artists of exceptional promise. First established in 1999, the James and Audrey Foster Prize (formerly the ICA Artist Prize) expanded its format when the museum opened its new facility in 2006. James and Audrey Foster, passionate collectors and supporters of contemporary art, endowed the prize, ensuring the ICA’s ability to sustain and grow the program for years to come. 

Nari Ward: Sun Splashed
THROUGH SEPT 4, 2017
Nari Ward: Sun Splashed is the largest survey of the artist’s work to date. Emerging alongside a notable group of black artists in New York City in the 1990s, Nari Ward (b. 1963 in St. Andrew Parish, Jamaica) actively engages with local sites—their histories, communities, and economies—to create spectacular, ambitiously scaled artworks out of unlikely materials. He derives inspiration from his immediate environment, incorporating found objects gathered in and around urban neighborhoods and embracing varied cultural references.

Steve McQueen: Ashes
THROUGH FEB 25, 2018
The ICA/Boston is pleased to present the U.S. debut of Ashes (2002–2015), a video installation by the artist and filmmaker Steve McQueen (b. London, UK, 1969). A standout from the 56th Venice Biennale in 2015, Ashes presents footage on two sides of a freestanding screen. One side, originally shot on soft, grainy Super 8 film, shows a young, carefree fisherman named Ashes balancing playfully on a pitching boat against a horizon of blue sky and water. The other side shows a second projection, shot in 16mm film that chronicles Ashes’s unexpected fate. Never seen together, yet linked by a shared soundtrack, the videos conjure an easy vitality and a vivid description of place against the darker forces of society and fate.

ACKNOWLEDGMENTS
ICA Summer is presented in partnership with Converse

DANCE
New Work for Goldberg Variations was commissioned by Duke Performances/Duke University and Peak Performances/Montclair State University, co-commissioned by Opening Nights Performing Arts/Florida State University and Summer Stages Dance at the Institute for Contemporary Art/Boston, and received creative development support from the Maggie Allesee National Center for Choreography (MANCC) at Florida State University, The Yard at Martha’s Vineyard, the NYU Center for Ballet and the Arts, and New York City Center.

New Work for Goldberg Variations was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. General Operating support for Pam Tanowitz Dance was made possible by the New England Foundation for the Arts’ National Dance Project with funding from the Doris Duke Charitable Foundation.

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New Work for Goldberg Variations is part of Summer Stages Dance @ the ICA/Boston and is made possible, in part, with the support of Jane Karol and Howard Cooper, David Parker, The Aliad Fund, George and Ann Colony, and Stephanie McCormick-Goodhart.

the future of our worlds is part of Summer Stages Dance @ the ICA/Boston and is made possible, in part, with the support of Jane Karol and Howard Cooper, David Parker, The Aliad Fund, George and Ann Colony, Stephanie McCormick-Goodhart, Sharon Watson Beck, and Chayla M. Freeman.

FAMILY + TEENS
Play Dates are sponsored by Vivien and Alan Hassenfeld and the Hassenfeld Family Foundation, and Holly and David Bruce.

The ICA’s Teen Arts Council and Teen Nights are generously sponsored by MFS Investment Management and Blue Cross Blue Shield of Massachusetts.

ICA Teen Programs are sponsored by UNIQLO.

Teen Programs are made possible in part by the Institute of Museum and Library Services, Award Number MA-10-16-0305-16.

Additional support is provided by the Deborah Munroe Noonan Memorial Fund, Bank of America, N.A., Trustee; the Thomas Anthony Pappas Charitable Foundation, Inc.; the Mabel Louise Riley Foundation; the Rowland Foundation, Inc.; the William E. Schrafft and Bertha E. Schrafft Charitable Trust; the Surdna Foundation; and The Willow Tree Fund.

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Free Fun Friday is sponsored by the Highland Street Foundation.

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FIRST FRIDAYS
Support for ICA First Fridays is provided by  

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EXHIBITIONS
Support for Dana Schutz is generously provided by James and Audrey Foster, Barbara Lee, Ted Pappendick and Erica Gervais Pappendick, and David and Leslie Puth.

Steve McQueen’s Ashes is a gift of Tristin and Martin Mannion.

The 2017 James and Audrey Foster Prize exhibition and the Foster Talks are generously endowed by James and Audrey Foster.

The 2017 James and Audrey Foster Prize exhibition is supported by

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Organization of Nari Ward: Sun Splashed and its presentation at the Pérez Art Museum Miami has been made possible by Citi and the Andy Warhol Foundation for the Visual Arts, with additional support from the Funding Arts Network and Gander and White.