the Close Distance | Mills Gallery atfor the Arts Boston Center

the mills gallery

The Mills Gallery at the Boston Center for the Arts is dedicated to presenting exciting contemporary works by local, regional, national and international visual artists and curators. During each exhibition, the BCA provides multiple opportunities for audiences to engage with the artwork and artists through Artist Talks and related events. Exhibitions and programs at the Mills Gallery are free and open to the public.

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Boston Center for the Arts 539 Tremont Street Boston, MA 02116 617.426.3186 Fax 617.426.5336 www.bcaonline.org mance | info@bcaonline.org youth & community

Photo credit | Carla Osberg Photography

from veronique le melle, bca executive director

Were pleased to present this catalogue for Close Distance with images of the site-specific installations and a bilingual essay by curator Liz Munsell. For more than 40 years the BCA has been a South End institution committed to supporting working artists in the creation, performance and exhibition of new works. In recent years, we have expanded our programming and services for artists and the community through visual arts exhibitions, theatre, dance and music performances, family workshops, artist residencies and a variety of community events. Our two-acre campus is home to working artists as well as several non-profit arts organizations, theatres, the historic Cyclorama and the Mills Gallery. Some of Bostons most talented professionals fill our rehearsal halls, artist studios, stages and exhibition spaces every season with creative, engaging and exciting projects. The BCA is committed to supporting emerging local curators with the opportunity to produce a six-week exhibition in the Mills Gallery. This generation of curators brings bold insights and a creative perspective to the visual arts scene at the Mills Gallery and in Boston. Their inclusion in our exhibition season allows us to display fresh artistic expression and draw new audiences to the South End. We encourage you to be a part of the BCA and Bostons creative community by visiting our campus often. Sincerely, Veronique Le Melle

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Vela Phelan | Performing EGO shadow, 2011

Close Distance
Daniela Rivera Ral Gonzlez III with La Die Mara Guest with Rafael Rondeau Anabel Vzquez Rodrguez Vela Phelan Ricardo De Lima Dave Ortega Curated by Liz Munsell Close Distance features Boston-area Latino artists practicing across diverse media and national borders. Their site-specific installations incorporate painting, drawing, assemblage, sculpture and video, applying distinct artistic vocabularies ranging from minimalist to surreal. Despite their aesthetic differences, they each comment on the fluid yet weighted exchanges that characterize our global culture. While Latino artists have been contributing to the social consciousness of U.S. publics for decades, those revered by the art world are generally channeled through New York. Close Distance offers a uniquely regional perspective on artmaking and inter-American existences that often goes under-recognized.

All noted members of local arts communities, these artists have greatly enriched the cultural milieu of Boston as educators, curators, and artist collective members. Close Distance alludes to the relationships they maintain with their respective places of origin, which inform their contributions to Bostons present day. It also implies a pertinence to a place thats neither here nor there, an in between state, or perceptual borderland. The experience of continually crossing political and cultural divides affords a critical distance to those who bridge them. Close Distance provides insight on the disparities and connectedness of the American continent, bringing pluralist perspectives to the forefront of the city we
Ral Gonzlez III | Wake up call (On my last nerve), 2010

collectively inhabit. Close Distance offers numerous opportunities for engagement with the artists and artwork, taking advantage of their proximity and diverse talents to activate the gallery space. Created specifically for Close Distance and made available to visitors for free, Dave Ortegas comic Abuela and los Dead Mexicans depicts a history of the Mexican Revolution as described to him by his grandmother, a first-hand witness. A performance with artists Yassy Goldie and Bru J plays with the construction of the cultural identity Latino, employing guerrilla tactics that simultaneously intrigue and disorient audiences. Vela Phelans five-part performance EGO shadow will unfold in his installation, Deviant Idols in The Black Divine. Phelans diverse practice is characterized by a fluid relationship between still objects and live actions. The reciprocal energy of icons is central to his assemblages, which he explains are inspired by the need to discover new forms of deities and idols in this modern world. Combining objects channeled from pop culture, religious iconography, and nature, Phelan strikes a chord of almost total disassociation. Yet for him, the works are synergetic creations, made of materials that all come from the dust of stars. Phelan explains an immersive transnationalism is the backdrop of his work: I was born in the Dominican Republic, but I grew up in Mexico and Venezuela. I almost consider myself a Latin American assemblage, and I think that is in the work. Recognizing a new vehicle for universal communication, Phelan notes that today, more people are aware of pop culture than all the Tibetan gods. His assemblages infuse familiar pop icons with a new religious life, elevating them to the status of gods while subverting their commercial identity. Phelans dark temple is adorned with the consuming presence of gold, a symbol of the elemental and spiritual system that embraces us all. Ral Gonzlez III, raised in El Paso, Texas and Juarez, Mexico, teams with his life-partner La Die, also a native-El Pasonian, for this presentation of his ongoing series Tranquilandia. La Dies own practice in appropriation art, video and collage infuses Gonzlezs two-dimensional imagery with a material weight, affording Tranquilandia an overwhelming sense of place. An off-the-map subworld relative to the world we inhabit, Tranquilandia is both the product and essence of stereotypes imposed on Mexicans.
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Installation shot | Ral Gonzlez III with La Die | Tranquilandia series, 2011

