close distance catalogue

8/4/2019 Close Distance Catalogue

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Close Distance |Mills Gallery at theBoston Center for the Arts



the mills gallery

The Mills Gallery at the Boston Center for the Arts is dedicated to presentingexciting contemporary works by local, regional, national and internationalvisual artists and curators. During each exhibition, the BCA provides multipleopportunities for audiences to engage with the artwork and artists through

Artist Talks and related events. Exhibitions and programs at the Mills Galleryare free and open to the public.

hours of operation

Wednesday 12 – 5 pm

Thursday, Friday and Saturday 12 – 9 pmSunday 12 – 5 pm

Boston Center for the Arts539 Tremont StreetBoston, MA 02116617.426.3186Fax 617.426.5336

[email protected]

Photo credit | Carla Osberg Photography



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from veronique le melle, bca executive director

We’re pleased to present this catalogue for Close Distance with images of thesite-specic installations and a bilingual essay by curator Liz Munsell.

For more than 40 years the BCA has been a South End institution committedto supporting working artists in the creation, performance and exhibition of new works. In recent years, we have expanded our programming and servicesfor artists and the community through visual arts exhibitions, theatre, danceand 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-prot

arts organizations, theatres, the historic Cyclorama and the Mills Gallery. Someof Boston’s most talented professionals ll our rehearsal halls, artist studios,stages and exhibition spaces every season with creative, engaging and excitingprojects.

The BCA is committed to supporting emerging local curators with theopportunity to produce a six-week exhibition in the Mills Gallery. This generationof 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 seasonallows us to display fresh artistic expression and draw new audiences to theSouth End.

We encourage you to be a part of the BCA and Boston’s creative community byvisiting our campus often.

Sincerely,

Veronique Le Melle

Vela Phelan | Performing EGO shadow, 2011



Close DistanceDaniela RiveraRaúl González III with La Die

María Guest with Rafael RondeauAnabel Vázquez RodríguezVela PhelanRicardo De LimaDave Ortega

Curated by Liz Munsell Close Distance features Boston-area Latino artists practicing across diverse

media and national borders. Their site-specic installations incorporate painting,drawing, assemblage, sculpture and video, applying distinct artistic vocabulariesranging from minimalist to surreal. Despite their aesthetic differences, theyeach comment on the uid yet weighted exchanges that characterize our globalculture. While Latino artists have been contributing to the social consciousness of U.S.publics for decades, those revered by the art world are generally channeledthrough New York. Close Distance offers a uniquely regional perspective on art-

making and inter-American existences that often goes under-recognized.

All noted members of local arts communities, these artists have greatly enrichedthe cultural milieu of Boston as educators, curators, and artist collectivemembers. Close Distance alludes to the relationships they maintain with theirrespective places of origin, which inform their contributions to Boston’s present

day. It also implies a pertinence to a place that’s neither here nor there, an “inbetween” state, or perceptual borderland. The experience of continually crossingpolitical and cultural divides affords a critical distance to those who bridge them.Close Distance provides insight on the disparities and connectedness of theAmerican continent, bringing pluralist perspectives to the forefront of the city we

Raúl González III | Wake up call (On my last nerve), 2010



collectively inhabit.

Close Distance offers numerousopportunities for engagement with theartists and artwork, taking advantageof their proximity and diverse talents

to activate the gallery space. Createdspecically for Close Distance and madeavailable to visitors for free, Dave Ortega’scomic Abuela and los Dead Mexicansdepicts a history of the Mexican Revolutionas described to him by his grandmother,a rst-hand witness. A performance withartists Yassy Goldie and Bru Jø plays withthe construction of the cultural identity“Latino,” employing guerrilla tactics thatsimultaneously intrigue and disorientaudiences.

Vela Phelan’s ve-part performance EGOshadow will unfold in his installation,Deviant Idols in The Black Divine. Phelan’sdiverse practice is characterized by a uidrelationship between still objects and live actions. The reciprocal energy of iconsis central to his assemblages, which he explains are “inspired by the need todiscover new forms of deities and idols in this modern world.”

