The New York Times rehashes and expands its own story on Harvey Shipley Miller, the trustee of the Judith Rothschild Foundation who has had trouble paying out grants even as he amassed a $60 million collection of drawings for MoMA:
In a city where money alone is no guarantee of social standing, Mr. Miller provides a striking example of how control over important works of art can be a ticket to the upper tier of the philanthropic world, with all its attendant prestige and social cachet.
[…] His stature in New York has been boosted by his control over Ms. Rothschild’s assets and her art collection, which was valued at $34 million when she died. […] “The trust purposes and the encouragement of art are not served,” the will states, “by helping museums acquire more work by artists already well known.” […]Seven years ago […] he decided to donate a drawing collection, the foundation’s generosity would have been evident in a gift of dozens, even hundreds, of works. But Mr. Miller donated thousands to the Modern after a two-year, international buying spree that led to his being named to Art Review magazine’s “Power 100” in 2004 and 2005. […]
Ms. Rothschild’s will directed that her foundation primarily promote contemporary American artists who had recently died, and it specified her objection to conceptual art. But many of the works Mr. Miller bought were conceptual in nature, by artists like Lawrence Weiner and Robert Barry. Other artists were based in Europe. Most were alive.
Foundation Promotes Art as Well as Sole Trustee (New York Times)