Drawn completely from memory, variations on the Warner Brothers cartoon Speedy Gonzales, gritty fighting cocks, and religious icons all form part of Gonzlezs lexicon of characters and symbols. While based on fictions, the artist recognizes that such caricatures impact racial relations in the U.S. He mindfully remixes and humanizes this imagery as a way of chipping away the veneer. By recycling stories told to him by his family in Mexico, Gonzlez brings his own distance to the forefront: Im a Mexican-American so Ive always been an outsider in a way from both countries Im much more of an observer.Rather than illustrate the violent spectacle depicted in the media and cartoons, scenes such as the aftermath of a cockfight presented in On my last nerve (Wake-up call) resist the authority of a singular narrative, allowing the viewer to weave the stories of Tranquilandia together.

Gonzlez and La Dies saturated style contrasts with Daniela Riveras minimalism on the opposite side of the room. Her installation, Fatiga Material (Material Fatigue), offers a response to gallery space. White canvases referencing paintings end are marked by a literal collapse of the architecture meant to support them. The columns sustaining the building become metaphors for the structures that determine relationships between artists, curators, institutions and the public. Rivera creates the illusion of ruin to illustrate the structural fatigue of the white box. In her own words, the work describes how different systems of representation collapse due to overuse. Trained as a painter in Santiago, Chile, Riveras current thoughts on the medium reflect postmodern discourse on the infectivity of the image as a representational tool. She explains, Any painted image will become stereotype In a way, I cant work with anything but the space to generate a physical image. Fatiga Material takes on a physical presence that counterweights an images loss of presence in our media-driven culture. At the same time, Rivera recognizes the narrative authority that images still hold. Pondering expectations for a show of Latino artists in Boston, she notes that the audience should be familiar with the diversity of Latin America in order to contextualize her work. For Rivera, Chile and Argentina are countries that
Installation shot | Anabel Vzquez Rodrguez | Visin Doble (Double Vision), 2011 Carla Osberg Photography

base their identity on a hybridized scenario. Are we westerners or third world nationals, mestizos or European? While other artists in Close Distance reject stereotypes by hyperbolizing, Riveras discrete minimalism is rooted in the Southern Cones particular cultural identity. Anabel Vzquez Rodrguez provides context for her film Visin Doble (Double Vision) by including maps of New England and Puerto Rico on the wall of her video installation. The title refers both to the artists and the islands limbo state of being part of and apart from the U.S. It also highlights Vzquezs two-sided presentation of Puerto Rico as a place of simultaneous beauty and violence. While countries like Mexico make frequent headlines in the news, Puerto Rico relies on its image as a paradise island, concealing unnerving political situations like the recent student strikes that lead to widespread violations of human rights. Vzquezs work explores sociopolitical issues from an autobiographical point of view, enveloping activist ideals in highly personal imagery. Visin Doble incorporates Super 8mm footage taken over the span of a decade in Puerto Rico, Boston and in between places, as well as material appropriated from the mass media. The videos non-chronological sequencing mimics the disorienting experience of frequent border crossings and the non-linear logic of dreams. Vzquezs hand-held approach underlines her photographic subjectivity, causing the cameras outward-looking gaze to refer back to her body. Her occasional appearances on film reference how in dreams we sometimes see ourselves.

