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                <text>"Czech Modernism Mirrored and Reflected Infinitely"</text>
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                <text>Glass Replicas of 1920's Czech Modernist Decanters</text>
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                <text>Through these decanter replicas the artist "considers the shifts in labor of the last century as the handcrafted was frequently replaced by the machine-made."  (Information taken from museum plaque)</text>
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                <text>Josiah McElheny</text>
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                <text>Institute of Contemporary Art: "Purchased through funds provided by Bridgitt and Bruce Evans, Kimberly and James Pallotta, Beth and Anthony Terrana, and Nancy B. Tieken in honor of Jill Medvedow" ICA Website: http://www.icaboston.org/art/josiah-mcelheny/czech-modernism-mirrored-and-reflected-infinitely</text>
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                <text>Institute of Contemporary Arts/Josiah McElheny.</text>
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                <text>Image taken in the ICA gallery</text>
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                <text>A chaise lounge made from "steel tread plate."  The artist sought to subvert the furniture item's association with "feminine leisure, relaxation, and economic privilege."  (info taken from museum plaque) </text>
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                <text>Mona Hatoum</text>
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                <text>Institute for Contemporary Art Gallery: Gift of Barbara Lee, The Barbara Lee Collection of Art by Women.</text>
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                <text>Newspaper article detailing one of the ICA's first fundraisers: the Modern Arts Ball.  It's primary focus is the guest list.</text>
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                <text>Daily Boston Globe (1928-1960); Apr 12, 1936; ProQuest Historical Newspapers: The Boston Globe pg. B7</text>
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                <text>"Paul Revere's Ride" poem by Henry Wadsworth Longfellow (1860)</text>
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                <text>"Paul Revere's Ride", a poem written by Henry Wadsworth Longfellow in 1860 about Paul Revere's Midnight Ride to Lexington, where he warned the patriots about the British troops movements. </text>
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                <text>Mural in permanent marker located by the interior of the ICA entrance.</text>
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                <text>This image of an aircraft carrier merged with England's Saint Paul's Cathedral striking off into the sea is a response to "the ICA's location between the flat expanse of Boston Harbor and the high-rise development that is transforming the Seaport District."  The accompanying plaque asks "what triggered the retreat[?]," positing exile, "rising sea levels," or the search to establish a "new society." The exhibit seemed under construction when this photo was taken (Information taken from museum plaque).</text>
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                <text>Institute for Contemporary Art Gallery: "Support provided, in part by Jean-François and Nathalie Ducrest" (museum plaque).</text>
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                <text>The date was not listed in the description but from the looks of the construction about the display and the news links provided on the ICA website it seems to be from the year of 2015. http://www.icaboston.org/exhibitions/ethan-murrow-seastead</text>
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                <text>Institute for Contemporary Art Gallery: promised gift of Anne and Arthur Goldstein.</text>
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                <text>The “Home Town: Re-Presenting Boston’s Chinatown as a Place of People – Then and Now” project is the intellectual and creative property solely of artist Wen-ti Tsen. By photographing his work, I intend to present his achievements to a greater audience, demonstrate how their presence provides a temporal layer to the Chinatown Park, and to not personally profit from them in any way.</text>
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