Boston, MA
Alison Croney Moses, a Boston artist dedicated to bringing Black motherhood to light, wins de Cordova Museum’s $50,000 Rappaport Prize – The Boston Globe
The email came last week, said Alison Croney Moses, an invitation to a Zoom chat with Trustees of Reservations’ art curators Sarah Montross and Tess Lukey. Moses, a Boston-based artist, was happy enough to hear from them, but didn’t know why.
“You don’t say no when a curator wants to talk to you,” she laughed. They exchanged small talk for a while, and then they got down to business. “At about the seven minute mark, they said, ‘So, you’re getting the Rappaport Prize, and it comes with $50,000.’ I didn’t submit anything. I didn’t apply. And I just started crying.”
Croney Moses, 42, was officially named the 26th recipient of the prize Tuesday, given annually by the de Cordova Sculpture Park and Museum, a Trustees property, to an artist with strong New England ties (last year, the Maine-based artist Jeremy Frey was the winner; in 2023, it was Cambridge’s Tomashi Jackson).
Moses was already having a banner year. Her piece called “This Moment for Joy,” an angular splay of undulating planks of red oak commissioned by the inaugural Boston Public Art Triennial, is perched prominently on an expanse of lawn at the Charlestown Navy Yard right now, in eyeshot of the U.S.S. Constitution Museum. In August, she’ll be one of the artists featured in the Institute of Contemporary Art Boston’s Foster Prize exhibition, a biennial affair that celebrates artists from the city .
Outward appearances of success, though, can be misleading. Moses, who balances her art career with the active lives of her two young children, has struggled to find space and time to pursue her work. The prize, she said, is like a pressure valve being released. “Honestly, I really was in tears,” she said. “It’s hard to tell from the outside, because I know it looks like I’m doing very well, but financially, being an artist in Boston is difficult. It’s really, really difficult. This gives me space to breathe.”
The timing of the prize could hardly have come at a better time. Moses, whose work is largely sculpture, and mosly in wood, has only been able to devote herself full-time to making art in the last two years; before that, she had a 10-year career working in non-proifts, leaving art to brief slivers of time in the evening and on weekends, when work and parenting weren’t in the way.

The prize places no restrictions on how the money can be used, and does not require artists to produce a piece or body of work. On a follow-up call with the Rappaport family, the local philanthropists who fund the prize, Moses made clear both her gratitude and how important a no-strings-attached gift can be for any artist.
“Any time I’ve had access to unrestricted funding, it’s given me the opportunity to get deeper into my practice, “she said. ”Literally, right before that Zoom call, I was looking at job postings, really thinking: Do I need a full-time job again? Something like this tells me: You are an artist. You should be doing this. And that’s huge.”
One thing the prize can no longer provide, unfortunately, is the winner being given a solo exhibition at the de Cordova, which it did for many years. The museum has been closed since 2023 for an overhaul of its HVAC system (the last was Sonia Clark in 2021). But Moses is already thinking about how her newfound freedom might transform her practice.
Thematically, she’s devoted: “This Moment for Joy,” a minimalist cocoon that ripples and curls into a protective embrace, is a monument to the warmth of the Black women in her life who inspire and support her; using elegant wood forms, Moses means to honor Black motherhood and interrogate a society that has made it perilous and undervalued for generations.
The prize, she said, is opening her mind to expansive treatments on the theme. A project she’s been mulling involving sound and video – both firsts for her, and a real risk to attempt with bills to pay – now seems possible. “Right now, I work deadline to deadline,” she said. “I don’t ever feel like I’m really able to dream and experiment. Now, I can.”
Alison Croney Moses’s “This Moment for Joy,” a project of the Boston Public Art Triennial, remains at the Charlestown Navy Yard, 1 – 5th St., through Oct. 31.
The Foster Prize exhibition opens August 28 at the Institute for Contemporary Art Boston, 25 Harbor Shore Drive.
Murray Whyte can be reached at murray.whyte@globe.com. Follow him @TheMurrayWhyte.
Boston, MA
Boston hosts one of the oldest St. Patrick’s Day celebrations
St. Patrick’s Day explained — history, myths and why we celebrate it
Uncover the truth behind Ireland’s patron saint, the myths and modern traditions of St. Patrick’s Day. Video created using the Wochit AI tool.
