A recent initiative by the Stoa Foundation is bringing much-needed attention to the expansive and diverse world of nonprofit art organizations. Co-founders Clare Hindle and Meagan Ryan have spearheaded efforts to comprehensively study and connect these entities, which, despite controlling substantial assets, often remain under-examined. Their work involves publishing detailed reports and orchestrating conferences designed to facilitate collaboration and resource sharing within this critical sector of the art world.
The journey to establish the Stoa Foundation began with Hindle and Ryan's direct experiences in art foundations, where they identified a significant gap in resources and networking opportunities for leaders in the field. Hindle's background includes roles at Sotheby's, the Cass Sculpture Foundation, and World Art Foundations. Ryan brings expertise in fundraising from the San Francisco Art Institute, medical research, consulting for art nonprofits, and leading the Kramlich Art Foundation. Their combined insights highlighted the need for a global network providing data-driven resources and innovative tools to address challenges faced by these organizations.
Stoa's definition of an art nonprofit is a mission-driven, charitable organization dedicated to supporting visual arts and artists, generating public value through its activities. These organizations vary greatly in structure, with some operating physical spaces and public programs, while others do not. The foundation has organized several conferences, including events in Paris during Art Basel 2025 and Venice during the 2026 Biennale, culminating in a major gathering in New York from September 15–17. This New York summit features a distinguished lineup of speakers, including prominent philanthropists and art leaders, who will discuss critical topics such as artist-founded nonprofits, community engagement, and value-driven investment.
The inaugural Stoa report, featuring an introduction by journalist Charlotte Burns, encompassed nonprofits across 17 countries. Key findings revealed that approximately 67 percent of these organizations maintain collections, and half operate with budgets under £1 million. Notably, about 70 percent offer prizes and grants. Despite their collective financial power, many are small, with half employing five or fewer staff members. Burns emphasized that private art foundations are among the most diverse yet least understood entities shaping the contemporary art landscape, managing billions of dollars and numbering in the tens of thousands, including hundreds of private museums.
Hindle and Ryan discussed their observations with a leading art news publication, emphasizing the breadth of Stoa's member organizations and how collectors are increasingly considering the long-term public value of their holdings. They noted that the interest in their conferences has been overwhelming, with participation from individuals across 33 countries on five continents. The success of earlier conferences in Paris and Venice has informed the structure of subsequent events, focusing on six pillars: governance, collections, artistic programs, financial resilience, public engagement, and operations. These pillars address universal challenges, making it easy to unite diverse organizations under one roof, fostering new partnerships, loans, and cross-border collaborations.
The Stoa Foundation distinguishes itself from other art gatherings by prioritizing actionable outcomes beyond mere conversation. Ryan highlighted their commitment to documenting discussions and creating accessible publications and resource libraries. This ensures that insights and solutions are shared broadly, providing valuable guidance for collectors considering establishing foundations, those planning for succession, or anyone involved in opening artist residencies. The foundation aims to serve as a continuous resource throughout the lifecycle of art philanthropy.
Regarding scrutiny over private foundations' public presentation and tax benefits, Hindle and Ryan aim to amplify the positive impact of these organizations rather than criticize them. They assert that countless billions of dollars from these philanthropists directly support the global art economy. Their focus is on understanding the contributions made beyond public exhibitions of collections. Through peer exchange, Stoa facilitates learning from diverse models across different cities and countries, allowing members to share journeys and solutions, thereby accelerating progress and avoiding redundant efforts in a rapidly evolving art landscape.