Conversation with Mae Anderson, Chairperson of Art Outreach Singapore

On building, communicating and sustaining impact

This article is a part of CHECK-IN 2025, our annual publication. You can purchase the physical edition (with access to the digital copy) for SGD38, or the digital copy for SGD5 here.

Mae Anderson.

Mae Anderson is chairperson of Art Outreach Singapore, a non-profit organisation dedicated to promoting art appreciation and strengthening networks in the local art ecosystem. She has served on its board since its inception in 2003 and as board chairperson since 2006. She is also Head of Philanthropy Services, Asia at BNP Paribas Wealth Management, where she designs strategies to implement clients’ philanthropic ambitions.

My conversation with Mae picks up from an essay she wrote for Art & Market in 2023, titled In Service of Art, which reflected on 20 years of Art Outreach Singapore. I start by inviting her to speak about the organisation’s next chapter and how they are responding to the changing needs of art practitioners.

Critique session with participants of the Art Outreach Summit, January 2025. Image courtesy of Art Outreach Singapore. 

In January 2025, Art Outreach organised the inaugural Art Outreach Summit, which is a shift from the IMPART Art Prize given out in previous years. What are the intentions behind this change and what does the Summit aim to achieve?

The Summit represents a natural evolution of our long-standing commitment to supporting practitioners. With the prize, we were proud to recognise outstanding talent and offer meaningful financial support. But we realised that for many practitioners, what they truly lacked was access to mentorship, networks, and critical feedback that could help refine their practices and propel them forward. The Summit was designed to address exactly that gap. It is immersive, rigorous, and deeply personal, offering participants the rare chance to engage directly with leading curators, arts professionals and thinkers who are generous with their insights and honest in their feedback.

We also wanted to move from a model of one-off recognition to one of sustained investment, not just in individuals, but in the larger ecosystem. By anchoring the Summit within Singapore Art Week and inviting global faculty to engage meaningfully with the local scene, we are creating pathways that extend far beyond the two days of the programme. It is about catalysing growth, and not only awarding it. In that sense, the Summit is less a departure from the prize than it is a deepening of purpose, with greater precision, empathy, and ambition.

ArtLink Community Programme: Mighty KFC, June 2023. Image courtesy of Art Outreach Singapore.

Beyond its public facing initiatives such as Hearth and school engagement programmes, Art Outreach also plays an advisory role, collaborating with public agencies and private institutions. Could you say more about these services and how they help to achieve the organisation’s mission?

Since 2020, we have placed greater focus on our role as an intermediary to bridge the gap between the private sector and the arts. It has been an intentional shift, allowing us to not only support corporations, collectors and institutions in realising their artistic ambitions, but to do so in a way that is deeply aligned with our mission.

Our advisory and project management services operate as a kind of two-way scaffolding. On the one hand, we offer our clients a turnkey model that takes the complexity out of mounting art projects. But more importantly, we advocate for responsible and respectful engagement. Whether it is advising commissioners to select artists based on their body of work, rather than requesting detailed proposals for modest budgets, or ensuring that intellectual property (IP) rights are protected and artists are appropriately credited, we see ourselves as stewards of good practices. These may seem like small interventions, but they set the tone for a healthier and more respectful working culture in the arts.

At the same time, we work closely with a broad range of practitioners. Many of them may not yet have gallery representation or institutional exposure, but they bring depth, rigour and originality to their practices. We are proud to offer them opportunities that recognise their potential and give them the platform to thrive. It is important to us that access is not limited by profile, and that our engagements reflect the full diversity of voices and practices in Singapore’s art scene.

What has been especially gratifying is that this model has also provided a sustainable revenue stream for Art Outreach. It is a far cry from our earlier reliance on gala dinners, which, truth be told, are often a more straightforward way to raise larger sums of money in a single evening. By contrast, advisory and project management work demands far more time, negotiation, and hands-on effort, often for smaller returns. But the upside is significant. We are simultaneously creating meaningful professional opportunities for artists, and building a skillset within our team that feels far more relevant and empowering. It is a slower, more involved path, but one that reflects our values and long-term vision for Art Outreach.

The Pierre Lorinet Collection: Rough, 2024, exhibition view at Gillman Barracks, Singapore. Image courtesy of Art Outreach Singapore.

What are lessons from your experiences in banking and philanthropy services that inform the way you position or run Art Outreach?

