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.
Baby boomers are set to declutter their lives en masse, and in the process, get rid of potentially valuable artwork. It's a huge opportunity for museums starved for contemporary art.
The Denver Art Museum's recent fundraising successes underscore how some arts institutions are now enjoying key advantages when it comes to pulling in the big bucks for high-risk capital projects.
News out of New York City points to how bold, forward-looking programming can lead to incredible financial dividends—and relatively quickly, no less.
"Audience engagement." "Communities." "Established conventions." A Mellon gift supports a training program that embraces the key components of its next-generation vision for museum professionals.
Grantmakers like Ford and Rockefeller are "edging politely but firmly away" from legacy institutions in the Big Apple—and the reasons why apply to arts organizations everywhere.
A transformative gift to the museum in Chapel Hill, NC, makes us wonder: Why did a museum serving 40,000 visitors a year secure a gift whose dollar value is eight times the size of its operating budget?
A seemingly minor change to an Alaskan funder's grant program underscores an emerging trend in arts philanthropy that should be of interest to artists in the Lower 48.
A new program celebrating "the highest quality artistic work being created in the American South" underscores an upsurge in regional philanthropy in the Southeast.
When the man behind a museum's huge capital project admits there's been "a little lack of confidence that the money will be raised," alarm bells inevitably go off.
The California Community Foundation supports the arts to advance its broader mission of improving Los Angeles. Here are a few ways that's playing out.
How art is presented in museums is a really big deal. So why don't grantmakers and donors devote more attention to this? The Henry Luce Foundation is one foundation that's on the case.
While plenty of donors still love risky capital projects, the idea that they may not be in the best interests of museums continues to gain currency across the art philanthropy world.
Could it be that one reason directors get behind big capital projects isn't because it's in the museum's best interests — but rather because it's great for their own resumes?
Art conservation graduate programs have become incredibly competitive, with universities spending big to attract top-notch talent. Lucky for them, donors seem up to the challenge.
Bigger isn't always better, but major museums rarely apply this theory in practice. We dig into an exception—and what it may mean for fundraisers navigating an uncertain financial landscape.