glass

World-renowned composer Philip Glass abruptly canceled June’s world premiere of Symphony No. 15 “Lincoln” at the Kennedy Center, saying its message does not align with the vision for the venue under the Trump administration.

“Symphony No. 15 is a portrait of Abraham Lincoln, and the values of the Kennedy Center today are in direct conflict with the message of the Symphony. Therefore, I feel an obligation to withdraw this Symphony premiere from the Kennedy Center under its current leadership,” Glass wrote Tuesday in a letter to the board that was shared with The Times.

“We have no place for politics in the arts, and those calling for boycotts based on politics are making the wrong decision,” Roma Daravi, vice president of media relations at the Kennedy Center, said in response.

President Trump has served as board chair since early last year when he fired the existing board and appointed former ambassador to Germany, Richard Grenell, as president. The newly installed board promptly installed Trump in his current position. The president’s pursuit of a deeply conservative agenda for the arts unleashed unprecedented chaos at the nation’s premiere performing arts center, resulting in massive upheaval and wave after wave of prominent artist cancellations.

The news that Glass was calling off his appearance also caught off guard the National Symphony Orchestra. The NSO commissioned the symphony in 2022 for the Kennedy Center’s 50th anniversary, and Glass was late to deliver. The symphony was scheduled to be performed with the NSO on June 12 and 13.

“We have great admiration for Philip Glass and were surprised to learn about his decision at the same time as the press,” Jean Davidson, the orchestra’s executive director, said in an email.

The news comes amid a growing chorus of high-profile cancellations that have occurred since the center’s board voted last month to rename the venue the Trump-Kennedy Center, and quickly added the president’s name above that of Kennedy’s on the exterior of the building.

Jazz drummer Chuck Redd pulled out of a Christmas Eve show and the jazz group the Cookers canceled two New Year’s Eve performances. Banjo player Béla Fleck also stepped away from concerts with the NSO and “Wicked” composer Stephen Schwartz said he no longer plans to host a May 15 gala at the center.

The arts world was rocked by the news earlier this month that the Washington National Opera’s board approved a resolution to leave the venue it has occupied since 1971. Kennedy Center leadership, including Grenell, quickly shot back that it was the board that asked the WNO to depart.

“We have spent millions of dollars to support the Washington Opera’s exclusivity and yet they were still millions of dollars in the hole — and getting worse,” Grenell wrote on social media.

Most recently, the center’s website announced that soprano Renée Fleming would no longer perform in two scheduled shows. “A scheduling conflict” was the reason cited, but speculation about the opera star’s departure swirled as the center’s artistic losses mounted amid widely reported plummeting ticket sales.

During the recent upheaval, arts watchers have begun wondering about the future of the NSO, which, along with the recently departed WNO, represents the twin pillars of artistic programming at the center.

According to Daravi, the NSO isn’t pulling out of the venue.

“The relationship is strong, and we have a wonderful season here with Maestro [Gianandrea Noseda] in his 10th year leading the NSO,” Daravi wrote in an email last week, noting the “record-breaking success at the recent Gala benefiting the NSO which launched the new season. The event raised $3.45 million, marking an all-time fundraising record for the organization.”

On Monday Trump sought to boost his financial management of the venue in a Truth Social post that read, “People don’t realize that the Trump Kennedy Center suffered massive deficits for many years and, like everything else, I merely came in to save it, and, if possible, make it far better that ever before!”

The center’s calendar is looking increasingly sclerotic as big names continue to defect, with the NSO providing much-needed padding as it moves on in the face of unending change.

After last year’s fires, cars were often all that remained on the lots of homes reduced to rubble. Some sat remarkably untouched, but most were damaged beyond repair — crushed by falling beams, burned to a shell, and covered in toxic dust. The steely husks stood sentinel over unfathomable loss for weeks or months until they were towed away and sold as scrap.

