Creating a Nexus for the Arts in Boston
“I took this job because the mission of the organization speaks very strongly to what I believe,” Gregory began. Boston Center for the Arts, which operates a variety of programs and facilities throughout Boston, provides a safe place for artists to learn and experiment, allowing them to take the creative risks that can lead to breakthroughs. The organization also offers a variety of performing and visual art spaces for practitioners to showcase their work.
The organization has recently embarked on “The Nexus Project”, aiming to fulfill the BCA’s 2014 Strategic Plan’s vision statement of:
“The Boston Center for the Arts is a vibrant gathering place where local residents and visitors experience and participate in contemporary visual and performing arts. We provide a platform for artists to deeply engage diverse audiences”
The program will consist of three components, namely:
- Core Mission, or continuing to invest in artistic programs, developing new audiences and connecting arts to the community
- Community, or creating spaces for artists and visitors to interact with the visual and performing arts
- Campus, or investing in the physical space of the BCA to support the above two goals
A Career in the Arts
Gregory began his career as a performer, focusing mostly on choral music and opera, plus some ballet. He then transitioned to organizational leadership, becoming President and CEO of the Wisconsin Conservatory of Music. His current role at Boston Center for the Arts offers even more expanded responsibilities: multiple art forms, and a much larger footprint in the city of Boston.
In his current role, Gregory laughed that he has “very little time to [himself].” He spends a great deal of time meeting with arts leaders, artists, other organizations, board members, donors and planning with his staff for The Nexus Project.
Catching a Glimpse
As we dove into upcoming projects at the BCA, Gregory described a large-scale, site-specific installation and performance work by artist collective, Masary Studios, that will be presented in the Cyclorama in March 2017. The work is made possible in part through the Barr-Klarman Arts Capacity Building Initiative’s Artistic Risk Fund.
For Gregory, the proudest moment of his career is still founding the Orlando Chorale and the Orlando Chamber Singers groups in 2002. The organization grew over a period of 8 years, and although it had to shut down after he left the city, it allowed him to express his passions: specializing in the works of living composers, and commissioning new works.
Boston should be excited about what is to come for the arts in the city.