Combining objects channeled from pop culture, religious iconography, andnature, Phelan strikes a chord of almost total disassociation. Yet for him, theworks are “synergetic creations,” made of materials that “all come from the dustof 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 andVenezuela. I almost consider myself a Latin American assemblage, and I thinkthat is in the work.” Recognizing a new vehicle for universal communication,Phelan notes that today, “more people are aware of pop culture than all theTibetan gods.” His assemblages infuse familiar pop icons with a new religiouslife, elevating them to the status of gods while subverting their commercialidentity. Phelan’s dark temple is adorned with the consuming presence of gold,a symbol of the elemental and spiritual system that embraces us all.

Raúl González III, raised in El Paso, Texas and Juarez, Mexico, teams with hislife-partner La Die, also a native-El Pasonian, for this presentation of his ongoingseries Tranquilandia. La Die’s own practice in appropriation art, video andcollage infuses González’s two-dimensional imagery with a material weight,affording Tranquilandia an overwhelming sense of place. An off-the-map sub-world relative to the world we inhabit, Tranquilandia is both the product andessence of stereotypes imposed on Mexicans.

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Installation shot | Raúl González III with La Die | Tranquilandia series, 2011



Drawn completely from memory, variations on the Warner Brother’s cartoonSpeedy Gonzales, gritty ghting cocks, and religious icons all form part of González’s lexicon of characters and symbols. While based on ctions, the artistrecognizes that such caricatures impact racial relations in the U.S. He mindfullyremixes and humanizes this imagery as a way of “chipping away the veneer.”

By recycling stories told to him by his family in Mexico, González brings hisown distance to the forefront: “I’m a Mexican-American so I’ve always been anoutsider in a way from both countries… I’m much more of an observer.”Ratherthan illustrate the violent spectacle depicted in the media and cartoons, scenessuch as the aftermath of a cockght presented in On my last nerve (Wake-upcall) resist the authority of a singular narrative, allowing the viewer to weave thestories of Tranquilandia together.

González and La Die’s saturated style contrasts with Daniela Rivera’sminimalism on the opposite side of the room. Her installation, FatigaMaterial (Material Fatigue), offers a response to gallery space. White canvasesreferencing “painting’s end” are marked by a literal collapse of the architecturemeant to support them. The columns sustaining the building becomemetaphors for the structures that determine relationships between artists,

curators, institutions and the public. Rivera creates the illusion of ruin toillustrate the structural fatigue of the “white box.” In her own words, the workdescribes “how different systems of representation collapse due to overuse.”

Trained as a painter in Santiago, Chile, Rivera’s current thoughts on the mediumreect postmodern discourse on the infectivity of the image as a representationaltool. She explains, “Any painted image will become stereotype… In a way, I can’twork with anything but the space to generate a physical image.” Fatiga Material takes on a physical presence that counterweights an image’s loss of presence in

our media-driven culture.At the same time, Rivera recognizes the narrative authority that images stillhold. Pondering expectations for a show of Latino artists in Boston, she notesthat the audience should be familiar with the diversity of Latin America in orderto contextualize her work. For Rivera, Chile and Argentina are “countries that

Installation shot | Anabel Vázquez Rodríguez | Visión Doble (Double Vision), 2011Carla Osberg Photography



base their identity on a hybridized scenario. Are we westerners or third worldnationals, mestizos or European?” While other artists in Close Distance rejectstereotypes by hyperbolizing, Rivera’s discrete minimalism is rooted in theSouthern Cone’s particular cultural identity.

Anabel Vázquez Rodríguez provides context for her lm Visión Doble (DoubleVision) by including maps of New England and Puerto Rico on the wall of hervideo installation. The title refers both to the artist’s and the island’s limbo stateof being “part of” and apart from the U.S. It also highlights Vázquez’s two-sidedpresentation of Puerto Rico as a place of simultaneous beauty and violence.While countries like Mexico make frequent headlines in the news, Puerto Ricorelies on its image as a paradise island, concealing unnerving political situationslike the recent student strikes that lead to widespread violations of human rights.Vázquez’s work explores sociopolitical issues from an autobiographical point of

view, enveloping activist ideals in highly personal imagery.Visión Doble incorporates Super 8mm footage taken over the span of a decadein Puerto Rico, Boston and “in between” places, as well as material appropriatedfrom the mass media. The video’s non-chronological sequencing mimics thedisorienting experience of frequent border crossings and the non-linear logic of dreams. Vázquez’s hand-held approach underlines her photographic subjectivity,causing the camera’s outward-looking gaze to refer back to her body. Heroccasional appearances on lm reference how in dreams we sometimes see

ourselves.