Wochit
With St. Patrick’s Day only two weeks away, the city of Boston is preparing to host the biggest celebration of the holiday in all of Massachusetts – the South Boston St. Patrick’s Day parade.
However, the Southie parade is not only one of the biggest St. Patrick’s Day celebrations in the country, but also one of the oldest. In fact, Boston first hosted a parade for St. Patrick’s Day in 1737, 39 years before the country itself was even formed. While the celebration has not happened every year since then, according to the date of establishment, Boston’s parade is the second-oldest St. Patrick’s Day parade in the world.
Here’s a brief history of South Boston’s St. Patrick’s Day parade.
History of Boston’s St. Patrick’s Day parade
According to the parade website, the city of Boston first hosted a St. Patrick’s Day parade on March 17, 1737. The celebration was “a gesture of solidarity among the city’s new Irish immigrants,” as “Boston’s Irish community joined together in festivities of their homeland to honor the memory of the Patron Saint of Ireland.”
In 1901, the parade moved to South Boston, a neighborhood with a large Irish population. Southie is also home to Dorchester Heights, where British troops evacuated Boston on March 17, 1776. Given the significance of both occasions to the city, Boston’s annual parade came to celebrate both St. Patrick’s Day and Irish heritage, as well as Evacuation Day and military service.
The parade happens each year on the Sunday closest to St. Patrick’s Day, taking a break in 1994 and again in 2020-21.
What is the oldest St. Patrick’s Day celebration?
The oldest recorded celebration of St. Patrick’s Day took place in St. Augustine, Florida in 1600, with the city’s first parade following in 1601.
According to University of South Florida history professor J. Michael Francis, “The first recorded St. Patrick’s Day celebrations in the United States did not occur in Boston or New York. Rather, those who first gathered to venerate St. Patrick and process through city streets included a blend of Spaniards, Africans, Native Americans, Portuguese, a French surgeon, a German fifer, and at least two Irishmen, who marched together in honor of the Irish saint.”
While St. Augustine still hosts a parade for the Irish holiday today, the oldest continuous St. Patrick’s Day Parade is in New York City, where there has been a parade every year since 1762.
Boston, MA
Andris Nelsons out as music director of Boston Symphony at end of 2026-27 season
Entertainment
Boston will have the third vacancy among major U.S. orchestras.
Andris Nelsons is being forced out as music director of the Boston Symphony Orchestra in the summer of 2027 after 13 seasons.
The orchestra made an unusually blunt announcement Friday.
“The decision to not renew his contract was made by the BSO’s board of trustees because, beyond our shared desire to ensure our orchestra continues to perform at the highest levels, the BSO and Andris Nelsons were not aligned on future vision,” the BSO said in a statement from its trustees and CEO Chad Smith.
A five-time Grammy award winner, the 47-year-old Nelsons is currently leading the Vienna Philharmonic on a U.S. tour and was to conduct the orchestra in Naples, Florida, on Friday night.
“While this is not the decision I anticipated or wanted, I am unwaveringly committed to you and to our work together,” Nelson wrote in a letter to BSO musicians and staff that was released by his management agency. “I understand the decision was not related to artistic standards, performances, or achievements during my tenure, and, therefore, my focus is straightforward: to protect the music, support the orchestra’s stability, and continue to perform with the musicians of the BSO at the highest artistic level.”
Nelsons made his BSO debut in March 2011 at New York’s Carnegie Hall as a replacement for James Levine, who announced 10 days earlier he was stepping down as BSO music director at the end of the 2010-11 season because of poor health.
Nelson was announced as music director in May 2013 and given a five-year contract starting with the 2014-15 season. The orchestra announced contract extensions in 2015 and 2020, then in January 2024 said he was given an evergreen rolling contract. He was bestowed an added title of head of conducting at Tanglewood, the music and educational center that is the orchestra’s summer home.
The last extension was announced a few months after Smith, who had been with the Los Angeles Philharmonic, started as the BSO’s chief executive.
Nelsons was music director of the City of Birmingham Symphony Orchestra in Britain from 2008-09 and has been chief conductor of Leipzig Gewandhaus Orchestra in Germany since the 2017-18 season. He married soprano Kristine Opolais in 2011, and in 2018 they announced their divorce.
