ArtOutreach public sculpture tour for students

Mae Anderson, serves as the chairman of Art Outreach, a non-profit organisation committed to promoting art appreciation and nurturing the connections within Singapore’s art community. Mae’s contributions extend to her role as the Head of Philanthropy Services Asia at BNP Paribas Wealth Management, where she collaborates with clients to bring their philanthropic visions to life

LUX: How has your personal philanthropy informed your corporate role?
Mae Anderson: My experiences in the philanthropic sector have reinforced for me the importance of aligning business values with social responsibility. This is essential to benefit the communities we serve and to enhance the reputation and sustainable values of the organisation. Corporate philanthropy is not just a matter of financial contributions; it is about creating meaningful, sustainable change by strategically leveraging resources and expertise. I prioritise building strong relationships with nonprofits, community leaders, and clients who share our commitment to making a positive difference. This collaborative approach has proven instrumental in developing effective philanthropic strategies that maximise our impact.

Mae Anderson, , posed against a mural by Singaporean artist, Chris Chai

LUX: Why was Art Outreach founded and what were the early successes?
MA: Art Outreach was founded to introduce art appreciation into Singapore’s education system, particularly in elementary schools where the focus was primarily on art making, and where there was a lack of emphasis on art appreciation, compounded by a shortage of trained art teachers and limited exposure to the humanities. 20 years on, there have been significant changes in the education landscape In the early stages, our volunteers were trained to deliver free art lessons to local classrooms and played a crucial role in enriching students’ visual literacy and cultural awareness. These early efforts successfully addressed the need for art appreciation, fostering a greater understanding of cultural diversity and societal dynamics among young learners, addressing a crucial need in the education system while adapting to the changing educational landscape.

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LUX: What is behind the wave of interest in cultural philanthropy in Singapore and the South Asia region?
MA: There are several interconnected factors. First, there is the desire to preserve and celebrate cultural heritage. In an increasingly globalised world, people recognise the importance of safeguarding and promoting their unique traditions, arts, and history, fostering a deeper connection to one’s roots and a sense of cultural pride. The region’s economic growth has played a pivotal role.

Level Up by curator, John Tung, one of a series of professional development workshops run by Art Outreach. In this workshop, participants learned the finer points of art installation

The rise of the middle class with disposable income opens doors, and as people become more financially secure, they seek meaningful ways to give back to their communities and support cultural initiatives that resonate with their values and aspirations, further fuelling the interest in cultural philanthropy. Governments in the region have introduced policies and incentives to drive private investment into cultural projects and institutions. Further, cultural attractions draw tourists , enhancing exchequers and soft power, Finally, the emergence of the mega-wealthy 1%, catalyses support for cultural initiatives and leads collaborations.

Benedict Yu, from 生 Rebirth as part of 醉生夢死 erosion, his solo exhibition at Art Outreach in August 2021

LUX: How has Art Outreach evolved an ecosystem for all stakeholders?
MA: As explained, we began by seeding art education within local elementary schools set about creating an art landscape. We extended our reach to communities through public programmes, discussions, and tours. This made contemporary art more accessible and relatable to local audiences. We support emerging artists through initiatives like the IMPART Art Prize to offer holistic support and foster the development of artists championing Singaporean art.

Artist, Berny Tan (left), and curator, Kirti Upadhyaya, against Berny’s artworks from Along The Lines Of – her solo exhibition at Art Outreach in August 2023

From 2024, our Art Outreach Summit will offer artists mentorship, networking opportunities, and a platform to showcase their work, as well as practical programmes such as installation and lighting. More strategically, we enter into public and private partnerships around events and activations. So we serve the range of stakeholders.

ArtOutreach primary school classroom programme

LUX: What is the role for private collectors of contemporary art in Singapore?
MA: Private collectors are custodians of cultural heritage, preserving and showcasing contemporary artworks that provide insights into the evolution of artistic expression and cultural trends. Through their acquisitions, they are patrons of emerging talents and established names, pushing the boundaries of artistic expression, opening their homes or private exhibition spaces to the public, elevating the profile of Singaporean art on the global stage and fostering educational and cultural exchange. Finally, the donation of artworks or funds to cultural institutions and nonprofit organisations, has a lasting impact on the sustainability of the arts ecosystem.