More than 6,000 cars were destroyed in the Pacific Palisades alone. Some were used for daily commutes and left in garages as families fled; others were trucks and vans packed with landscaping gear or tools.

Then there were the showpieces: steel-and-glass representations of an owner’s love for the open road and classic automotive design. It was these vehicles that captured the imagination of Ben Tuna, a self-described car guy and stained glass artist, who saw a way to create something beautiful from the rubble.

Pieces of salvaged glass and other tools litter the work table of artist Ben Tuna as he works to create sculptures using vintage Porches that were burned in the L.A. fires.

(Jason Armond / Los Angeles Times)

Beginning in March 2025, Tuna snagged five burned-out Porsches from the L.A. fires, and began turning the shells into cathedral-like creations using salvaged stained glass from old churches.

Armed with a soldering iron and good intentions, Tuna paid tribute to what the fires took.

Tuna said that he was moved by posts on Instagram of cars getting taken away on trailers, and by reading about the loss in news stories. He couldn’t stop thinking about what the collectors were experiencing.

“It was all so sad to imagine losing something that you might have worked 30, 40, 50 years to collect,” Tuna said. “And it kind of broke my heart. A lot of those cars were history. They’re not making new ones.”

Tuna made connections through social media to obtain the Porsche shells, with four coming from a single collector’s garage in the Palisades. As a fan of classic automotive design, Tuna calls the Porsches “icons of design” and “the most recognizable cars in the world,” despite what they looked like after the fires. He wishes he could have collected many more.

“I probably could have gotten 300, but I just didn’t have the space and couldn’t act fast enough,” he said, adding that he also acquired two additional Porches that were not burned in the city’s fires.

One of five vintage Porches burned in the L.A. fires that Ben Tuna reimagined as works of art using salvaged stained glass.

(Jason Armond / Los Angeles Times)

Tuna’s first post-fire project was a 1965 Porsche 356 that he turned into a 700-pound piece of movable sculpture. The artwork took him and two helpers several months to complete at his workshop on the east side of L.A. They wore respirators while they worked to avoid dangerous ash and chemicals, and began by stripping the car down to bare metal.

Next came the meticulous glass work. Tuna used pieces of glass from what he estimates are about 15 different salvaged stained glass windows from decommissioned churches. He thinks they were likely all created in different countries, eras and studios. Much of the illustrated glass in the car was hand-painted in Germany in the late 1800s, a look he grew to love as a kid after hearing how much his father — also a stained glass artist — adored it.

Tuna says he’s not trying to tell a story with the windows. Instead, he’s assembling them by feel: matching pieces of cut glass by size and color on top of a dark table before using lead to solder them together in a perfect arch for the car’s back window. Tuna says he never knows what a window is going to look like before the end, when he lights it up — but by merging the glass and the car he’s aiming to honor the design legacies of both.

Stained glass windows salvaged from churches are key to artist Ben Tuna’s practice. “All these windows were beautiful back in the day but have been forgotten,” he said.

(Jason Armond / Los Angeles Times)

“All these windows were beautiful back in the day but have been forgotten,” he said.

Though Tuna’s cars are still works in progress, his goal is to eventually display all seven as part of a gallery show. In the meantime, he’s hosting visitors who want to see the work so far — including the owner of the four cars salvaged from the Palisades, who cried.

Tuna says everyone who has come to see the art has left feeling a bit more reverent.

Artist Ben Tuna stands with a piece of art he made from a vintage Porsche that was burned in the L.A. fires. “Because these cars are so big, when you’re standing around them, you really see what fire can do,” he says.

(Jason Armond / Los Angeles Times)

“Because these cars are so big, when you’re standing around them, you really see what fire can do,” he said. “You can really study it, and you start to think about loss and how hot the fire must have burned and what shape the buildings around the cars must have been in afterwards.”

Each car is an altar of remembrance to the fires, Tuna said, but they’re also a reminder.

”Even when you lose everything, there’s still beauty that can come from that loss,” he said. “You can take all that devastation and still make something good.”