Arts Roundup: Power Cycle Edition
Patron Saints? The Post's Marc Fisher profiles Mera and Donald Rubell, the Miami art collectors who are planning to open a museum in Southwest, whose collection fuels the Corcoran's new mega-exhibit 30 Americans, and whose Capitol Skyline Hotel just hosted the (e)merge art fair. Of Washington and its cultural appeal to outsiders, Mera says: “We want to create a lot of life here...We want to make an important place. This city does a crappy job of selling itself. It’s amazing that people come here because the promotion is so awful. They just show men in suits in front of marble buildings. This could be the social hearth of the country. It’s enticing to come to a desert and do something big.” Related! Philip Kennicott reviews 30 Americans, and ponders whether it presents a conflict of interest for the museum, which sold property to the Rubells fairly recently.
Come on, Kaiser: Just once—once!—I'd like to see KenCen boss Michael Kaiser name names when he discusses good practices and bad ones in his weekly Huffington Post column about arts management. This week's is about "the cycle"—no, not song cycles or opera cycles but a frustratingly vague concept for creating a base of support that will protect your nonprofit arts organization from economic downturns.
Oh Snap:Placido Domingo writes a letter to The Post, saying that classical critic Anne Midgette bears "animosity" toward him, a fact evident in her review of Washington National Opera's Tosca, which he conducted. Midgette responds: "I am surprised that Mr. Domingo takes such exception to this review, since, as he himself has told me, an artist knows when he has done well or badly. I can’t believe he feels in his heart that this 'Tosca' represented his finest hour."
Today on Arts Desk: Michael Borek's photographs. Final reflections on Joe Barber.