On 30 April, the Metropolitan Museum of Artwork introduced that the Rubio Butterfield Basis—led by the lately elected museum trustee Jennifer Rubio and her husband, Stewart Butterfield—has pledged greater than $23m to endow the museum’s internships in perpetuity. The museum has provided internships for nearly 30 years, with 100 undergraduate and graduate college students collaborating yearly. They’ve allowed college students to study conservation, curation, digital imaging and extra. These internships have solely been paid since 2021.
Max Hollein, the Met’s director and chief government, tells The Artwork Newspaper that “by means of our conversations with Jen and Stewart, it grew to become clear that investing in individuals—particularly in entry and alternative—was their highest precedence as supporters”.
He provides that “donors come to us with a variety of pursuits, views and passions” and a part of his job is studying about what these are. “At their core, these discussions centre on two important questions: What does the establishment want most? And what does the donor care most deeply about?”
Jennifer Rubio and Stewart Butterfield Picture by Olivier Simille
It’s usually assumed that the majority donations to museums are objects to show on the partitions or money to purchase extra of them. Actually, museum officers have very totally different concepts when speaking with potential donors. “We’ve got extra artwork than we’d like,” says Gary Vikan, a former director of the Walters Artwork Museum in Baltimore. What he usually regarded for was cash to endow curatorial positions, which insured continued scholarship on the artwork that the museum already has or may acquire sooner or later. “After I got here aboard, the museum had three endowed curatorships,” Vikan says. “After I left, we had 18.”
Giant museums have quite a few funds and endowments, donated or added to by an incredible many donors. The Museum of Superb Arts, Houston has roughly 140 separate funds and endowments that add as much as $1.9bn, in response to the museum’s director, Gary Tinterow, who provides that the majority are buy funds or working funds. In 2025, he says: “There was one donor, J. Venn Leeds, who got here to us and mentioned that he wished to offer cash to the museum, and requested us: ‘What can I help? What do you want?’ We requested him: ‘What side of the museum do you most take pleasure in?’ We talked for some time about this, and he ended up organising a $2m endowment to help our annual Grand Gala Ball”, the museum’s largest annual fundraising occasion. “That labored for him, and it actually labored for us.”
Maxwell Anderson, a former director of each the Indianapolis Museum of Artwork and the Whitney Museum of American Artwork, says that “it’s routine that museum administrators are capable of channel donor’s energies in respect to institutional priorities”. He added that “it’s extra widespread that administrators information philanthropy in methods commensurate with institutional priorities than that they accede to requests by donors that will not align”. Anderson cites for example his suggestion to Melva Bucksbaum, a Whitney trustee, to endow an award of $100,000 to an artist included within the Whitney Biennial, the Melva Bucksbaum Prize.
In a preface to the 2010 Whitney Museum publication, A Ten-Yr Celebration of the Bucksbaum Award, 2000-2010, she wrote that Anderson met her for breakfast in 1999, shortly after his appointment to the museum’s directorship. At that time, Bucksbaum had been a trustee since for 3 years and had contributed commonly for the purchases of artworks really helpful by Whitney curators.
“At our breakfast collectively, he was captivated with an thought he had for an award to be given to an artist exhibiting in every Whitney Biennial. He mentioned that he thought the award needs to be $100,000, with the intention to make a significant distinction to the artist,” Bucksbaum wrote. “So, as Max and I mentioned this award, I leaned over the desk and mentioned: ‘Max, I believe I might help you with this.’”
One other occasion, when Anderson was the director of the Indianapolis Museum of Artwork, was his suggestion to museum trustee Bren Simon to donate $10m to endow the director’s personal place. Simon agreed, and that place is now referred to as the Melvin and Bren Simon Director.
William Griswold, the Cleveland Museum of Artwork’s director, says “essentially the most impactful presents sit on the intersection of donor ardour and museum function”. To that finish, he says, potential patrons of the Cleveland Museum of Artwork are informed or given a duplicate of the establishment’s strategic plan in order that donors provided the chance to select and select amongst areas in want of help.
Hollein, whose official, endowed title is the Marina Kellen French director and chief government, provides: “Finally, it’s about discovering the intersection between their passions and the museum’s wants and constructing one thing lasting from that alignment.”
