· Private foundation
Kanter Kallman Foundation
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 placed by its stated purpose and the recipient’s mission, by year — across FY2022–2025.
Where the money goes
Your grants by size, and where they go.
| Recipient | Amount |
|---|---|
| WASHINGTON PERFORMING ARTS | $6,800 |
| OLNEY THEATER | $5,000 |
| SANTA FE CHAMBER MUSIC FESTIVAL | $4,000 |
| SANTA FE OPERA | $3,500 |
| PBS | $3,000 |
| NATIONAL PUBLIC RADIO | $3,000 |
| Individual grant recipient | $2,500 |
| WETA TV & FM | $2,500 |
| BRAVO VAIL MUSIC FESTIVAL | $2,500 |
| OPEN DOOR FOOD PANTRY | $2,000 |
| CONGREGATION HAR SHALOM | $2,000 |
| CAPE ANN MUSEUM | $2,000 |
| BARD COLLEGE SCHOLARSHIP FUND | $1,500 |
| ASLA FOUNDATION | $1,500 |
| Individual grant recipient | $1,500 |
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 (FY22–22, $1k) land where the poverty rate runs at 10%, against an area that typically sits at 9%. 100% 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.
43 repeat relationships — 29 still active in FY2025, 14 since wound down; 12 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, 75% of grant dollars renewed an existing relationship; $16k 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
- OTOLNEY THEATRE CORPORATION INC4× · 2022–2025 · $15k · revenue +93%
- SFSANTA FE CHAMBER MUSIC FESTIVAL LTD4× · 2022–2025 · $15k · revenue +17%
- MFMusicLink Foundation3× · 2022–2024 · $9k · revenue +32%
Funded once
- SFSANTA FE PRO MUSICA INCone grant, 2022 · $5k · revenue +23%
- SFSANTA FE OPERA CLUBone grant, 2022 · $5k
- KCKENNEDY CENTER FOR PERFORMING ARTSone grant, 2022 · $4k
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…
To present symphonic music of the highest quality in a distinctive way for the cultural enrichment, education, engagement and enjoyment of the people of our community.
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…
To serve the public by producing world-class opera that preserves, promotes and advances the art form while embodying the diversity, spirit and artistic sensibility unique to los angeles. we envision an engaged and enlightened community in…
To be north carolina's state orchestra, an orchestra achieving the highest level of artistic quality and performance standards, and embracing its dual legacies of statewide service and music education.
Mission: the mission of san diego opera is to deliver exceptional performances and exciting, accessible programs to diverse audiences, focusing on community partnerships, and the transformative and expressive power of the human voice. as…
To present the highest-quality performances of great music, bringing national and international distinction to the orchestra and its community; to delight and educate audiences of all ages and backgrounds, and enhance the cultural vitality…
To create, to present, to preserve, and to extend the great repertoire of classical dancing through exciting performances and educational programming of the highest quality, presented to the widest possible audience. american ballet…
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…
We believe opera is a uniquely compelling, entertaining and emotionally thrilling art form. our mission is to bring together growing audiences to experience opera's transformative power.
Arizona opera elevates the transformative power of storytelling through music - cultivating community and strengthening a state and people as adventurous and diverse as the place they call home.
To be a sustainable musical institution that brings the intimate experience of a world-class chamber orchestra performance to the greater philadelphia area,enriching the musical life of the city and region by the integrity and excellence…
For reference, the grantee most central to the portfolio’s shape is The Santa Fe Opera and the most unlike its peers is Committee to Protect Journalists Inc. 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 41 years old; the field is 16. You back the established end — and your money leans older still.
The field is 22% startups (under 5 years old) — 2% of your grantees by number, and just 1% of your money.
The orgs you fund almost never close — 0.0% lost their exemption, against 13% 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.
44 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. 44 of the 91 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 OLNEY THEATRE CORPORATION INC ↗
- Who funds SANTA FE CHAMBER MUSIC FESTIVAL LTD ↗
- Who funds THE SANTA FE OPERA ↗
- Who funds MusicLink Foundation ↗
- Who funds MEDECINS SANS FRONTIERES USA INC ↗
- Who funds CAPE ANN MUSEUM INC ↗
- Who funds SANTA FE PRO MUSICA INC ↗
- Who funds BRAVO COLORADO AT BEAVER CREEK-VAIL INC DBA BRAVO VAIL VALLEY MUSIC FESTIVAL ↗
- Who funds SALON CONCERTS ↗
- Who funds The Commonwealth Shakespeare Co Inc ↗
- Who funds BALTIMORE SYMPHONY ORCHESTRA INC ↗
- Who funds THE JAZZ LOFT INC ↗
- Who funds NATIONAL PUBLIC RADIO INC ↗
- Who funds MASTERS SCHOOL ↗
- Who funds TRUSTEES OF BOSTON UNIVERSITY ↗
- Who funds GREATER WASHINGTON EDUCATIONAL TELECOMMUNICATIONS ASSOCIATION INC ↗
- Who funds GLOUCESTER WRITERS CENTER INC ↗
- Who funds AMERICAN CANCER SOCIETY INC ↗
- Who funds AMNESTY INTERNATIONAL OF THE 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: Greater Washington Community Foundation · The Abeles Foundation · Lannan Foundation · Santa Fe Community Foundation · Boston Foundation Inc · National Philanthropic Trust · T Rowe Price Program for Charitable Giving Inc · Vanguard Charitable Endowment Program · American Endowment Foundation · Morgan Stanley Global Impact Funding Trust Inc · Raymond James Charitable Endowment Fund · The Bank of America Charitable Foundation Inc
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 Kanter Kallman Foundation 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, a single department, or state — and drag the year to watch it move.
- Maryland Humanities Council Inc — 60% of income from government
- Cape Ann Museum Inc — 38% of income from government
- National History Day Inc — 13% of income from government
- Trustees of Boston University — 12% of income from government
- Baltimore Symphony Orchestra Inc — 11% of income from government
- The Center for Independent Documentary Inc — 6% of income from government
- Action Inc — 3% of income from government
- Think Outside the Vox — 2% of income from government
- Gloucester Writers Center Inc — 1% of income from government
- Boston Symphony Orchestra Inc — 0% of income from government
- Olney Theatre Corporation Inc — 0% 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.
Warm introductions · Powered by PlinthPlus
How do I get to Kanter Kallman Foundation?
Find your warmest path to Kanter Kallman Foundation through trustees and officers whose names appear on both boards. Search for your organization and Plinth traces the shortest route it can evidence.
Each link is a name appearing on two organizations’ public IRS 990 filings, matched on that name and, where the filings support it, on location. A same-state match has geographic support, which is a second matching feature rather than confirmation that the two are one person; a cross-state one is the likeliest to be two people who share a name. Every hop shows its tier, low-confidence and distant paths are held back rather than guessed, and it is worth confirming the person before you use the introduction.