María Guest bridges public and private spheres with her outdoor videoinstallation, transforming the two-dimensional support of an image into astructure with an active role. An architect and visual artist, Guest highlights howarchitecture frames our experience of place, using the Mills Gallery windows as

a containing device. The screens reveal an animated topography of their ownwhile bearing the image of moving cityscapes. Each video examines circularcongurations and continuous movement in the public sphere. SÁBADO documents the center of an empty carousel by moving along its perimeter, whileDOMINGO explores the circumference of a bustling plaza in Mexico from the

Installation shot | Ricardo De Lima | There’s Always a Crack / That’s how the light gets in, 2011

Carla Osberg Photography

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Installation shot | Ricardo De Lima | Lo que usted vea aquí/lo que usted haga aquí/lo que usted oigaaquí/cuando usted se vaya de aquí/déjelo que se quede aquí (What you see here/What you do here/

What you hear here/When you leave here/Let it stay here), 2011 | Carla Osberg Photography

inside-outward. Referencing the movement and mechanics of the installation,IN BETWEEN speaks to the uid connections of daily experience outdoors. Setto the musical score of violinist and composer Rafael Rondeau, these spatialportraits depict the open and inviting structure of the public space in LatinAmerica, creating an intimate experience for the viewer in a public setting.

Ricardo De Lima places the viewer at the center of his interactive videoinstallation, allowing them to manipulate real time and control the vantagepoint of the camera. A long-time resident of this city hailing from Venezuelaand Colombia, De Lima aims to resensitize Bostonians to their everydayenvironments. Resisting photography’s tendency to romanticize andmanufacture ctions, De Lima notes how “video compresses and yet expandstime to allow you a closer examination.”

The artist lmed three landscapes in Chinatown, Cambridge and Roxbury, whichfor him are, “so familiar and yet they’re unknown to me, because of culturalbarriers, and processes of gentrication that transform them.” The camera’srepetitive loops reference the circularity of our daily paths, but the video’sinteractive element becomes a tool for manipulating time, and a metaphor formemory.

In his two-part sculptural installation, There’s always a crack/That’s how thelight gets in, De Lima comments on the practical and ethical problems of photographing people. He notes how the legacy of surveillance is built intothe photographic apparatus and lyrically alludes to U.S. security culture’s futileattempts at controlling borders. Substituting the red stripes of the American agfor light, De Lima connotes the uidity of national borders. Wholly constructedwith materials imported from China, this work links materialism, security cultureand labor conditions to free trade and human rights.

Each of these artists comments on the everyday consequences of cultural over-simplication that ironically result from a world saturated by information. CloseDistance shows how their personal connections to faraway places can provide alocal public with insight into both distant parts of the world, and those that arenear to us.



distancia cercana por liz munsell

Distancia Cercana presenta a artistas latino/as bostoniano/as que cruzanmedios diversos y fronteras nacionales en su práctica artística. En Mills Gallery,sus instalaciones en situ incorporan la pintura, el dibujo, el assemblage, laescultura y el video, aplicando distintos vocabularios desde lo minimalista

hasta lo surreal. A pesar de sus diferencias estéticas, cada uno comenta sobrelos intercambios uidos y complejos que caracterizan nuestra cultura global.Mientras que lo/as artistas latino/as han contribuido a la consciencia socialdel público estadounidense desde hace décadas, aquellos reconocidos en el

mundo de arte son generalmente canalizados a través de Nueva York. Distancia

Cercana ofrece una perspectiva únicamente regional sobre la labor del arte y lasexistencias inter-americanas que muchas veces no se aprecia.

Como miembros notables de comunidades de arte locales, estos artistashan enriquecido el ámbito cultural de Boston como educadores, curadores ymiembros de colectivos de arte. Distancia Cercana alude a las relaciones quemantienen con sus respectivos lugares de origen, los cuales informan suscontribuciones a la actualidad bostoniana. También implica una pertenencia aun no-lugar, un estado entre medio, o una frontera perceptual. La experiencia

de atravesar continuamente brechas políticas y culturales proporciona unadistancia crítica a aquellos que las conectan. Distancia Cercana visualiza lasdisparidades y conexiones del continente americano, ofreciendo perspectivasplurales a la ciudad que habitamos colectivamente.

