Approximately 23,000 Bostonians took in The Red Bull Cliff Diving 2011 World Series on Saturday as drivers plunged some 92 feet off of the roof of Institute of Contemporary Art and into Boston Harbor. Great Britain's Gary Hunt, 27, won the Boston event and clinched his second straight series crown. The three-year old series was making its first urban east coast stop and it was a memorable one for the competitors. "There’s a really gorgeous view of the city on top of that platform and you just soak it all in, man," said American Steven LoBue.
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Results tagged “instituteofcontemporaryart”
Just over a week from now on Saturday, August 20, cliff divers will converge on Boston as part of the Red Bull Cliff Diving World Series. The lack of cliffs in Boston didn't deter the divers from making the Hub the Series' first-ever east coast stop. The competition is scheduled for the roof of the Institute of Contemporary Art building on Fan Pier. Yes, ICA/Boston is now a gigantic diving board, some 80 feet above the water. Eleven divers from nine countries will compete in the seven series events in Chile, Mexico, Greece, France, Italy, Boston, and the Ukraine. Five judges score the dives. Two-time Olympic Gold medallist Greg Louganis is one of five judges The Red Bull Cliff Diving World Series eventruns from 3-6 p.m. and is free.
The Institute of Contemporary Art will once again profile Academy Award-nominated short films. The 2011 nominated films will be presented in two shows, Animated Shorts and Live Action Shorts, from February 21 to March 6. Every film will be shown entirely so fans can evaluate the eventual Oscar-winning films. The 85-minute animated program features Madagascar, Carnet de Voyage, Let’s Pollute, The Gruffalo, The Lost Thing, Day & Night, URS, and The Cow That Wanted to Be a Hamburger and is open to anyone age 7 and up. The 160-minute live action program features The Confession, Wish 143, Na Wewe, The Crush, and God of Love. For more information, call 617-478-3103 or visit icaboston.org. Tickets are $10 and $8 for members, students, and seniors.
The Institute of Contemporary Art (ICA) features programs profiling top American and British commercials in December. The "Art and Technique of the American Commercial" and "Award-Winning British Commercials" will be screened in the Barbara Lee Family Foundation Theater. Tickets: $10, $8 for members, students, and seniors; on sale at 617-478-3103 or www.icaboston.org.
The Institute of Contemporary Art/Boston (ICA) presents the work two finalists for 2010 James and Audrey Foster Prize from Thursday, Oct.ober 28 to January 17, 2011. Rebecca Meyers of Cambridge presents reviews the collapse of East Germany. Tickets are $10 general admission, $8 for students and members. For tickets, visit www.icaboston.org or call 617-478-3103.
If you liked the ICA’s Shepard Fairey exhibition last year, or the Damián Ortega show this year, you’ve gotta check out their current romp featuring the 30-something artist and tattooist known as Dr. Lakra. Like fellow Mexico City native Ortega, Lakra has built a career on making something out of nothing, according to ICA curator Helen Molesworth; like Fairey, that “nothing” usually takes the form of found media and images that the “extraordinary draftsperson” makes his own. There are pin-up girls gone wild with Lakra’s painted-on all-over tattoos, Mexican eminences given the particular Maori facial tattooing reserved for people of special significance. Plastic babydolls and mannequin parts get inked up for real: apparently plastic reacts to the tattoo gun much like human flesh does.
Even as film loses its traction in commercial moviemaking, a new flowering of artists has returned experimental film to the forefront of artistic expression, and the Institute of Contemporary Art will showcase a smattering of work by these filmmakers, including a healthy helping of films by Boston-area artists, tonight when it hosts The International Experimental Cinema Explosion.
There's no better way to meet Roni Horn's art than to see her current exhibition at Boston's Institute of Contemporary Art. Though the mid-career retrospective Roni Horn aka Roni Horn was actually curated by the Whitney in New York and the Tate Modern in London, the show looks like it was made for the ICA. In this Bostonist's experience, no other exhibition has used the ICA's unique space quite as effectively as this one does.
Boston's Institute of Contemporary Art can hardly be called a bastion of modernism, but that is exactly what it looks like in this intriguing photo by Nathan Tia. We've been running a lot of architectural photography lately and were excited to see such an abstract, clean-lined example of the genre.
