CRUZ CONTROL

By Marina Cashdan photographs by michael mundy

With their impressive collection, cofounding of the Moore Space Loft, and continual involvement with major art institutions, Rosa and Carlos de la Cruz have focused the art world’s spotlight down south.

Every December flocks of art fanatics head south to partake in Art Basel Miami Beach. Formerly considered a hedonistic 24-hour party circuit, the fair has, as of late, legitimized itself as a respected annual art destination, no longer just drawing crowds from New York, but also calling international pleasure- and profit-seekers from Central America to Eastern Europe. Thanks to the recent wave of respected art galleries and major art collectors hitting Miami, those who once threw stones are now sitting in the glass house. But despite the respect the fair is getting these days — and the slew of satellite fairs revolving around it, not to mention Miami’s blossoming Design District — the parties are still a major draw. The who’s-who of the art world partake in the Art Basel Miami Beach party hubbub, securing spots on the guest lists of posh cocktail parties held by the art world’s bold-faced names.

Among these names are two Miamians and Art Basel Miami Beach ambassadors, power couple Carlos and Rosa de la Cruz. Aside from accumulating a private collection of contemporary art that rivals those of some major museums, Rosa and Carlos — chairman of Eagle Brands — founded, with Craig Robins, the nonprofit contemporary art center Moore Space Loft in Miami’s Design District. This and their significant involvement with MOCA (Museum of Contemporary Art), North Miami — including collaborations with major art institutions such as Tate London — has positioned the city in the cultural limelight. The couple has certainly been successful in promoting Miami as a legitimate art mecca.

Rosa and her husband still like a good party now and then, however. A lucky five hundred or so who are invited to the couple’s gorgeous 15,000-square-foot Key Biscayne house during the fair have the pleasure of hobnobbing among their eclectic collection (among the best 200 in the world), which includes pieces by assume vivid astro focus, John Bock, Christian Holstad, and more.

WHITEWALL: What are your objectives when buying art? Do you and your husband have specific criteria that you follow — for example, a specific time period, style, or medium that you look for? Do you quantify the pieces in terms of reaching a particular goal, financial or otherwise?

ROSA DE LA CRUZ: I wouldn’t describe buying art as an objective. It is more a desire. The main reason for us to collect is not because it is a role. I really enjoy the whole process from its conception to the moment that the work is installed in our home. Collecting gives me a spiritual satisfaction — something that for some people may not be tangible enough. Often after dinner [Carlos and I] like to “travel” through our home. Buying art requires self-discipline and making conscious decisions. It is a big responsibility on the part of the collector. It doesn’t mean that you buy everything, but it is important to be aware of new practices and new artists. I have to stay focused and keep in mind that our collection is not historical. I cannot spend time regretting something that we did not acquire. It is important to set your eyes on the future.

WW: When you’re deciding on artists to support and pieces to buy, what is the thought process behind your decision? Is it a definitively personal choice, or do you consider what impact it might have in a public arena (like the Moore Space)?

RDLC: I do not think that art is about fulfilling my agenda. A work of art is independent of what I think it should be or of my own ideas. I must accept new changes and new ideas. The Moore Space has nothing to do with our collection. I founded it together with fellow collector Craig Robins, and it is an independent experimental exhibition space. The director, Silvia Cubiña, invites visiting curators to organize exhibitions, and the mission of the space is to accept a new vision, day by day.

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									CRUZ CONTROL By Marina Cashdan photographs by michael mundy With their impressive collection, cofounding of the Moore Space Loft, and continual involvement with major art institutions, Rosa and Carlos de la Cruz have focused the art world’s spotlight down south. Every December flocks of art fanatics head south to partake in Art Basel Miami Beach. Formerly considered a hedonistic 24-hour party circuit, the fair has, as of late, legitimized itself as a respected annual art destination, no longer just drawing crowds from New York, but also calling international pleasure- and profit-seekers from Central America to Eastern Europe. Thanks to the recent wave of respected art galleries and major art collectors hitting Miami, those who once threw stones are now sitting in the glass house. But despite the respect the fair is getting these days — and the slew of satellite fairs revolving around it, not to mention Miami’s blossoming Design District — the parties are still a major draw. The who’s-who of the art world partake in the Art Basel Miami Beach party hubbub, securing spots on the guest lists of posh cocktail parties held by the art world’s bold-faced names. Among these names are two Miamians and Art Basel Miami Beach ambassadors, power couple Carlos and Rosa de la Cruz. Aside from accumulating a private collection of contemporary art that rivals those of some major museums, Rosa and Carlos — chairman of Eagle Brands — founded, with Craig Robins, the nonprofit contemporary art center Moore Space Loft in Miami’s Design District. This and their significant involvement with MOCA (Museum of Contemporary Art), North Miami — including collaborations with major art institutions such as Tate London — has positioned the city in the cultural limelight. The couple has certainly been successful in promoting Miami as a legitimate art mecca. Rosa and her husband still like a good party now and then, however. A lucky five hundred or so who are invited to the couple’s gorgeous 15,000-square-foot Key Biscayne house during the fair have the pleasure of hobnobbing among their eclectic collection (among the best 200 in the world), which includes pieces by assume vivid astro focus, John Bock, Christian Holstad, and more. WHITEWALL: What are your objectives when buying art? Do you and your husband have specific criteria that you follow — for example, a specific time period, style, or medium that you look for? Do you quantify the pieces in terms of reaching a particular goal, financial or otherwise? ROSA DE LA CRUZ: I wouldn’t describe buying art as an objective. It is more a desire. The main reason for us to collect is not because it is a role. I really enjoy the whole process from its conception to the moment that the work is installed in our home. Collecting gives me a spiritual satisfaction — something that for some people may not be tangible enough. Often after dinner [Carlos and I] like to “travel” through our home. Buying art requires self-discipline and making conscious decisions. It is a big responsibility on the part of the collector. It doesn’t mean that you buy everything, but it is important to be aware of new practices and new artists. I have to stay focused and keep in mind that our collection is not historical. I cannot spend time regretting something that we did not acquire. It is important to set your eyes on the future. WW: When you’re deciding on artists to support and pieces to buy, what is the thought process behind your decision? Is it a definitively personal choice, or do you consider what impact it might have in a public arena (like the Moore Space)? RDLC: I do not think that art is about fulfilling my agenda. A work of art is independent of what I think it should be or of my own ideas. I must accept new changes and new ideas. The Moore Space has nothing to do with our collection. I founded it together with fellow collector Craig Robins, and it is an independent experimental exhibition space. The director, Silvia Cubiña, invites visiting curators to organize exhibitions, and the mission of the space is to accept a new vision, day by day. order issue 8
	Winter 2008