ArtOutreach Art In Transit Tour, Promenade Station. This is a walking tour of the artworks installed in Singapore subway stations

LUX: How should art philanthropists plan so they give effectively?
MA: Effective art philanthropy begins with a clear mission and values aligned with the art landscape and national priorities. Philanthropists should thoroughly research organisations, projects, or artists that match the mission, and then identify gaps and areas where their contributions can make a difference. Establishing clear, measurable goals and key performance indicators (KPIs) can guide their philanthropic efforts and evaluate impact. Philanthropists can diversify their giving portfolio and consider strategic partnerships with like-minded organisations to amplify their impact and bring diverse perspectives.

Art Outreach children’s art workshop

They should assume longterm commitment to foster lasting change and address evolving needs within the arts community. It is critical to implement systems for measuring impact, remain adaptable, and be responsive to changing circumstances or emerging needs in the arts landscape.

Read more: Aliya and Farouk Khan on the Malaysian contemporary art scene

Actively engaging with artists, cultural institutions, and the broader arts community allows philanthropists to stay connected, and they must adhere to ethical principles, be transparent, and respect artists’ rights. You should consider legacy and tax planning and remember that public engagement can inspire others to support the arts.

Textile Artist,Tiffany Loy, against her artworks from Lines In Space, her solo exhibition at Art Outreach in January 2023

LUX: How can connectivity and data help in scaling the impact regionally?
MA: Data analysis empowers philanthropists to understand specific regional needs and priorities, to identify areas where their contributions can maximise impacts, and to connect with local organisations and initiatives. By collecting and analysing data in real-time, they decide where best to allocate resources. By collaborating, donors leverage their resources more efficiently, engage directly with regional communities, scale effectively, advocate, share experience, measure impact, and together drive long term change.

LUX: What is your personal advice to a client embarking on their philanthropy journey?
MA: Trust in your passion and purpose. Philanthropy is about making a positive impact on the causes that matter most to you. Sustainable change takes time so persevere. Finally, stay humble and open to learning and let that inspire your growth as a philanthropist.

Find out more: artoutreachsingapore.org

Pristine Seas team member, Alan Friedlander, sampling in the remote reefs in the northernmost region of the Seaflower Biosphere Reserve

After a number of years writing about ocean conservation as an academic, Enric Sala decided he wanted to take a more active role in protecting our seas. Here he tells Trudy Ross about his Pristine Seas project, which combines exploration and research to conserve the world’s oceans

LUX: What inspired you to dedicate your career to researching and protecting marine ecosystems?
Enric Sala: As a little boy, I grew up dreaming to be an ocean explorer and swimming in the Mediterranean, which was pretty much devoid of life. But one day I dived in a marine reserve where fishing was banned, and there I saw all the abundance of life that was missing from the sea of my childhood. That day I understood that if we give nature space, it can heal itself – and decided to work on protecting the ocean.

LUX: You made the jump from working in academia to being a full-time conservationist 15 years ago, because you wanted to stop ‘writing the obituary of the ocean’ and instead start looking at solutions. What were the biggest challenges you faced when making this career change?
ES: The biggest challenges are several. First, there is a large lack of awareness that we are overexploiting the ocean to a dangerous point beyond which it may never recover. Second, entrenched interests with strong political connections, like oil companies and the industrial fishing lobby, oppose more ocean protection. But despite these challenges we’ve been able to show that marine protection benefits not only marine life, but also people and the economy.

Pristine Seas team assembling deep sea camera onboard the ROU 23 Maldonado, South Atlantic Ocean Uruguay

LUX: Can you tell us more about your Pristine seas project and share some of its primary goals?
ES: Pristine Seas works with local communities, Indigenous Peoples and governments to protect vital places in the ocean, for the benefit of humanity. To date we have helped to protect 26 areas across the ocean, from the poles to the tropics, covering a total area over twice the size of India. Our goal is to contribute to the global target of protecting 30% of the ocean by 2030.