My background has straddled two worlds: the non-profit space, where I have been actively involved in Art Outreach since its inception, and the financial sector, where I now work with private clients on their philanthropic goals. Even before I took on this professional role, I had already been guiding Art Outreach for several years. But stepping into the philanthropy space more formally in 2011 gave me a different lens, not only for understanding giving, but for deepening the way we build, communicate, and sustain impact. Through my work advising the bank's clients across Asia, I have gained insight into how different players approach philanthropy. These include what motivates them, where they see risk, and how they define success, and are valuable cues that inform how we position Art Outreach when speaking to potential partners, donors, and collaborators. It has also given me a strong sense of where the arts fit into the broader philanthropic ecosystem, and how we can advocate more effectively for its relevance and value.

At the same time, working in a corporate environment has sharpened the way I think about structure and execution. I have become more attuned to building internal systems, from budgeting and reporting, to clearer goal-setting and team development. We now place greater emphasis on measuring our progress and staying accountable to our mission, complementing a big-picture vision with day-to-day rigour. That balance of clarity and care is something I try to bring to all aspects of Art Outreach’s work.

What I have found most meaningful is how these two roles continually reinforce each other. The professional knowledge strengthens the non-profit work, and the lived experience of running a ground-up organisation gives me a unique empathy when working with clients who want to support the arts but do not yet know how. It is a virtuous loop, and I am grateful to be in a position where both can grow in tandem.

Could you speak about how Art Outreach approached team building and capability development?

Over the past two decades, one of the things I am most proud of is the strength of our team, in terms of talent, and also the culture we have cultivated. Art Outreach has consistently punched above its weight, and that is entirely down to the people who drive the work. We are a small team, but every individual is deeply committed to their own role. We prioritise collaboration, transparency and accountability, and we also place great emphasis on care for one another, for the artists we work with, and for the integrity of the work itself. Staff welfare and professional growth are key pillars. We have intentionally created an environment where people feel supported, valued, and stretched in the best possible ways.

From a capability perspective, we have invested in tools and systems that allow us to be nimble and responsive, from adopting platforms like Xero and Monday.com to streamline our operations, to ringfencing an annual fund that allows every staff member to pursue training. But perhaps more importantly, we ensure that everyone has the chance to lead meaningful programmes, engage with a wide range of stakeholders, and contribute to strategic conversations.

Adaptability is one of our strengths. From our early days focused exclusively on classroom education, we have continually evolved, responding to shifts in the national arts agenda, the needs of the community, and the gaps we see emerging in the field. That instinct to adapt thoughtfully, and with purpose, is baked into our DNA. And I believe it is why we have stayed relevant, and managed to lead in areas where we can make a distinctive contribution.

The Collectible Experience, 2024, group exhibition as part of Hearth Patron’s Programme featuring Andrea Danker, Billie Sng, Bridget Tay, Dylan Chan, Ezzam Rahman, Joanne Lim, Lizzie Wee, Andy Yang, Liana Yang, Cynthia Delaney Suwito. Image courtesy of Art Outreach Singapore.

What is one assumption about Art Outreach you wish to address?

There are a few persistent misconceptions that occasionally resurface, and I think it is important to set the record straight. One that we hear quite often is that we charge artists for using our space, or that we take a cut from any works sold during their showcases. In fact, the opposite is true. Through our year-long Hearth programme, we provide a micro-grant to help offset production costs, and we offer the space free of charge. Artists retain 100% of their sales. This is not merely a policy. It reflects our ethos. We believe that if we are truly here to support practitioners, then we need to create platforms that are accessible, generous, and empowering.

Another assumption we hear from time to time is that we are supported by donors who regularly write big cheques. How I wish that were true! The reality is far less glamorous. Like many non-profit organisations, we face the ongoing challenge of resourcing our programmes and operations. Our sustainability has come from a mix of creative fundraising, earned income from advisory work, and the unwavering dedication of a team and long-serving board that truly believes in the work we do.

In many ways, these assumptions reflect a broader lack of visibility into how arts organisations actually function. I welcome the opportunity to speak to it and highlight the thought and care that go into making our programmes possible, and to encourage a deeper appreciation for the behind-the-scenes work that sustains public-facing impact.

In your opinion, what is one underappreciated skill or quality that the Singapore art ecosystem needs?

