Why I put my name on it: B.C. builder Audain on philanthropy
While public about the arts, the home builder with an unusual background, and his wife, also donate anonymously to causes outside their main focus
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This is part of an occasional series of profiles of Canadian philanthropists exploring the question of whether to be public (versus anonymous) about their philanthropy.
Michael Audain is a Canadian home builder, philanthropist and art collector. A former housing policy analyst, he is the chairman and major shareholder of the privately held Vancouver-based Polygon Homes Ltd., one of the largest home builders in British Columbia.
Audain, whose unusual background includes stints as a social worker and as a prison guard, and his wife, Yoshiko Karasawa, have a focus on supporting visual arts in British Columbia and across Canada.
In 2012, Audain established the Audain Art Museum to house his substantial family art collection. Subsequently, The Audain Art Museum Foundation was founded to raise an endowment fund of $25 million, which has now increased to $50 million, to support the art museum’s operations. The not-for-profit charitable corporation is chaired by Audain and governed by a board of directors.
As of early 2022, over $36 million had been donated to the endowment by people and companies called the Museum’s “Founders.”
Here, Audain and Karasawa share why they put their name on philanthropic endeavours, and what risks and rewards are involved in a lifetime of philanthropy.
What drew you to the arts in your youth?
“We didn’t have art in our home other than some pictures of favourite dogs and horses. However, by way of visits to the Royal BC Museum starting at the age of 10, I became first interested in the rich art tradition of the Northwest Coast, but then as time went on, I started to explore the great art museums of Europe and New York and, of course, the National Gallery of Canada.
I was hooked by that time. As far as Yoshi is concerned, the visual arts are an important part of the curriculum in the Japanese schools, and that’s where she learned not only about the art of her native land but also of the French Impressionists that had so captivated the Japanese public in the decades before she was born.”
How did this kinship with art become something you felt a need to support?
“Most important art forms need some sort of financial support. In Europe this traditionally came from the royal families or the Church, but in Canada it seems to be that those of us who are active in the business community are expected to subsidize the different forms of culture, whether opera, music, dance, or visual art. That’s the way of the world.”
Some families and individuals are reluctant to put their name to a philanthropic initiative. What prompted you and your family to be public with your philanthropy?
“It’s true that we are not reluctant to have our names associated with cultural philanthropy. Part of the motivation is probably ego, but also, I believe that when other members of the public see that there are real names associated with cultural enterprises, they are more likely to climb aboard a fundraising campaign.
Adding one’s name is “pour encourager les autres,” as the French say.”
What art projects and philanthropic donations have you felt most passionate about?
“Our family foundation has financially supported so many cultural ventures that it is hard for me to be specific, but the grants that we have given to my old alma mater, The University of British Columbia, have given me special satisfaction, as that institution certainly changed my life significantly when I was young.
But I believe that both Yoshi and I would probably select our building of the Audain Art Museum in Whistler as our most significant accomplishment. Certainly, it was $56 million well spent, as the museum’s architecture has drawn international acclaim, and its art holdings are not too bad.”
Does putting your family’s name to an initiative open you up to potential risks?
“Yes, I suppose there are risks in indicating that you are affluent enough to engage in major philanthropy. One thing is that you must expect to be inundated with grant proposals. Yoshi and I have learnt to live with the visibility.
On the other hand, I think it has been difficult at times for my children and grandchildren, but they have probably suffered less than had I become, say, a political leader on whom a section of the public will always heap scorn.”
Are there causes outside of the art world that you also support?
“Our family foundation is very focused in that we only support the visual arts and wildlife interests, thus protecting our staff from being overwhelmed with grant proposals outside our areas of interest or expertise.
But Yoshi and I also make anonymous gifts in other areas, mainly the medical field and the relief of poverty.”
Can you offer advice to readers who might feel uncertain about setting up philanthropic initiatives?
“I know that a lot of people talk about being engaged in philanthropy as a form of giving back; however, I cannot say that has been generally our motivation. It’s more that we are interested in seeing certain things happen in society and, therefore, feel encouraged to financially support them; particularly when, if we didn’t, the initiative might fail.
I think, first and foremost, all of us have an obligation to support our fellow Homo sapiens. One of the parables that inspired me in scripture class had to do with the widow’s mite [the small amount given by a widow to the temple that is significant in the context of her poverty] and I have come to greatly admire religions such as Judaism, Islam, and certain Christian denominations that believe in tithing.
There are all sorts of ways to support charitable causes, but we believe that many families may find that the most satisfying route is to establish a family foundation in which one’s spouse, children and grandchildren can all participate.
Also, we believe that endowments make a great deal of sense, as they ensure that one’s charitable donations will be helping someone or some cause for many years into the future.”
Responses have been lightly edited for clarity and length.
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