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LUX: What criteria do you use to identify and select areas for the Pristine Seas project, and how do you assess their ecological importance and conservation potential?
ES: We always support local conservation efforts, which can be divided in two categories: areas that are still near pristine and need to be protected before it’s too late, and areas that are somehow degraded but, if highly protected, they would deliver big gains for marine life, food and climate. Our approach is science-based, using global databases on marine life, fishing and carbon, and our own data collected during our expeditions to these vital ocean places.

The Pristine Seas team was invited by the government of Niue and Tofia Niue to help the island community survey its underwater environment in an effort to ensure the long-term sustainable use of resources

LUX: Can you discuss any recent discoveries or achievements from your expeditions that have improved our understanding of the marine ecosystem?
ES: Coral reefs suffer from ocean heat waves, which kill enormous amounts of corals. But we found that coral reefs can bounce back from these warming events if they are fully protected and harbor large abundances of fishes. It is the fishes that keep the reefs clean and allow the corals to return. Without the big and abundant fishes, dead corals are smothered by seaweed forever.

LUX: How do you engage with local communities and stakeholders when establishing marine protected areas through the Pristine Seas project?
ES: We always support local efforts to create marine protected areas through our research, storytelling and economic analysis. We work with local scientists to assess the health of their marine environment, provide local communities with cost-benefit analysis of protection, and advise them on how to implement their desire to protect more of their waters.

Kiribati’s Southern Line Islands where Pristine Seas launched a three-week expedition in 2020
LUX: What role do you see technology playing in marine conservation, and are there any specific technological advancements that have greatly enhanced your research or conservation efforts?
ES: Technology is key to allow us to explore the deep sea and remote areas, including satellite monitoring of illegal fishing – these have been instrumental developments to enhance our work. But technology and data alone are not sufficient. We actually need people to care. This is why we use our films and storytelling first, to inspire people to fall in love with their ocean – and then we provide the scientific and economic data to support action.

Dr. Enric Sala, photographed at NG Headquarters in Washinton, DC

LUX: How can governments and policymakers be encouraged to prioritise the protection of marine environments, especially in areas beyond national jurisdictions?
ES: For governments and policymakers, the easiest encouragement comes from the fact that ocean protection is good business! If we protect an area from fishing and other damaging activities, marine life comes back spectacularly. Fish abundance increases on average by 500% within a decade. Fish grow larger and produce many more babies, which helps to replenish nearby areas and helps local fishers. And when the fish come back, divers come in, supporting jobs and bringing in more economic benefits. Therefore, highly protected areas are a triple win. That’s what happens in countries’ waters. Beyond national jurisdiction, it is not as easy because many countries have to agree to protect an area.

Read more: An interview with Blue Latitudes: can oil rigs help save the ocean?

LUX: Pristine Seas has helped to create 26 of the largest marine reserves on the planet. Can you tell us about three of these areas which you find most fascinating, and which you would encourage our readers to look into?
ES: This is like asking parents which of their children they love the most! There are many wonderful places we have explored and helped to protect. A few examples are the kelp forests off the southern tip of South America, the pristine coral reefs of the southern Line Islands, and the offshore islands of Cocos (Costa Rica), Malpelo (Colombia) and Darwin and Wolf (Ecuador).

In March 2012, Pristine Seas, in cooperation with the PEW Charitable Trusts, undertook a month-long expedition in the four Pitcairn Islands

LUX: In your opinion, what are the most significant threats facing our oceans today, and how can we effectively address these challenges on a global scale?
ES: Overfishing, global warming and pollution are the major threats to ocean life. Overfishing is the easiest to solve, through responsible management of fisheries and protected areas. Solving pollution will require society to develop a circular economy without waste. And global warming is the most difficult of all, but it all comes down to halving our carbon emissions every decade to 2050, and to protect and restore more of nature so it can absorb much of our excess carbon pollution in the atmosphere.

