· Private foundation
James F & Sandra J Fitzpatrick Charitable Foundation Inc
Its FY2025 filing reports that it funds preselected organizations and did not take unsolicited requests; check the foundation's own site before ruling it out.
What you funded, over time
Every grant clustered by its grantee’s IRS cause code (NTEE), by year — across FY2020–2025.
Where the money goes
Your grants by size, and where they go.
| Recipient | Amount |
|---|---|
| WASHINGTON LATIN PUBLIC CHARTER SCHOOL | $4,500 |
| PUBLIC COUNCIL | $2,000 |
| KIND-KIDS IN NEED OF DEFENCSE | $1,500 |
| BROWN UNIVERSITY | $1,500 |
| NATIONAL CATHEDRAL FUND | $1,000 |
| Individual grant recipient | $1,000 |
| PROSTATE HEALTH MATTERS | $1,000 |
| INGLESIDE RESIDENT ASSOCIATION | $750 |
| Individual grant recipient | $750 |
| SHAKESPEARE THEATER COMPANY | $500 |
| AVALON THEATRE | $500 |
| WASHINGTON LAWYERS-COMM FOR CIVIL RIGHTS&URBAN AFFAIRS | $500 |
| SITE SANTA FE | $500 |
| THE BRIGID ALLIANCE | $500 |
| SCHOOL OF THE WORLD GUATEMALA PROGRAM | $500 |
Do your dollars go where the need is?
Each grant placed by the hardship in its grantee’s ZIP, then read against the area’s typical level.
Your human-services grants (FY21–25, $3k) land where the poverty rate runs at 14%, against an area that typically sits at 11%. 83% of those dollars go to grantees based in above-average-need neighborhoods. Most of your grants land in higher-need ZIPs.
Matched: human-services grants are those whose grantee’s IRS cause code is Human Services. Placed by people below the poverty linein the grantee’s ZIP, averaged from the tracts in that ZIP; grantee ZIP can differ from where services are delivered.
Which US states your grants reach
US grants placed by each grantee’s ZIP, which can differ from where services are actually delivered. Need from public data — U.S. Census/ACS, CDC PLACES, Eviction Lab, USDA — shown as context about the area, never attributed to your giving.
Who you back again
Which organizations you funded more than once, and which you funded a single time. Each grantee is matched to its own filings.
And the relationships you keep tend to grow: grantees you re-up on have seen median revenue of +27% since the first grant, against 0% for the ones you funded once.
27 repeat relationships — 18 still active in FY2025, 9 since wound down; 9 grantees were first funded in FY2025 (too recent to call).
How the two cohorts compare
Organizations
Total granted
Median revenue growth · since first grant
Still filing today
New vs renewed · share of each year
In FY2025, 67% of grant dollars renewed an existing relationship; $7k went to new ones.
Where new relationships form · theme of each grantee’s first grant
First-time = a grantee’s first year in your filing window; renewed = funded in an earlier year too. As a portfolio matures the renewed share naturally climbs — once funded, an org stays “renewable” — so the signal is the years that buck it (a new-grantee intake wave). The earliest year is left-censored: relationships that predate the data read as “new.” Theme is the grantee’s IRS cause.
Backed again, and grew
- COCORPORATION OF THE WASHINGTON LATIN SCHOOL6× · 2020–2025 · $12k · revenue +69%
- WMWoolly Mammoth Theatre Company Inc5× · 2020–2025 · $5k · revenue +46%
KIND INC5× · 2020–2025 · $5k · revenue +213%
Funded once
- CTCURIOUS THEATERone grant, 2021 · $1k
- CACOLORADO ACADEMY CA FUNDone grant, 2021 · $1k
- NRNM RELIGIOUS COALITION-RRCCone grant, 2022 · $1k
Repeat = funded in two or more distinct years; growth and survival are read from each grantee’s own subsequent IRS filings.
The map has a center of gravity: the average direction from the rest of the sector toward the organizations the foundation funds — the shape of its giving. Scoring every nonprofit along that direction surfaces the ones that look most like the portfolio. These are the closest matchesthat aren’t grantees — a resemblance in what they say they do, not a recommendation.
See schedule o.inspired by our home city, baltimore center stage acts as a cultural catalyst for all communities to access theater in every form and engage in compelling conversations. programming: capture the collective imagination and…
Wp theater is the nation's oldest and largest theater company dedicated to developing, producing, and promoting the work of women+ at every stage of their careers. for over four decades we have served as leaders of a global movement…
The mission of new york city center is to be new york city's leading center for dance and musical theater. dedicated to making the arts accessible to the broadest possible audience, city center seeks to create a welcoming environment and…
Lookingglass theatre company is a national leader in the creation and presentation of innovative, cutting-edge theatrical work. lookingglass interweaves movement, circus arts and narrative in original and captivating ways. guided by an…
Washington performing arts champions the arts as a unifying force. through collaborations with artists, educators, community leaders, and institutional partners, we bring wide-ranging artistic programs to stages, schools, and neighborhoods…
The latino theater company operates the los angeles theatre center, whose mission is to provide a world class arts center for those pursuing artistic excellence; a laboratory where both tradition and innovation are honored and honed; a…
ATC's mission is to create world-class theatre about what it means to be alive today - inspiring curiosity and creativity, sparking empathy and joy - bringing all Arizonans together.
