By making works accessible to audiences in far-flung corners of the country, Alice Walton's new foundation, Art Bridges, may permanently alter how Americans interact with art.
When is it OK for a museum to sell its holdings to shore up its finances or fund renovations? And what kinds of issues may arise with donors when it goes down this path?
The Graham Foundation is known around the world for redefining architecture and supporting architecture projects as works of art. But plenty of grants land locally, too.
More than ever, museums—and funders—are turning to technology in an effort to boost audience engagement. So when a Knight rep expounds on developments in "museum tech," it's worth a listen.
When collectors struggle to navigate a complex web of financial, legal and aesthetic obstacles simply to donate artwork, midsize regional museums stand to benefit.
Recent gives find the foundation expanding its footprint in and beyond Southern California with an eye towards collaborations that drive social change.
When it opened, some saw Alice Walton's multi-billion-dollar Crystal Bridges Museum of American Art as a textbook case of nouveau philanthropy gone wrong. Five years later, the verdict is quite different.
When it comes to funding programs that use the arts to drive social change, institutional grantmakers are stepping up. What's stopping individual patrons from doing the same?
With donors increasingly focused on combating inequality, keep an eye on the visual arts space, where female artists remain woefully underrepresented. Some funders are on the case.
With public funding for the arts under fire, some foundations are keen to make a case for the arts as a shared value across the entire population and not a privilege of coastal elites.
Imminent NEA cuts. A lack of support for individual artists. Shifts in grantmaking trends. We survey the arts philanthropy landscape with Bridgitt Evans, founder of VIA Art Fund.
UC Berekley's Magnes Collection recently received $10.1 million from Taube Philanthropies, the largest single monetary gift to acquire art in Berkeley's history. Here's the back story.
With funders increasingly drawn to visual storytelling's ability to drive social change, we dig into the work of Nancy Farese, who has long been on the front line of "photo-philanthropy."
A bequest from a longtime donor couple this spring established an endowment for the burgeoning field of Asian art at museum whose location may surprise you. (Hint: It's far from either coast.)
Steve and Alex Cohen's philanthropy has become steadily more ambitious. It was only a matter of time before the art-loving couple made a move like their $50 million gift to a premier museum.
The Claneil Foundation has been making grants in the Philadelphia region and beyond for about 40 years. Its new strategy looks at three closely intertwined issues.
A new grant from the Foundation for Contemporary Arts poses a broader and more perplexing question: Why don't more funders provide direct support to individual artists?
Recruitment frenzy reaches the curatorial space, where a gift from the Edmond J. Safra Foundation endows a professorship position at the National Gallery of Art.
Museums face serious challenges amid growing distractions and declining attention spans. Which is why some funders are stepping up to digitize the visitor experience and engage audiences in new ways.
A growing number of single-donor private museums have been founded in recent years. What explains this phenomenon, and what does it mean for public museums as the threat of funding cuts looms?
Funders keen on creating more diversity in key professions and institutions have long looked to change who's entering such fields. Why can't this same model be applied in the museum world?
The Mike Kelley Foundation for the Arts launched in 2007, but only recently became active in traditional grantmaking. How does it fit within the larger L.A. arts funding landscape?
With cost-conscious outlets devoting less space to "serious" art criticism, the niche field of art writing gets a critical boost from the Dorothea and Leo Rabkin Foundation.
A thriving arts and cultural sector requires conversation and debate. Which is why a diverse group of funders are increasing giving for writing on the arts and transforming the field.
Why do some capital projects succeed while others struggle to attract enough big gifts? We turn to the fundraising success of a Denver museum for answers.
A report illustrating gender disparities at large U.S. museums may provide funders with the quantitative benchmark needed to tackle a very stubborn problem effectively.
One the heels of a sobering 2015 study, Mellon commissions the creation of eight case studies to help museums improve diversity and inclusivity in their staffing practices.
With backing from the Knight Foundation, the Pérez Art Museum Miami shows now other museums might tap into underleveraged segments of the contemporary art market.
A gift to the Tuscon Art Museum suggests that while smaller may sometimes be better, a confluence of factors contributes to an institution's ability to generate donor support.
The confluence of challenges that precipitated Thomas Campbell's resignation from the Met apply to smaller museums as well. For proof, look no further than foundations' recent funding priorities.