Mara Guest bridges public and private spheres with her outdoor video installation, transforming the two-dimensional support of an image into a structure with an active role. An architect and visual artist, Guest highlights how architecture frames our experience of place, using the Mills Gallery windows as a containing device. The screens reveal an animated topography of their own while bearing the image of moving cityscapes. Each video examines circular configurations and continuous movement in the public sphere. SBADO documents the center of an empty carousel by moving along its perimeter, while DOMINGO explores the circumference of a bustling plaza in Mexico from the
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Installation shot | Ricardo De Lima | Theres Always a Crack / Thats how the light gets in, 2011 Carla Osberg Photography

inside-outward. Referencing the movement and mechanics of the installation, IN BETWEEN speaks to the fluid connections of daily experience outdoors. Set to the musical score of violinist and composer Rafael Rondeau, these spatial portraits depict the open and inviting structure of the public space in Latin America, creating an intimate experience for the viewer in a public setting. Ricardo De Lima places the viewer at the center of his interactive video installation, allowing them to manipulate real time and control the vantage point of the camera. A long-time resident of this city hailing from Venezuela and Colombia, De Lima aims to resensitize Bostonians to their everyday environments. Resisting photographys tendency to romanticize and manufacture fictions, De Lima notes how video compresses and yet expands time to allow you a closer examination. The artist filmed three landscapes in Chinatown, Cambridge and Roxbury, which for him are, so familiar and yet theyre unknown to me, because of cultural barriers, and processes of gentrification that transform them. The cameras repetitive loops reference the circularity of our daily paths, but the videos interactive element becomes a tool for manipulating time, and a metaphor for memory.

In his two-part sculptural installation, Theres always a crack/Thats how the light gets in, De Lima comments on the practical and ethical problems of photographing people. He notes how the legacy of surveillance is built into the photographic apparatus and lyrically alludes to U.S. security cultures futile attempts at controlling borders. Substituting the red stripes of the American flag for light, De Lima connotes the fluidity of national borders. Wholly constructed with materials imported from China, this work links materialism, security culture and labor conditions to free trade and human rights. Each of these artists comments on the everyday consequences of cultural oversimplification that ironically result from a world saturated by information. Close Distance shows how their personal connections to faraway places can provide a local public with insight into both distant parts of the world, and those that are near to us.
Installation shot | Ricardo De Lima | Lo que usted vea aqu/lo que usted haga aqu/lo que usted oiga aqu/cuando usted se vaya de aqu/djelo que se quede aqu (What you see here/What you do here/ What you hear here/When you leave here/Let it stay here), 2011 | Carla Osberg Photography

distancia cercana por liz munsell

Distancia Cercana presenta a artistas latino/as bostoniano/as que cruzan medios diversos y fronteras nacionales en su prctica artstica. En Mills Gallery, sus instalaciones en situ incorporan la pintura, el dibujo, el assemblage, la escultura y el video, aplicando distintos vocabularios desde lo minimalista hasta lo surreal. A pesar de sus diferencias estticas, cada uno comenta sobre los intercambios fluidos y complejos que caracterizan nuestra cultura global. Mientras que lo/as artistas latino/as han contribuido a la consciencia social del pblico estadounidense desde hace dcadas, aquellos reconocidos en el

mundo de arte son generalmente canalizados a travs de Nueva York. Distancia Cercana ofrece una perspectiva nicamente regional sobre la labor del arte y las existencias inter-americanas que muchas veces no se aprecia. Como miembros notables de comunidades de arte locales, estos artistas han enriquecido el mbito cultural de Boston como educadores, curadores y miembros de colectivos de arte. Distancia Cercana alude a las relaciones que mantienen con sus respectivos lugares de origen, los cuales informan sus contribuciones a la actualidad bostoniana. Tambin implica una pertenencia a un no-lugar, un estado entre medio, o una frontera perceptual. La experiencia de atravesar continuamente brechas polticas y culturales proporciona una distancia crtica a aquellos que las conectan. Distancia Cercana visualiza las disparidades y conexiones del continente americano, ofreciendo perspectivas plurales a la ciudad que habitamos colectivamente. Distancia Cercana ofrece varias oportunidades de interactuar con los artistas y sus obras, aprovechando de su proximidad y diversos talentos para activar el espacio de la galera. Hecho especialmente para Distancia Cercana y gratuito para los visitantes, la revista de historietas de Dave Ortega, Abuela and los Dead Mexicans, ilustra una historia de la revolucin mexicana como se le ha descrito su abuela, un testigo. Una performance con los artistas Yassy Goldie y Bru J juega con la construccin de la identidad cultural latina, empleando tcticas guerrilleras que simultneamente intrigan y desorientan al pblico.

