Two prominent cultural institutions in downtown Charleston are charting new courses for the future after welcoming dynamic new leaders this summer. The Halsey Institute of Contemporary Art appointed Michael Dickins as director and chief curator in July, while the Charleston Gaillard Center brought on Nicole Taney as its inaugural vice president of artistic programming in August.
These leadership changes at two cornerstone organizations of Charleston's arts scene have sparked widespread conversations about future possibilities and artistic direction. The appointments raise fundamental questions about art curation, platform access, and the role of cultural institutions during divisive times. Both leaders bring extensive experience and fresh perspectives to their respective roles as they begin shaping the cultural landscape of the Holy City.
Michael Dickins arrives at the Halsey Institute with a comprehensive understanding of the arts ecosystem, having spent his master's program in interdisciplinary arts surrounded by musicians, playwrights, choreographers, and dancers. This diverse exposure has cultivated what he describes as a "kaleidoscopic view of the arts" throughout his 15 years of directing galleries and curating exhibitions and public art projects. His multifaceted background positions him uniquely to lead Charleston's premier contemporary art institute.
"The art world is already hard enough to exist in," Dickins explained. "If you're not supportive of each other, then it just becomes increasingly harder." His philosophy centers on building a supportive art ecosystem while drawing in the public and advocating for artists. As an Atlanta native, Dickins emphasizes the importance of using his platform to foster community connections and collaborative relationships within the artistic community.
The Halsey Institute's unique position as a bridge between public service and academic curriculum presents both opportunities and challenges. Dickins views his role as multifaceted, comparing it to a film director who works with actors to achieve the best performances while serving the overall vision. "So the director does a lot of everything you think of, like a director on a movie set," he said. "You're working with the actors to get the best out of them, to serve the vision of the story you're trying to tell."
Dickins brings valuable experience from his previous position at Austin Peay State University in Tennessee, where he built the contemporary art program, developed a visitor speaking series, and managed the university art collection. Having followed the Halsey for decades, he sees his role as continuing the institution's established quality of programming while expanding its reach and impact. His goal is to maintain the Halsey's reputation as a launching pad for contemporary up-and-coming artists while also attracting established names.
"I want to involve the community a little bit more and not be afraid to have dialogue and conversation, but also put the Halsey on the national map," Dickins stated. His ultimate vision is ambitious: "My goal is that for people from other parts of the country or world who want to see contemporary art in the South, the Halsey is at the top of their list."
The strategy involves bringing in big-name artists typically seen in major metropolitan areas like New York City, Chicago, or Miami. "Working with established artists seen in New York City, Chicago or Miami will elevate the name of the Halsey and put us in the same conversation as those cities," he explained. This approach aims to position Charleston as a significant destination on the contemporary art circuit while maintaining the institution's commitment to experimental and experiential art.
Dickins brings a personal philosophy centered on engagement and reflection: "visit, engage, think and repeat." He believes art should serve as a catalyst for self-discovery and world understanding. "How can the art on display teach us a little more about ourselves and the world in which we exist? How does it speak to you, not just by color and light, but through your influences, experiences and thought processes – that's what the visitor brings," he reflected.
Meanwhile, Nicole Taney returns to Charleston with an impressive resume and deep connections to the city's cultural fabric. She previously served eight years as director of artistic planning and operations with Spoleto Festival USA before spending three years as artistic director for the Celebrity Series of Boston nonprofit. Her return coincides with the Gaillard Center's 10th anniversary celebration, making it a particularly reflective and forward-looking time for the institution.
"It's so nice to come back and be part of this next phase as we grow our plans around cultural programming," said Taney, who grew up in northeastern Connecticut. Her role focuses on building and shaping the overall artistic direction for the organization, bringing more than 25 years of experience in the nonprofit arts and culture sector to bear on the center's future programming decisions.
Taney's track record includes significant achievements in commissioning original works. Most notably, she conceived and commissioned the Pulitzer Prize-winning opera "Omar" that premiered at Spoleto in 2022. The Gaillard Center has already commissioned 16 original works in its decade of operation, suggesting that under Taney's leadership, audiences can expect more never-before-seen productions and world premieres.
"When you're producing something from scratch, from the beginning of an idea, that ability to bring an artist's vision to the stage, that to me is so rewarding," Taney explained. "And these experiences stay with you. And I hope the audience has that same experience and can feel that same kind of energy when something is brought to the stage for the first time within our community."
As she settles into her new position, Taney is actively exploring commissioning and producing opportunities while developing ideas for the 2026-27 season programming. Her vision combines international scope with local relevance. "There's a lot of momentum coming off of our 10th season starting," she noted. "It feels like we are stepping into the next phase of what we can do to root our programming with a world-class vision of bringing in artists from all over the U.S. and internationally, but also tying it all back to the community and how to build networks here."
Taney's approach is driven by what she describes as an "unending curiosity" about the field. She finds particular fulfillment in collaborative creative processes, explaining, "To sit in imaginative spaces with inventive people and dream up dance and theater productions is always refreshing, no matter the outcome." This collaborative spirit aligns with the Gaillard Center's mission to serve as a cultural hub that connects artists, audiences, and the broader Charleston community.
Both appointments represent strategic investments in Charleston's cultural future. The leaders' combined experience spans decades of arts administration, curation, and programming across various disciplines and geographic regions. Their shared commitment to community engagement, artistic excellence, and institutional growth positions both organizations to expand their impact and influence in the years ahead.
The timing of these appointments is particularly significant as Charleston continues to evolve as a major cultural destination. The city's arts scene has experienced tremendous growth over the past decade, with increased national attention and visitor interest. These new leaders are well-positioned to capitalize on this momentum while addressing the challenges of maintaining artistic integrity and community relevance in a rapidly changing cultural landscape.
