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Galleries

Collector Mera Rubell makes rounds of Washington's isolated artists

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By Jessica Dawson
Friday, December 18, 2009

You could call it a Hanukkah miracle. Or the arrival of intelligent life from another planet. Last Saturday at 5 a.m., while the rest of us slept, megacollector Mera Rubell walked among us, hunting local art.

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The Miami-based maker of artists' fortunes has, with her husband, Don, put a dozen Leipzig-based painters on the international art map. Together the couple bought some of the earliest Jeff Koonses. Their collection includes works by Takashi Murakami, Keith Haring and Kara Walker. Mera Rubell, 66, has access to art stars stratospherically more successful than anyone working in Washington.

And yet, here she was. She'd bolted into Washington for an art marathon, visiting 36 artist studios in 36 hours. Straight.

It was Mera's idea. (We must call her that. She'd insist.) She did it for the Washington Project for the Arts, the city's beleaguered but still humming arts group. She offered to pick 12 artists whose works would be among those that would hang in "Cream" a WPA benefit auction exhibition opening at American University's Katzen Arts Center on Jan. 30. A lottery system determined the 36 studio stops.

From her first appointment on Saturday at 5 a.m. in Southwest to her final Gaithersburg rendezvous at 3:30 p.m. on Sunday, Mera chatted, questioned, prodded, hugged, gesticulated and even adjusted one artist's errant scarf during studio visits of exactly 30 minutes each.

How did she do it? Efficiently. WPA Executive Director Lisa Gold traveled alongside and held Mera to a tight schedule. Her chariot? A white Mercury Grand Marquis belonging to independent taxi driver Bunchar Panich. Mera hired him from the taxi stand outside her hotel. He shuttled her and her small posse for all 36 hours, resting when Mera rested, in a hotel room she booked for him.

(Yes, she scheduled snacks and two naps back at her home away from home, the hip, low-budget Capitol Skyline Hotel near Nationals Park that her hotelier family owns. But does a break from 2:15 a.m. to 5:30 a.m. really count as rest?)

At each studio Mera was all warmth and encouraging words -- even as she told artists that they weren't working hard enough. Or when she asked if there was more to their practice when she clearly hoped there was. To put her hosts at ease, she asked about partners and kids.

"There's a wealth of amazing talent in this area," she gushed after 12 hours of touring. She has found work she was excited about, artists she wanted to know better, artists who turned her on.

Yet by the end of her trip, Mera came away with some stark impressions, impressions Washington art insiders already know but are loath to discuss.

Like: "There's nothing to fight for here. There's not enough contemporary art being shown."

And: "As an artist, you're not going to make any money. A few nice words from [this critic] -- that's all you can get."


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