Distancia Cercana ofrece varias oportunidades de interactuar con los artistas ysus obras, aprovechando de su proximidad y diversos talentos para activar elespacio de la galería. Hecho especialmente para Distancia Cercana y gratuitopara los visitantes, la revista de historietas de Dave Ortega, Abuela and los Dead

Mexicans, ilustra una historia de la revolución mexicana como se le ha descritosu abuela, un testigo. Una performance con los artistas Yassy Goldie y Bru Jøjuega con la construcción de la identidad cultural latina, empleando tácticasguerrilleras que simultáneamente intrigan y desorientan al público.

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

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Vela Phelan lleva a cabo una performance de cinco partes en su instalaciónDeviant Idols in The Black Divine. La práctica artística diversa de Phelan se

caracteriza por una relación uida entre objetos quietos y acciones en vivo.La energía recíproca de íconos tiene un lugar central en sus assemblages, loscuales explica como “inspirado por la necesidad de descubrir nuevas formas dedioses e ídolos en este mundo moderno.”

Al combinar objetos canalizado por la cultura pop, la iconografía religiosa, y lanaturaleza, Phelan arma un tono de disasociación total. Sin embargo, paraél los trabajos son “creaciones sinérgicas”, hechas de materiales que “vienedel polvo de estrellas.” Phelan explica que un transnacionalismo sumergido

constituye el fondo de su obra: “Nací en la República Dominicana pero crecíen México y Venezuela. Casi me considero un assemblage latinoamericano,y creo que se nota en el trabajo.” Al reconocer este vehículo nuevo para lacomunicación universal, Phelan nota que hoy, “más personas están conscientesde la cultura pop que de todos los dioses tibetanos.” Su assemblage infundelos iconos pop con una nueva vida religiosa, elevándolos al nivel de divinidadesmientras se subvierte su identidad comercial. Su templo oscuro, adornado conla presencia devoradora de oro, es un símbolo del sistema elemental y espiritual

que abraza a todos.Raúl González III, de El Paso, Texas y Juárez, México, junta con su compañeraLa Die, también de El Paso, para esta presentación de su serie Tranquilandia.La práctica de La Die en el arte de apropiación, video y collage infunde a laimaginería bidimensional de González con un peso material, proveyendo estaserie 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 Brother’s, Speedy Gonzales, gallos de pelea e iconografía religiosaforman parte del léxico de caracteres y símbolos de González. Aunque basadosen cciones, el artista reconoce que tales caricaturas impactan las relacionesde raza en los Estados Unidos. Remezcla y humaniza esta imaginería comomanera de “sacar la chapa a la supercie.”

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



Al reciclar las historias que su familia en México le cuenta, González revela supropia distancia en la obra: “Soy un mexicano-americano entonces siempre hesido un extranjero en ambos países…soy un observador más que nada.” En vezde ilustrar el espectáculo violento presentado en los dibujos animados y losmedios de difusión, 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 González y La Die contrasta con el minimalismo deDaniela Rivera al frente. Su instalación Fatiga Material ilustra la desapariciónde la imagen, ofreciendo una respuesta al espacio de la galería de arte. El nde la pintura se muestra por un colapse literal de la arquitectura designada aapoyarla. Las columnas que sostienen el edicio se vuelven metáforas de lasestructuras que determinan las relaciones entre artistas, curadores, instituciones

y el público. Rivera crea la ilusión de la ruina para ilustrar la fatiga estructuralde “la caja blanca.” En palabras de Rivera, la obra describe “como diferentessistemas de representación colapsan debidos al uso excesivo.”

Entrenada como pintora en Santiago de Chile, las ideas actuales de Riveraacerca de este medio reejan un discurso posmoderno sobre la incapacidad dela imagen como herramienta representacional; explica, “Cualquier imagen sevuelve estereotipo…de alguna manera, no puedo trabajar nada más que con elespacio para generar una imagen física.”Fatiga Material asume una presencia

física que equilibra la pérdida de la presencia de la imagen en nuestra cultura,una perdida impulsada por los medios de difusión.