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Installation shot | Daniela Rivera | Fatiga Material (Material Fatigue), 2011 | Carla Osberg Photography

Vela Phelan lleva a cabo una performance de cinco partes en su instalacin Deviant Idols in The Black Divine. La prctica artstica diversa de Phelan se caracteriza por una relacin fluida entre objetos quietos y acciones en vivo. La energa recproca de conos tiene un lugar central en sus assemblages, los cuales explica como inspirado por la necesidad de descubrir nuevas formas de dioses e dolos en este mundo moderno. Al combinar objetos canalizado por la cultura pop, la iconografa religiosa, y la naturaleza, Phelan afirma un tono de disasociacin total. Sin embargo, para l los trabajos son creaciones sinrgicas, hechas de materiales que viene del polvo de estrellas. Phelan explica que un transnacionalismo sumergido constituye el fondo de su obra: Nac en la Repblica Dominicana pero crec en Mxico y Venezuela. Casi me considero un assemblage latinoamericano, y creo que se nota en el trabajo. Al reconocer este vehculo nuevo para la comunicacin universal, Phelan nota que hoy, ms personas estn conscientes de la cultura pop que de todos los dioses tibetanos. Su assemblage infunde los iconos pop con una nueva vida religiosa, elevndolos al nivel de divinidades mientras se subvierte su identidad comercial. Su templo oscuro, adornado con la presencia devoradora de oro, es un smbolo del sistema elemental y espiritual que abraza a todos. Ral Gonzlez III, de El Paso, Texas y Jurez, Mxico, junta con su compaera La Die, tambin de El Paso, para esta presentacin de su serie Tranquilandia. La prctica de La Die en el arte de apropiacin, video y collage infunde a la imaginera bidimensional de Gonzlez con un peso material, proveyendo esta serie con un sentido impactante de lugar. Un sub-mundo afuera del mapa, Tranquilandia es el producto y la esencia de los estereotipos mexicanos. Dibujando completamente de memoria las variaciones del dibujo animado de Warner Brothers, Speedy Gonzales, gallos de pelea e iconografa religiosa forman parte del lxico de caracteres y smbolos de Gonzlez. Aunque basados en ficciones, el artista reconoce que tales caricaturas impactan las relaciones de raza en los Estados Unidos. Remezcla y humaniza esta imaginera como manera de sacar la chapa a la superficie.

Installation shot | Vela Phelan | Deviant Idols in the Black Divine, 2011 | Alex Schab

Al reciclar las historias que su familia en Mxico le cuenta, Gonzlez revela su propia distancia en la obra: Soy un mexicano-americano entonces siempre he sido un extranjero en ambos pasessoy un observador ms que nada. En vez de ilustrar el espectculo violento presentado en los dibujos animados y los medios de difusin, escenas como la secuela de una pelea de gallo expuesta en On my last nerve (Wake-up call) resiste a la autoridad de una narrativa singular, permitiendo al espectador tejer los varios hilos de las historias de Tranquilandia. El estilo saturado de Gonzlez y La Die contrasta con el minimalismo de Daniela Rivera al frente. Su instalacin Fatiga Material ilustra la desaparicin de la imagen, ofreciendo una respuesta al espacio de la galera de arte. El fin de la pintura se muestra por un colapse literal de la arquitectura designada a apoyarla. Las columnas que sostienen el edificio se vuelven metforas de las estructuras que determinan las relaciones entre artistas, curadores, instituciones y el pblico. Rivera crea la ilusin de la ruina para ilustrar la fatiga estructural de la caja blanca. En palabras de Rivera, la obra describe como diferentes sistemas de representacin colapsan debidos al uso excesivo. Entrenada como pintora en Santiago de Chile, las ideas actuales de Rivera acerca de este medio reflejan un discurso posmoderno sobre la incapacidad de la imagen como herramienta representacional; explica, Cualquier imagen se vuelve estereotipode alguna manera, no puedo trabajar nada ms que con el espacio para generar una imagen fsica.Fatiga Material asume una presencia fsica que equilibra la prdida de la presencia de la imagen en nuestra cultura, una perdida impulsada por los medios de difusin. Al mismo tiempo, Rivera reconoce la autoridad narrativa que todava tienen las imgenes. Al considerar las expectativas para una exposicin de artistas latino/as en Boston, Rivera indica que un conocimiento de la diversidad latinoamericana es necesario para contextualizar su trabajo. Para Rivera, Chile y Argentina son pases que basan su identidad en un escenario hbrido. Somos occidentales o ciudadanos del tercer mundo, mestizos o europeos? Mientras otros artistas en Distancia Cercana rechazan los estereotipos por exagerarlos, el minimalismo discreto de Rivera se funda en la identidad cultural particular del Cono Sur. Anabel Vzquez Rodrguez provee contexto para su video Visin Doble incluyendo mapas de Nueva Inglaterra y Puerto Rico en las paredes de su video -instalacin. El ttulo refiere al estado en limbo de la artista y de la isla. Tambin destaca una presentacin de isla como lugar de belleza y violencia simultaneas.
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Dave Ortega | Abuela and los Dead Mexicans, 2011