Boston will have the third vacancy among major U.S. orchestras. Gustavo Dudamel is leaving the Los Angeles Philharmonic this summer after 17 seasons to become music director of the New York Philharmonic and Franz Welser-Möst will depart the Cleveland Orchestra at the end of 2026-27 after 25 seasons.
In addition, Klaus Mäkelä takes over the Chicago Symphony Orchestra in 2027-28, when he also starts as chief conductor the Royal Concertgebouw Orchestra in the Netherlands.
Boston, MA
Poor Clares’ monastery a case study in why Boston is short on housing – The Boston Globe
But the story of the Poor Clares’ monastery — or as it’s known on the books of the Boston Planning Department, 920 Centre Street — is, at least for now, a case study on how housing doesn’t get built in this city.
It’s a story about how one midsized project with everything going for it — a world-class architect, a brilliant landscape designer, and a developer willing to make one compromise after another to the size and layout of the plan — still can’t move the needle in the face of one powerful opponent.
Well, make that one powerful opponent who has the ear of City Hall.
Faced with dwindling numbers in their order (they were down to 10 in 2022) and a Vatican mandate to consolidate, the sisters decided to sell their 2.8-acre parcel and the aging monastery building to developer John Holland. The building, which they had occupied since 1934, was expensive to heat and in need of extensive repairs.
They relocated to Westwood in 2023, hoping to expand those quarters to accommodate another 10 nuns from around the country as soon as the sale of the Jamaica Plain property became final, contingent on the approval of its redevelopment.
They’re still waiting.
The former monastery is neighbor to the Arnold Arboretum, land owned by the city but under a renewable 1,000-year lease to Harvard University. And no question, the 281-acre parcel is a tree-filled treasure for researchers and picnickers alike. Just try getting near the place on Lilac Sunday.
But the Arboretum, or rather its director, William Friedman, a Harvard evolutionary biology professor, has emerged as a powerful foe.
“The development has been part of the city’s planning process for nearly five years and has undergone several revisions,” Sr. Mary Veronica McGuff, the order’s abbess, wrote in a letter to Mayor Michelle Wu in January and shared with the editorial board. “We are very disappointed to learn that the main obstacle is … the Arnold Arboretum.”
She revealed that the order had earlier offered to sell the property to the Arboretum, but was rebuffed.
“It’s upsetting that our progress is now being hindered by an institution that declined the opportunity to take stewardship of the land and is now making unreasonable demands for its redevelopment,” she said in the letter.
In fact, its market rate condo component, once slated to be five stories high, has been reduced to four stories. Those 38 senior rental units planned for the monastery building will include 25 affordable units.
Project architect David Hacin, winner of the Boston Preservation Alliance’s 2022 President’s Award for Excellence, is equally bewildered.
“I don’t understand how a project that is so good on so many levels is being held up for years, literally, over asks that seem, to me, completely unreasonable,” Hacin told Globe business reporter Catherine Carlock. “If we can’t build five-story buildings, how are we going to solve the housing crisis?”
How indeed.
The developers have done shadow studies, a sunlight analysis, and tree root studies to convince Arboretum officials that the planned housing would do no damage to the magnolia tree roots on the perimeter of Harvard’s grounds, which seem to be their main bone of contention.
The project’s landscape architect Mikyoung Kim has surely not acquired her international reputation for “ecological restoration” by murdering magnolia trees.
Friedman has met with Boston’s planning chief, Kairos Shen, but as of Thursday the sisters have not yet been granted a similar opportunity. Nor have they heard from either Wu or Shen (who was copied in on the Jan. 12 letter) since they made their appeal for help “in finding a solution that allows this project to move forward and for our community to finally settle into our new home.”
In a statement to the Globe editorial board, Wu said, “Large properties like 920 Centre Street are significant housing sites for Boston, and we are working actively with all parties to advance a plan that would deliver homes our city needs.”
For the past year, experts have been warning that the slumping number of building permits in Greater Boston — down 44 percent last year from four years ago — do not bode well for an increase in the future housing supply. That dearth in supply is driving up prices and rents.
And while the Wu administration is quick to blame President Trump’s tariffs and rising costs for the construction slump, it fails to look in the mirror. Enabling the kind of Not In My Back Yard obstructionism that is keeping a good project on the drawing boards for years will never get Boston the kind of housing it needs to keep pace with demand and allow this city to thrive.
Editorials represent the views of the Boston Globe Editorial Board. Follow us @GlobeOpinion.
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