Al mismo tiempo, Rivera reconoce la autoridad narrativa que todavía tienenlas imágenes. Al considerar las expectativas para una exposición de artistaslatino/as en Boston, Rivera indica que un conocimiento de la diversidadlatinoamericana es necesario para contextualizar su trabajo. Para Rivera, Chile yArgentina son “países que basan su identidad en un escenario híbrido. ¿Somosoccidentales o ciudadanos del tercer mundo, mestizos o europeos?” Mientras

otros artistas en Distancia Cercana rechazan los estereotipos por exagerarlos,el minimalismo discreto de Riverase funda en la identidad culturalparticular del Cono Sur.

Anabel Vázquez Rodríguez proveecontexto para su video VisiónDoble incluyendo mapas de NuevaInglaterra y Puerto Rico en las

paredes de su video -instalación. Eltítulo reere al estado en limbo de laartista y de la isla. También destacauna presentación de isla como lugarde belleza y violencia simultaneas.

Dave Ortega | Abuela and los Dead Mexicans, 2011

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Mientras países como México aparecen mucho en los titulares noticieros,Puerto Rico depende de su imagen como isla-paraíso, ocultando situacionespolíticas alarmantes como las huelgas estudiantiles recientes que resultaron enmúltiples violaciones de derechos humanos. La obra de Vázquez explora temassociopolíticos desde un punto de vista autobiográco, envolviendo ideales

activistas en imágenes sumamente personales.Visión Doble incorpora metraje en Super 8mm grabado a lo largo de una décadaen Puerto Rico, Boston y lugares “entre medio”, y también material apropiadode los medios de difusión. Las secuencias acronológicas de video imitan laexperiencia desorientada de cruzar fronteras y la lógica discontinua de lossueños. La técnica portátil subraya la subjetividad fotográca, causando quela vista exterior de la camera se reera al cuerpo de la artista. Las aparicionesaisladas de Vázquez en la película aluden al mundo de sueños en que a veces se

ve a uno mismo.

María Guest conecta las esferas públicas y privadas con su video-instalaciónen la intemperie de la galería, transformando el medio bidimensional de laimagen en una estructura con función activa. Arquitecta y artista visual, Guestdestaca como la arquitectura enmarca nuestra experiencia de lugar, usando lasventanas de la galería como un dispositivo para encuadrar. Las pantallas revelanuna topografía propia mientras apoyan a las imágenes de paisajes urbanosen movimiento. Los videos examinan conguraciones circulares en el espaciopúblico – SÁBADO documenta el centro de un carrusel vacío a lo largo de superímetro, mientras DOMINGO explora la circunferencia de una plaza activaen México desde adentro hacia fuera. Al referirse a la mecánica de la instalación,IN BETWEEN visualiza las conexiones uidas de la cotidianidad. Arreglado conla música del violinista y compositor Rafael Rondeau, estos relatos espacialesdescriben la estructura abierta del espacio público en Latinoamérica, enpalabras de Guest, “exponiendo momentos de espacios íntimos adentro de un

Anabel Vázquez Rodríguez | Visión Doble 2011



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dominio muy público.”

Ricardo De Lima pone al espectador al centro de su video-instalacióninteractivo, permitiéndole a manipular el tiempo real y controlar el puntode vista de la camera. De Lima intenta reintroducir a los bostonianos a susambientes cotidianos. Al resistir la tendencia de la fotografía a romantizar ymaniobrar cciones, De Lima arma que “el video comprime y expande altiempo, permitiendo una reexaminación más cercana.”

El artista grabó tres paisajes en Chinatown, Cambridge y Roxbury, los cualesson para él “tan familiar sino desconocido, debido a las barreras culturales yprocesos de gentricación que los transforman.” Los circuitos repetitivos de lacámara reeren a la circularidad de nuestros caminos diarios, pero el elementointeractivo se vuelve una herramienta para manipular el tiempo, y una metáforapara la memoria.

En su instalación escultural de dos partes, There’s always a crack/That’s how thelight gets in, De Lima alude a los problemas prácticos y éticos que se generanal fotograar al transeúnte inconciente. Apunta como el legado de la vigilanciaforma parte del aparato fotográco, y elude líricamente a los intentos fútiles dela cultura de seguridad estadounidense de controlar las fronteras nacionales. Alsustituir los listados rojos de la bandera americana por luz, De Lima connotala uidez de los bordes nacionales. Construido enteramente con materialesimportados 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 reducción culturalque irónicamente resultan de un mundo saturado con información. DistanciaCercana muestra como conexiones personales a lugares lejanos pueden proveeral público local con un entendimiento más profundo sobre distintas partes delmundo y nuestra propia ciudad.