The apollo theater is a commissioner and presenter; catalyst for new artists, audiences, and creative workforce; and partner in the projection of the african american narrative and its role in the development of american and global…
Profile theatres mission is to produce a season of first-class productions and community engagement activities centered around a season-long featured writer whose vision broadens our perspective on the world and deepens our collective…
Artpace san antonio is a nonprofit residency program which supports texas, national, and international artists in the creation of new art. see schedule o for continuation.
To produce bold theatre experiences that reach across artistic, physical and social boundries. We aim to increase empathy and open-mindedness by illuminating nuanced perspectives and unspoken truths behind the salient issues of our time.…
Deeply rooted in our local beverly hills community and influenced by cultural change, the wallis annenberg center for the performing arts, a public-private partnership with the city of beverly hills, strives to be a site for the…
For reference, the grantee most central to the portfolio’s shape is Imagination Stage Inc and the most unlike its peers is The Malala Fund. Resemblance is measured on each organization’s own IRS 990 mission text; it reflects how work is described, not its quality or impact.
For each theme you fund, this compares how the sector’s money is shifting with how your own giving is shifting.
Sector change and giving change are each shown relative to their own range, growing (right) or shrinking (left); both normalized, so inflation isn’t mistaken for growth.
Your grantees are a median of 29 years old; the field is 18. You back the established end — and your money leans older still.
The field is 20% startups (under 5 years old) — 0% of your grantees by number, and just 0% of your money.
The orgs you fund almost never close — 3% lost their exemption, against 12% of the field you don’t fund.
Age = years since IRS exemption (a founding proxy). “Closed” = auto-revocation for 3 years of non-filing — a floor on closure, not proof, and bigger established orgs lapse least. Association, not causation.
37 grantees tracked through their own filings, 2017–2025.
Each one resolved to its own IRS returns and tracked year by year — your grant beside their revenue from every source. Association, dated; never a causal claim.
Counted here: distinct organizations you funded across 2017–2025, not grant rows in a single year — so this will not match the grant count on the cover. 37 of the 70 grantees resolved in that span have returns of their own we could reconcile; the rest are funded organizations whose filings we could not track year by year.
Where your money sits — by cause, then by grantee
Each org by its size and your share of it — top-left is where you’re load-bearing
Go grantee by grantee — a decade per org, and how each moved after you funded them
A decade per grantee — revenue shaded, your grants as bars, all rows on one timeline.
- Who funds CORPORATION OF THE WASHINGTON LATIN SCHOOL ↗
- Who funds Woolly Mammoth Theatre Company Inc ↗
- Who funds KIND INC ↗
- Who funds WORLD CENTRAL KITCHEN INC ↗
- Who funds SITAR ARTS CENTER ↗
- Who funds PUBLIC COUNSEL ↗
- Who funds SITE SANTA FE ↗
- Who funds THE BRIGID ALLIANCE INC ↗
- Who funds THE PHILLIPS COLLECTION ↗
- Who funds BROWN UNIVERSITY ↗
- Who funds THE SHAKESPEARE THEATRE ↗
- Who funds AVALON THEATRE PROJECT INC ↗
- Who funds RENESAN INSTITUTE FOR LIFELONG LEARNING ↗
- Who funds LAKE DILLON FOUNDATION FOR THE PERFORMING ARTS DBA THEATRE SILCO ↗
- Who funds LATIN AMERICAN YOUTH CENTER ↗
- Who funds IMAGINATION STAGE INC ↗
- Who funds The Studio Theatre Inc ↗
- Who funds EDWINS LEADERSHIP & RESTAURANT INSTITUTE ↗
- Who funds RORSCHACH THEATRE ↗
- Who funds STEPAFRIKA USA INC ↗
The grantmakers whose grantees overlap with yours far more than size alone predicts. Each orbits closer the stronger the alignment; the arcs between them show where they also fund each other. Here it reads as a tightly interlocked camp — most of these funders back each other's grantees too.
Open a dossier: The Morris and Gwendolyn Cafritz Foundation · Greater Washington Community Foundation · United Way of the National Capital Area · Dallas Morse Coors Foundation for the Performing Arts · Dimick Foundation John M Lynham Jr Trustee · Clark-Winchcole Foundation · Nora Roberts Foundation · Jewish Communal Fund · National Philanthropic Trust · Aron Family Foundation · Harold Rubenstein Family Charitable Foundation · Gale Family Foundation
Affinity is a Gamma-Poisson posterior co-funding rate, re-centered on the typical rate, so thin evidence shrinks toward no signal. A research starting point: overlap is association, not proof of shared intent.
Government reliance of your grantees
Every dot is one organization James F & Sandra J Fitzpatrick Charitable Foundation Inc funds. Left–right is the share of its income from government; up–down is the share from you. Bigger dots raise more. Filter to federal or a single department — and drag the year to watch it move.
- Imagination Stage Inc — 13% of income from government
Government income is each org’s traced federal awards (USASpending — grants and contracts) plus state payments (open checkbooks) as a share of its total revenue (IRS Form 990); the self-reported government-grant line (990 line 1e) is carried for cross-check: a grantee that reports government grants we could not trace to a source is left off the chart rather than shown as receiving none. An association, not a claim that your grant caused the public funding. Coverage is precision-first — a floor, not a census; state records exist for 9 states, so a grantee outside them shows no state figure (dimmed) rather than a false zero. Federal award amounts are obligations, which can span years, so a single-year share is indicative. 990 filings lag 12–24 months.