Mientras pases como Mxico aparecen mucho en los titulares noticieros, Puerto Rico depende de su imagen como isla-paraso, ocultando situaciones polticas alarmantes como las huelgas estudiantiles recientes que resultaron en mltiples violaciones de derechos humanos. La obra de Vzquez explora temas sociopolticos desde un punto de vista autobiogrfico, envolviendo ideales activistas en imgenes sumamente personales. Visin Doble incorpora metraje en Super 8mm grabado a lo largo de una dcada en Puerto Rico, Boston y lugares entre medio, y tambin material apropiado de los medios de difusin. Las secuencias acronolgicas de video imitan la experiencia desorientada de cruzar fronteras y la lgica discontinua de los sueos. La tcnica porttil subraya la subjetividad fotogrfica, causando que la vista exterior de la camera se refiera al cuerpo de la artista. Las apariciones aisladas de Vzquez en la pelcula aluden al mundo de sueos en que a veces se ve a uno mismo.

Mara Guest conecta las esferas pblicas y privadas con su video-instalacin en la intemperie de la galera, transformando el medio bidimensional de la imagen en una estructura con funcin activa. Arquitecta y artista visual, Guest destaca como la arquitectura enmarca nuestra experiencia de lugar, usando las ventanas de la galera como un dispositivo para encuadrar. Las pantallas revelan una topografa propia mientras apoyan a las imgenes de paisajes urbanos en movimiento. Los videos examinan configuraciones circulares en el espacio pblico SBADO documenta el centro de un carrusel vaco a lo largo de su permetro, mientras DOMINGO explora la circunferencia de una plaza activa en Mxico desde adentro hacia fuera. Al referirse a la mecnica de la instalacin, IN BETWEEN visualiza las conexiones fluidas de la cotidianidad. Arreglado con la msica del violinista y compositor Rafael Rondeau, estos relatos espaciales describen la estructura abierta del espacio pblico en Latinoamrica, en palabras de Guest, exponiendo momentos de espacios ntimos adentro de un
Anabel Vzquez Rodrguez | Visin Doble 2011

dominio muy pblico. Ricardo De Lima pone al espectador al centro de su video-instalacin interactivo, permitindole a manipular el tiempo real y controlar el punto de vista de la camera. De Lima intenta reintroducir a los bostonianos a sus ambientes cotidianos. Al resistir la tendencia de la fotografa a romantizar y maniobrar ficciones, De Lima afirma que el video comprime y expande al tiempo, permitiendo una reexaminacin ms cercana. El artista grab tres paisajes en Chinatown, Cambridge y Roxbury, los cuales son para l tan familiar sino desconocido, debido a las barreras culturales y procesos de gentrificacin que los transforman. Los circuitos repetitivos de la cmara refieren a la circularidad de nuestros caminos diarios, pero el elemento interactivo se vuelve una herramienta para manipular el tiempo, y una metfora para la memoria. En su instalacin escultural de dos partes, Theres always a crack/Thats how the light gets in, De Lima alude a los problemas prcticos y ticos que se generan al fotografiar al transente inconciente. Apunta como el legado de la vigilancia forma parte del aparato fotogrfico, y elude lricamente a los intentos ftiles de la cultura de seguridad estadounidense de controlar las fronteras nacionales. Al sustituir los listados rojos de la bandera americana por luz, De Lima connota la fluidez de los bordes nacionales. Construido enteramente con materiales importados de China, esta obra vincula el consumismo, la cultural de vigilancia, y las condiciones laborales al mercado libre y los derechos humanos. Cada artista comenta sobre las consecuencias diarias de reduccin cultural que irnicamente resultan de un mundo saturado con informacin. Distancia Cercana muestra como conexiones personales a lugares lejanos pueden proveer al pblico local con un entendimiento ms profundo sobre distintas partes del mundo y nuestra propia ciudad.