LUX: Looking ahead, what are your aspirations for the future of marine conservation, and what would you like to see accomplished in terms of global efforts in the next decade?
ES: All the nations in the world agreed in December 2022 to protect 30% of the global ocean by 2030. We have a target. Let’s make it happen.

All images by Manu San Félix, courtesy of National Geographic Pristine Seas

Find out more: www.nationalgeographic.org/pristine-seas

Millie Jason Foster, co-founder of Gillian Jason Gallery

Whilst art has often been perceived as a feminine subject, particularly in schools, men are disproportionately more successful than women in the arts. Here, Candice Tucker speaks with  Millie Jason Foster, who along with her mother Elli, founded Gillian Jason Gallery to promote female-identifying artists from across the generations

LUX: What is the role of education in encouraging female artists?
Millie Jason Foster: I think that like most careers, but also like most people who are interested in exploration, education is really important. I think that when it comes to education in the arts, it’s an essential space to experiment and to learn. We have artists that we represent who have been painting for a long time and then have decided to go back and do a Masters and it’s that space of exploration on a residency or doing a Masters that their practice really takes off. They’re not just working in a vacuum in their own studio; they begin to be able to have a dialogue with other artists and see the world in a different way.

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LUX: Despite the fact art is pushed as a feminine subject in schools and most art students are female, the majority of longstanding successful artists are men. Why do you think this is?
MJ: It’s like that across a lot of industries. My background is in finance and investment banking, and you can see the same there. A lot of people at the younger or junior entry levels of the finance industry are women, and then as you get higher and higher up the ranks, there are fewer of us, and it’s really the same in the art world. 65 per cent of women take up art school positions, but in the marketplace, it’s 65 percent of male representation and I’m hoping that that will change over time, but that’s why the gallery exists and what our mission stands for.

I also think that there’s a history of art being a very male-dominated industry, and I think that takes time to change. Even looking at the Royal Academy, they didn’t let women in in the same capacity as men for a very long time, and that is a long-standing British institution for the art world. Only having men means that all those ripple effects go down the line even to today. Only today we had the first all-female retrospective with Marina Abramović. So, the tides are changing, but I think it takes a lot of time to alter such a dense patriarchal system.

Gillian Jason Gallery was founded in 1982 by Gillian Jason and later relaunched by her daughter and granddaughter Elli and Millie Jason Foster

LUX: Do you think the Gillian Jason Gallery, which operates from a feminist perspective, provokes a different kind of collecting?
MJ: I hope that we do but not necessarily a feminist stance on collecting. I think that we showcase the best of art by women, no matter what the theme or the concept of the artist might be. So, although it might be feminist art to do with female issues, it also might be to do with sustainability, other cultural issues, race or gender or anything at all. What we’re really looking for is something that is visually resonant, but also intellectually important and that needs to have some weight to it. What we’re looking at is trying to define the best of art by women in the marketplace. We want to present the best quality art, but also with a sustainable look at careers because we’re looking at creating career longevity for every artist that we work with. We hope that collectors will come back to us time and time again to support those artists.

LUX: How do you bring in issues around sustainability into the gallery?
MJ: That comes in lots of different ways. In our office on, an operational level, which aren’t always that interesting but really are important for us, we have put all our catalogues online and created QR codes, in order to save paper and reduce waste and plastic. In terms of sustainability in our approach, we work with a lot of female artists who tackle ingenious and intellectual themes. For example, we worked with an artist called Julia Bennett at the beginning of this year. She focuses on solely making canvases out of mycelium. She’s looking at how art can be created and then returned to the ground when we’re done with it.

