On February 12, 2025, President Donald Trump removed half of the appointed trustees from the board of the John F. Kennedy Center for the Performing Arts. The board members remaining, most of whom had been recently appointed by Trump, subsequently voted to elevate Trump to the position of chair. Additionally, the board dismissed Deborah Rutter, who had been the center’s president since 2014 and was already planning to leave in seven months.
Richard Grenell, who was part of the first Trump administration, was appointed to replace Rutter.
The Conversation U.S. engaged E. Andrew Taylor, an expert in arts management, to discuss the operational dynamics of the Kennedy Center and the implications of Trump’s unusual involvement in its affairs.
What role does the government play in the Kennedy Center?
The Kennedy Center, situated along the Potomac River in Washington, D.C., operates under a multifaceted ownership and management model. The venue features three major performance halls, two mid-sized theaters, and numerous smaller spaces for musical, theatrical, and dance performances, as well as lectures, exhibitions, and other events. While it resembles major metropolitan performing arts centers like Lincoln Center in New York City, its operational framework is distinct.
Functionally, the Kennedy Center is part of the federal government, functioning as a bureau within the Smithsonian Institution.
Initially envisioned during the Eisenhower era and championed by President John F. Kennedy, the center was named following JFK’s assassination.
The center officially opened in 1971 with the world premiere of Leonard Bernstein’s “Mass.” President Richard M. Nixon chose not to attend, having been warned by the FBI about potential anti-war sentiments conveyed in the Latin text.
The center’s current mission encapsulates its objectives:
“As the nation’s cultural center and a living tribute to President John F. Kennedy, we aim to lead the arts in America and abroad, connecting with artists, inspiring communities, and enhancing educational opportunities. We invite everyone to engage with, create, and learn about the arts.”
What is the purpose of the Kennedy Center’s nonprofit board?
From its inception, the Kennedy Center was intended as a public-private partnership. Government funds are allocated for the building’s maintenance, security, and restoration.
In contrast, private contributions, sourced mainly from ticket sales, individual donations, foundations, and businesses, finance performances and productions.
Private funding constitutes over 75% of the Kennedy Center’s budget. The center’s 2023 annual report indicated that its US$286 million revenue included $152 million from ticket sales, $85 million from donations, and $45 million from federal support, with additional income generated from the endowment and other sources.
Reflecting this mixed revenue stream, the governance of the center has always blended characteristics of a nonprofit board with political appointees.
The Kennedy Center’s board is authorized by law to solicit private donations, negotiate contracts, maintain facilities, and oversee leadership. Generally, it holds the same responsibilities as any nonprofit board.
However, there is a significant exception.
Unlike many nonprofit boards that elect their own members, the Kennedy Center board is composed of government appointees. About two dozen trustees serve due to their government roles, including the librarian of Congress, the secretary of state, the mayor of Washington, and the House of Representatives’ speaker and minority leader.
An additional up to 36 members are appointed by the president, serving staggered six-year terms to prevent simultaneous expirations.
Is nonpartisanship expected from the board?
The six-year terms aim to establish a mostly nonpartisan board, as presidents typically appoint members who share their political beliefs. This balance has generally been maintained historically, though it wasn’t a legislative requirement when Congress created the Kennedy Center.
A politically balanced board has facilitated fundraising and attracted renowned artists. For instance, the 2025 season has featured artists and productions like the Alvin Ailey American Dance Theater, jazz pianist Kenny Barron, soprano Renée Fleming, author David Sedaris, comedian Sarah Silverman, and touring versions of “Parade” and “Les Misérables.”
The center’s in-house productions frequently include classic works such as “La Bohème” and Beethoven symphonies, with several theatrical productions transitioning to Broadway and national tours, such as “42nd Street,” “Noises Off,” and revivals of “The King and I,” “Annie,” and “Spamalot.”
I am concerned that many long-time or potential future donors may hesitate to support an organization that has become subject to partisan governance.
Numerous artists and creative collaborators are already distancing themselves from the Kennedy Center or canceling scheduled performances, reacting to the board’s controversial political shift. Some recent cancellations have occurred for undisclosed reasons.
Public attendance at events may decline given the politically charged environment, especially when there are numerous other arts options in the Washington area, ultimately impacting ticket sales.
What responsibilities does the Kennedy Center chair hold?
The chair of the board oversees the governing body, dedicating significant time, resources, political influence, and often personal wealth to ensure the organization thrives.
Previous chairs of the Kennedy Center have been proactive rather than merely ceremonial, engaging in fundraising, strategic planning, and public advocacy. The charter legislation mandates that the chair and secretary “shall be well qualified by experience and training to perform the duties of their respective offices.”
Trump has acknowledged that he has never attended a performance at the Kennedy Center and lacks relevant experience in arts board leadership. Furthermore, he is barred from serving on a nonprofit board in New York due to his admission of misusing charitable funds through the Donald J. Trump Foundation, which is now dissolved.
David Rubenstein, the former chair who was ousted in this upheaval, has contributed more than US$111 million to the Kennedy Center, making him its largest donor to date. He led fundraising initiatives for the center’s first significant expansion, gaining considerable support from private corporations and foundations.
AP Photo/Kevin Wolf
Has this ever happened before?
No U.S. president has ever served on the Kennedy Center board, let alone taken the chair position.
Presidents typically appoint friends and allies to various government boards and commissions, often dismissing appointees from previous administrations. For instance, President Joe Biden removed Sean Spicer, a former White House communications director and Trump press secretary, from the Naval Academy advisory board.
However, that board oversees a solely governmental entity, unlike the Kennedy Center, which operates as a public-private hybrid reliant on private funding. The rapidity and scale of this board overhaul are without precedent.
What might the repercussions be?
Managing large, multifaceted performing arts centers is an inherently complex task.
The John F. Kennedy Center for the Performing Arts is particularly intricate, hosting around 2,200 performances annually and attracting over 2 million visitors, all while running both an in-house symphony and opera company. It also produces the Kennedy Center Honors, which celebrate notable American artists in an annual gala, along with the Mark Twain Prize, awarded each year to an accomplished American comedic performer.
The center serves as a national hub for arts education, impacting 2.1 million students and educators across all 50 states, while also offering free daily performances covering a wide range of genres, from classical chamber music and ballet to jazz and rock.
Even under optimal circumstances, overseeing such operations is a formidable task.
Successful arts nonprofits thrive under boards comprising members with expertise spanning the arts, business acumen, and experience in philanthropy, who prioritize the mission above personal interests and adhere strictly to legal standards. Ideal conditions further involve enthusiastic audiences, dedicated donors, and exceptional artistic collaborators, all supported by empowered teams tackling their challenging work.
With Trump’s recent control of the Kennedy Center board, this esteemed cultural institution risks becoming an extension of the White House. In my opinion, this shift is alarming for a nation that values free and creative expression, and it threatens to disrupt an intricate, mission-driven organization that relies on a board that is loyal, competent, and dedicated to its cause.