Shepard Fairey's trial on 14 counts of vandalism ended today when Fairey entered into a plea agreement, Suffolk County prosecutors say. Fairey pleaded guilty to one count of vandalism from 2000 and to two counts of vandalism from 2009. As a part of the agreement, Fairey must pay $2,000 to a graffiti clean-up company and may not possess "the tools of the trade"—graffiti related materials—while in the city of Boston. Fairey's "spokesman" Jay Strell said in a press release that "Shepard is very pleased to have the Boston case behind him and return his attention to making art." The ICA, which had its opening gala for Fairey's current exhibition interrupted by his arrest, plans to have a make-up party on July 31. The pricey tickets to Obey Experiment REDUX have, like Fairey himself, sold out.
Coming from North Adams, western Mass.'s wilderness outpost of contemporary art, the Books delivered their thoughtful concepts to the ICA on Friday night* via a Postal Service of gentle electronica and indie (soft) rock boy vocals. Nick Zammuto and Paul de Jong also brought several closets' worth of tightly-edited found footage to match their pop musique concrète. A mood of inexplicable optimism pervaded, in the split-screen video of animals stampeding forth into an avant-garde National Geographic documentary, in the birdsong stitched together into makeshift jazz, and the virtuosic solos built from archived laughter.
Today and tomorrow, the ICA screens Pietra Brettkelly's documentary on Italian artist Vanessa Beecroft, "The Art Star and the Sudanese Twins." Beecroft, best known for her performance pieces involving multitudes of unclothed lethargic models, is the art world's equivalent of Sylvia Plath. Girls embrace her as conflicted teenagers, abandon their fascination in college, as her femininity and raw insecurity seem embarrassingly naive, but by late twenties, they revisit her work and discover its complexities. But even fans of her work will have trouble interpreting Beecroft's visit to Sudan as anything other than narcissism. The Washington Post explains, "she was interested in the plight of Darfur, though she concedes that she didn't know exactly where Darfur was, and never did get there."
On Sunday, the Ditson Festival of Contemporary Music's last pair of concerts at the ICA began with two people and finished with over sixty, in a glass box on the harbor. The former were Matt Haimovitz, on cello, and Geoff Burleson, on (and in) piano. Children standing on the postmodern boardwalk outside pressed their faces against the window as Burleson hit keys with one hand and reached in with the other to pluck at the piano's viscera, as Augusta Read Thomas's "Cantos for Slava" (2008) required. When Haimovitz wasn't wringing long, doleful cries from his instrument, he too plucked, as if the cello were a tall, fat lute.
Friday night's installment of the Ditson Festival of Contemporary Music was all about text. Whole, grammatical sentences; comprehensible, English, (mostly) well-enunciated; no Italian arias, no liturgical Latin, no repurposed Sanskrit, neither Einstein nor beach—this is not what Bostonist has come to expect from classical music, contemporary or otherwise.
Firebird Ensemble, based in Somerville and outfitted like an accomplished H&M ad in black and red and sparkling knitwear, opened the Ditson Festival of Contemporary Music on Thursday night. They began with a darkly animated piece that sounded like a fit night of half-sleep in a bed of swaying strings, heckled by lonely trills of from a flute and the footsteps of a piano that approached like a serial killer. Never has sudden bongoing sounded more ominous to Bostonist's ears. (Leafing through the program after the fact, we saw that the composer, Curtis Hughes, has titled it, in lowercase, "danger garden".)
The Globe and Herald report that a man was shot dead early this morning between the ICA and Anthony's Pier 4 restaurant. The man may have been on the Provincetown II for a chartered cruise, "Outrageous in Red," with hundreds of other people that had just returned to the area. The call to police came in at 12:34 am. State and Boston police are collaborating to investigate. WCVB reports police are seeking three black males seen leaving the area in a white Toyota. Call the CrimeStoppers Tip Line at 800-494-TIPS (8477) or text 'TIP' to CRIME (27463) if you know anything about the situation.
Last Thursday, the soft light of dusk lingered in the theatre at the Institute for Contemporary Arts, where floor-to-ceiling windows let you see the Boston Harbor from two sides. Yachts, Harbor Cruisers, and sailboats passed in the distance, backgrounded by the Logan airport control tower on one side and the Custom House clock tower on the other. In the middle of the room, on an oriental rug spread across the hardwood floor, a set of five instruments sat bunched.
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