LUX: You have set up a network for young collectors called New Vanguard Collectors. What are the biggest challenges for young collectors?
MJ: I think there are two challenges for young collectors. One is access, and two is understanding. I’ll start with understanding actually, because with understanding, it’s about trying to gauge what you want to buy and why. My background is in a corporate job and I found that I have a lot of corporate friends who are now earning a lot more money but they don’t know where they want to spend it or how. They’re coming to me and asking, “Where do I start?” It’s the same with anyone who doesn’t work in finance, where do I start? What do I invest in? What do I look at? And if you flip it on its head from that perspective, I think it can be really daunting.

Directors of Gillian Jason Gallery, Elli Jason Foster (left) and Millie and Jason Foster (right)

The point of New Vanguard is to help collectors explore the art world more, because collecting can be an investment but also a hobby. I think combining the two today is important for young collectors because we don’t have that much spare cash for anything so if you’re going to invest in something, you have to love it. You have to understand that you want to support the artist and what you’re paying towards it, but you also want to know that in five years time the work is at least going to be what you paid for it, if not more. I think that recognising the need to change collections over time is important, the same way we change our wardrobes, or we develop who we are in a five-year period. I think there has to be a nod to investment and sustainability that way.

Secondly then, access. New collectors don’t get a look in at art fairs or with other large galleries because they haven’t got a roster of other amazing art works that a gallery will say, “Yes, I’ll give you a piece that you love.” So, access is a really big sticking point and with New Vanguard I want to make sure that I help collectors acquire the art that they want to collect, whether it’s with my gallery or another one, because I can assist with access in the art world.

LUX: Gillian Jason Gallery has been around since the 1980s. How has the focus on female artists changed since then?
MJ: My grandmother started the gallery in the 1980s, and her background was a ballet dancer, and my grandfather was an actor, so they came from very theatrical backgrounds. When she stopped dancing, she decided to open a gallery on the ground floor of her townhouse in Camden. At the time, Gillian really became a frontrunner in modern British art, and was a very formidable dealer in that sector, but all along her career championing modern British art, there was always a focus on women. For example, she would always focus on the wife of the famous artist, who was also an artist in her own right. She would do a duo show between David Bomberg and his wife Lillian Holt, and she helped Lillian Holt have one of her pieces acquired by the Tate. Gillian always had this legacy of really focusing on art by women. So, when it came to taking over the gallery a few years ago, in 2019, we decided to take her legacy and found a gallery that solely represents art by women. We were the first to do it.

Works by Berenice Sydney, exhibited at Gillian Jason Gallery

LUX: Have you noticed a drastic change in the representation of female artists since you started?
MJ: No, and it’s been nearly half a decade. I have noticed that more people are waving the flag of supporting art by women, but not necessarily putting their money where their mouth is. At art fairs a third of representation is women and I don’t even want to talk about the prices because it doesn’t even match any of the men. Even at auction, in the top ten, I think there’s two female artists: Georgia O’Keeffe and Jenny Saville, and they don’t make the top five. Those kind of shifts still haven’t moved, and there are extraordinary female artists that just aren’t hitting any of the pricing that male artists are, and I think it’s going to be a long struggle to try and change that outlook.

Read more: Francis Sultana: The life of a leader in design

LUX: What’s the benefit of being a purely female or all female identifying gallery?
MJ: I love having an identifiable mission, and it really helps focus on the best of art by women. It shows collectors that we’re looking for the best of art by women, and it shows artists that we’re looking for the best of art by women. Having that strong network is really important to us, because it means that we’ve founded a community where everyone talks to each other about how they can best support one another. There’s no competition. It’s all about collaboration. We get calls from collectors sometimes saying, “I found this new, incredible female artist, I think you should work with her.” And the same with our artists. We put them all in touch to try and understand best practices. I think that community and safe space is really important, and there have always been safe spaces for art by women and I think that GJG allows that to continue.

LUX: Do you think there will be a point where it won’t be necessary for Gillian Jason Gallery to exist and do you hope that this will be the case?
MJ: I hope that there will be a time where it’s not necessary for Gillian Jason Gallery to only support art by women, and that time will exist when there is a minimum of 50/50 in the art market in terms of representation and pricing for women and men, but I don’t think I’ll see that in my lifetime.

Find out more: gillianjason.com