Installation shot | Marí a Guest with Rafael Rondeau | TRIPTYCH: SÁBADO/IN BETWEEN/

DOMINGO, 2011



Raúl González III with La DieDisco Ball All-Stars, 2011 | Styrofoam,mirrors, felt, hair

La Limpia (Blood-letting), 2011Acrylic paint on washboard with fringe andsequins

Raúl González IIIBienvenidos (Welcome), 2010 | Acrylic paintand Bic pen on coffee stained paper andmetal coat hanger

On my last nerve (Wake-up call), 2010Acrylic paint and Bic pen on coffee stainedpaper and wooden shelf mount

Todos comen aquí (Everybody eats here),2010 | Acrylic paint on paper and woodenshelf mount

Born again, 2011 | Acrylic paint on paper

and wooden shelf mount

Quien fue la número uno? (And thenumber one was?), 2011 | Acrylic paint onsheets, clothespins, clothesline

Raúl González III with La Die and LenWhiteLas Lloronas (The Weeping), 20113 channel video installation (color, sound)

6 minute, 50 second loop

All González works courtesy of the artistand Carroll and Sons

Daniela RiveraFatiga material (Material Fatigue), 2011Oil paint on canvas and plywoodCourtesy of La Montagne Gallery

* Front cover image

Anabel Vázquez RodríguezVisión Doble (Double Vision), 2011Video installation with maps (oil, pencil

and paint marker on paper) & Super 8mmlm transferred to video (color, sound)11 minutes, 40 secondsCourtesy of the artist

Ricardo De LimaThere’s always a crack, 2011 | 50 falsesecurity cameras

That’s how the light gets in, 2011 | Neonrope spiral

“Lo que usted vea aquí/lo que usted hagaaquí/lo que usted oiga aquí/cuando ustedse vaya de aquí/déjelo que se quede aquí”(What you see here/What you do here/ What you hear here/When you leave here/ Let it stay here), 2011 | Video installationwith Kinect (color, silent)

All De Lima works courtesy of the artist* Back cover image

María Guest with Rafael RondeauTRIPTYCH: SABADO / IN BETWEEN/ DOMINGO, 2011 | 3 channel videoinstallation (color, sound), 3 minute loopCourtesy of the artist

Dave OrtegaAbuela and los Dead Mexicans, 2011Graphic Novel, edition 2000 | Courtesy of the artist

Vela PhelanDeviant Idols in The Black Divine, 2011Assemblages and actions | Courtesy of the

artist

artists and media



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about the bca

The Boston Center for the Arts (BCA) is a not-for-prot performing and visualarts complex that supports working artists to create, perform and exhibit newworks; develops new audiences; and connects the arts to community.

Located in Boston’s South End, the largest landmark district in the United Statesand covering more than 500 acres, the BCA is dedicated to incubating andshowcasing the performing and visual arts of our time.

Veronique Le Melle | Executive Director

Jeffrey Alkon | IT Manager

Helen Bennett | Plaza Theatres

Assistant House ManagerAndrea Blesso Albuquerque | OfceManager & 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 RelationsJeff Kierstead | Cyclorama ProductionManager

Angela King | Marketing Coordinator

John J. King | Plaza Theatres HouseManager

Tara MacGillivray | CycloramaProduction Associate

Nate McDermott | Mills Gallery Manager

Kristina Newman-Scott | Director of Programs

Anne Norton | Director of Development &Marketing

Jennifer Saphier Whitman | Cyclorama SalesAssociate

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

bca staff board of directors

The Boston Center for the Artsthanks its Board of Directors fortheir commitment to the BCA and

the arts in Boston.

Philip W. Lovejoy | ChairKaren Kelley Gill | Vice ChairKathy West | TreasurerL. Thomas Bryan | Clerk

Steven AvruchJulie Burns

Jennifer EpsteinDonatella GiacomettiKeon HolmesLawrence J. KunzSilvia Lopez ChavezDoug MurphyPrataap PatroseEllen RichRoger Sametz

Stacy SweeneyLouis TucciaroneJordan D. WarshawMichael P. Wasserman

publication design

Angela Case, Graphic Design studentat New England Institute of Art andAngela King, Marketing Coordinator



VISUAL ARTS | PERFORMANCE | COMMUNITY

www.bcaonline.org

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