![]() to have Ruth Bader Ginsberg marry her and her wife in the justice’s chambers. ![]() Her love of opera has led her to director positions in Barcelona, Washington DC, and Muscat, Oman to become one of two women leading major opera companies in the U.S. It’s something Scheppelmann understands personally. So what if an opera is 200 years old? So what if you don’t speak Italian? “Most of the time in rock and pop songs,” she says, “I also don’t understand the text very well.” She argues that even money doesn’t need to be a barrier for most: General tickets to this fall’s Cinderella (yes, 200 years old and, yes, Italian) start at $35. Yet she thinks that reputation has less to do with inherent snootiness than with fear of the unknown. “How do we open ourselves up so that museums can become part of everybody’s daily life?” “The tradition of art museums is that they’re closed off repositories of precious works of art,” she says. ![]() The organization just needs to remain “nimble enough” to maintain that relationship as Seattle continues to change. At least from afar, she likes the course Rorschach has set, calling her “a model for museum directorship.” With the help of satellite locations like the Asian Art Museum, which reopens this fall after over two years of renovations, and the free-to-all Olympic Sculpture Park, SAM already reflects its city, Cruz says. She wants to learn about Seattle and the museum before she comes up with concrete plans. “I was brought in to change things,” she says of PAM. Yet her methods-firings, culture shifts-had the Phoenix New Times claiming a “Nightmare at the Phoenix Art Museum.”Ĭruz doesn’t worry about a repeat. The museum was running $1 million yearly deficits, which PAM claims Cruz helped right. On one hand, she added bilingual signage exhibits in the 41 percent Latino city and brought in popular exhibits that reflected that community. She calls that a “nice way” to characterize it. By 2015, she became the director and CEO of Phoenix Art Museum. ![]() Eventually that led Cruz to a college internship at the Guggenheim where she caught the career bug. Amada Cruz, who takes over SAM this September, emigrated from Cuba when she was nine months old, and as she grew up in Chicago and New York, her parents took her to operas and museums. If there’s a single thread animating each of these new directors and their missions, it is that traditional art forms got to them young. ![]()
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