I think we tend to undervalue the importance of generosity, not only in the financial sense, but also in how we share knowledge, opportunities, and credit. The Singapore art scene has grown tremendously, and with that growth comes competition, which is natural. But I believe we need to be more intentional about cultivating a culture where people actively lift each other up, where success is not seen as a zero-sum game, but as something that expands when it is shared.

Generosity also finds its expression in collaboration. At Art Outreach, we have been making a conscious effort to work more closely with peer organisations and partners, not only within the arts, but beyond it. In the past year, we have worked with groups like the Modern Art Society, DECK, National Kidney Foundation, and Ambulance Wish Singapore. These partnerships have been rich and rewarding, and they have allowed us to explore new intersections among art, health, community, and heritage. They are also a reminder that meaningful impact often emerges when we pool together our resources, insights, and networks.

In a city as efficient and driven as ours, we sometimes forget how much cultural development relies on soft infrastructure, with things like mentorship, peer support, and open exchange. These are not always visible or quantifiable, but they are essential. If we want our ecosystem to be resilient and vibrant, we need to invest not only in programmes or spaces, but in the spirit with which we engage with one another.

In Praise of Boredom, 2025, exhibition view at Art Outreach Singapore. A group exhibition by Izyanti Asa’ari, Chok Si Xuan, Sean Gwee, and Ho Kin Leonn. Image courtesy of Art Outreach Singapore.

How do you evaluate Art Outreach’s impact?

Impact in the arts can be challenging to measure, especially when much of the value lies in things that are qualitative or long-term, such as confidence gained, perspectives shifted and networks formed. But we take this responsibility seriously, and over the years, we have developed several ways to evaluate our work meaningfully and consistently.

We begin with the basics: feedback from our programme participants, partners, and audiences, gathered both anecdotally and through structured post-event surveys. These insights give us immediate visibility into what is working and where we can improve. We also track the professional progress of the artists and curators we have supported, keeping an eye on how they continue to grow after their time with us.

Engagement metrics also offer a helpful window. We monitor visitorship, social media reach, and participation across our public programmes to understand how well we are connecting with audiences. And behind the scenes, we regularly benchmark ourselves against peer organisations, not as a matter of competition, but to stay attuned to where we stand within the sector, and where there may be room to evolve.

But perhaps the most meaningful form of impact is when people come back, such as when an artist we worked with early on reaches out years later, or when a partner returns with a new idea because they valued how we worked together. The continuity and trust tell us we are building something that resonates.

One example that means a great deal to us is how the group of curators who were once recipients of the IMPART Art Prize now serve on the Hearth review panel. Their continued involvement not only signals their professional growth, but also reflects a shared sense of purpose and a willingness to pay it forward, which we see as powerful indicators of long-term impact.

Lastly, what would you say to individuals and organisations in Singapore and elsewhere who wish to invest in the arts?

I would say: please do, and start where you are. You do not need to be an expert, or have a large budget, or even know exactly what form your support will take. What matters most is your willingness to engage with sincerity, curiosity, and an openness to learn.

Investing in the arts is not only about funding exhibitions or buying artworks. It is also about contributing to a more thoughtful, expressive, and inclusive society. Artists help us see differently. They make space for nuance, challenge assumptions, and remind us of what it means to be human. Supporting that work is not a luxury. It is essential.

For organisations, I would encourage a shift away from transactional sponsorships toward genuine, values-led partnerships. The most impactful collaborations are built on mutual respect and a shared commitment to cultural development. And for individuals, whether you are a collector, a donor, or simply someone who has been moved by an artwork, know that even small gestures matter. Show up, share what you love, and invite others in.

In space-scarce Singapore, one of the most valuable things you can offer is simply room, physical or metaphorical, for artists to create. Hosting a residency, offering a venue for a showcase or workshop, or creating time and space for reflection can be transformative. At Art Outreach, we have seen firsthand how powerful these contributions can be, and how often they lead to outcomes far richer than anyone initially imagined. When you invest in the arts, you are not just backing a project. You are investing in people, in ideas, and in the cultural fabric of the society we share. And that is always worth it.

Application for the second Art Outreach Summit is open till 18 August 2025. For more information, click here.

This article is a part of CHECK-IN 2025, our annual publication. You can purchase the physical edition (with access to the digital copy) for SGD38, or the digital copy for SGD5 here.