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Installation shot | Mara Guest with Rafael Rondeau | TRIPTYCH: SBADO/IN BETWEEN/ DOMINGO, 2011

artists and media

Ral Gonzlez III with La Die Disco Ball All-Stars, 2011 | Styrofoam, mirrors, felt, hair La Limpia (Blood-letting), 2011 Acrylic paint on washboard with fringe and sequins Ral Gonzlez III Bienvenidos (Welcome), 2010 | Acrylic paint and Bic pen on coffee stained paper and metal coat hanger On my last nerve (Wake-up call), 2010 Acrylic paint and Bic pen on coffee stained paper and wooden shelf mount Todos comen aqu (Everybody eats here), 2010 | Acrylic paint on paper and wooden shelf mount Born again, 2011 | Acrylic paint on paper and wooden shelf mount Quien fue la nmero uno? (And the number one was?), 2011 | Acrylic paint on sheets, clothespins, clothesline Ral Gonzlez III with La Die and Len White Las Lloronas (The Weeping), 2011 3 channel video installation (color, sound) 6 minute, 50 second loop All Gonzlez works courtesy of the artist and Carroll and Sons Daniela Rivera Fatiga material (Material Fatigue), 2011 Oil paint on canvas and plywood Courtesy of La Montagne Gallery * Front cover image Anabel Vzquez Rodrguez Visin Doble (Double Vision), 2011 Video installation with maps (oil, pencil and paint marker on paper) & Super 8mm film transferred to video (color, sound) 11 minutes, 40 seconds Courtesy of the artist Ricardo De Lima Theres always a crack, 2011 | 50 false security cameras Thats how the light gets in, 2011 | Neon rope spiral Lo que usted vea aqu/lo que usted haga aqu/lo que usted oiga aqu/cuando usted se vaya de aqu/djelo que se quede aqu (What you see here/What you do here/ What you hear here/When you leave here/ Let it stay here), 2011 | Video installation with Kinect (color, silent) All De Lima works courtesy of the artist * Back cover image Mara Guest with Rafael Rondeau TRIPTYCH: SABADO / IN BETWEEN / DOMINGO, 2011 | 3 channel video installation (color, sound), 3 minute loop Courtesy of the artist Dave Ortega Abuela and los Dead Mexicans, 2011 Graphic Novel, edition 2000 | Courtesy of the artist Vela Phelan Deviant Idols in The Black Divine, 2011 Assemblages and actions | Courtesy of the artist

about the bca

The Boston Center for the Arts (BCA) is a not-for-profit performing and visual arts complex that supports working artists to create, perform and exhibit new works; develops new audiences; and connects the arts to community. Located in Bostons South End, the largest landmark district in the United States and covering more than 500 acres, the BCA is dedicated to incubating and showcasing the performing and visual arts of our time.

bca staff
Veronique Le Melle | Executive Director Jeffrey Alkon | IT Manager Helen Bennett | Plaza Theatres Assistant House Manager Andrea Blesso Albuquerque | Office Manager & Dance Coordinator Bridget Duggan | Administrative Assistant Darren Evans | Associate Director of Programs Brian Friedberg | Visual Arts Manager Christa Gonsalves | Staff Accountant Kristi Keefe | Director of Events & Community Relations Jeff Kierstead | Cyclorama Production Manager Angela King | Marketing Coordinator John J. King | Plaza Theatres House Manager Tara MacGillivray | Cyclorama Production Associate Nate McDermott | Mills Gallery Manager Kristina Newman-Scott | Director of Programs Anne Norton | Director of Development & Marketing Jennifer Saphier Whitman | Cyclorama Sales Associate Megan Searcy | Development Associate Leanne Sera Jose | Development Assistant Benjamin Shepherd | Director of Finance & Human Resources Jamila Thompson | Executive Assistant Phil Waldron | Facilities Associate Cynthia Woo | Program Manager

board of directors
The Boston Center for the Arts thanks its Board of Directors for their commitment to the BCA and the arts in Boston. Philip W. Lovejoy | Chair Karen Kelley Gill | Vice Chair Kathy West | Treasurer L. Thomas Bryan | Clerk Steven Avruch Julie Burns Jennifer Epstein Donatella Giacometti Keon Holmes Lawrence J. Kunz Silvia Lopez Chavez Doug Murphy Prataap Patrose Ellen Rich Roger Sametz Stacy Sweeney Louis Tucciarone Jordan D. Warshaw Michael P. Wasserman

publication design
Angela Case, Graphic Design student at New England Institute of Art and Angela King, Marketing Coordinator

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