· Private foundation
The Howard Gilman Foundation Inc
Its FY2024 filing reports that it accepted unsolicited grant applications.
What you funded, over time
Every grant placed by its stated purpose and the recipient’s mission, by year — across FY2018–2024.
Where the money goes
Your grants by size, and where they go.
By grant size · FY2024
- Under $10k84 grants · $284k
- $10k–50k124 grants · $2.7M
- $50k–250k159 grants · $16M
- $250k+25 grants · $8.5M
| Recipient | Amount |
|---|---|
| LA MAMA EXPERIMENTAL THEATRE CLUB INC | $750,000 |
| AFRO-LATIN JAZZ ALLIANCE OF NEW YORK INC (DBA BELONGO) | $605,000 |
| NEW YORK SHAKESPEARE FESTIVAL (DBA THE PUBLIC THEATER) | $450,000 |
| ST ANN'S WAREHOUSE INC | $375,000 |
| CHAMBER MUSIC AMERICA INC | $360,000 |
| ALLIANCE OF RESIDENT THEATRESNEW YORK INC | $360,000 |
| DANCE SERVICE NEW YORK CITY INC (DBA DANCENYC) | $360,000 |
| NEW YORK CITY CENTER INC | $350,000 |
| BALLET HISPANICO OF NEW YORK INC | $325,000 |
| BROOKLYN ARTS COUNCIL INC | $300,000 |
| LOWER MANHATTAN CULTURAL COUNCIL INC | $300,000 |
| ATLANTIC THEATER COMPANY | $300,000 |
| NATIONAL BLACK THEATRE WORKSHOP INC | $300,000 |
| AFRO-LATIN JAZZ ALLIANCE OF NEW YORK INC (DBA BELONGO) | $300,000 |
| DISCALCED INC (DBA MARK MORIS DANCE GROUP) | $300,000 |
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 (FY19–24, $1.1M) land where the poverty rate runs at 17%, against an area that typically sits at 10%. 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.
And the relationships you keep tend to grow: grantees you re-up on have seen median revenue of +26% since the first grant, against +9% for the ones you funded once.
488 repeat relationships — 244 still active in FY2024, 244 since wound down; 74 grantees were first funded in FY2024 (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 FY2024, 88% of grant dollars renewed an existing relationship; $3.4M 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
- NYNEW YORK CITY CENTER INC7× · 2018–2024 · $2.6M · revenue +9%
- LMLA MAMA EXPERIMENTAL THEATRE CLUB INC6× · 2019–2024 · $2.5M · revenue +8%
- NYNEW YORK SHAKESPEARE FESTIVAL7× · 2018–2024 · $2.2M · revenue +6%
Funded once
- AOALLIANCE OF RESIDENT THEATRESNEW YORK INC (DBA ARTNY)one grant, 2023 · $635k
- JTJOYCE THEATER THEone grant, 2023 · $502k
- IGIndividual grant recipientone grant, 2023 · $500k
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.
The perelman performing arts center creates connections by cultivating bonds between extraordinary artists and communities with exemplary performances in active dialogue across the arts in our flexible intimate spaces, inviting…
The Directors Company is an award-winning not-for-profit theatre company with an extraordinary record in its mission to develop and produce groundbreaking new plays and musicals initiated and generated by outstanding directorial talent,…
Production of original theater at its Brooklyn, NY space.
Based in ny city the company focuses on producing and developing new opera and music theater works and rviving rarely seen american operas written after world war. teh center for contemporary operas ha sstaged the premiers of over seventy…
Titan theatre company is committed to breathing new life and clarity into classical works of theatre, exploring new and contemporary language plays, and delivering adventurous and visceral theatrical experiences for our audiences and…
El museo's mission is to preserve, interpret, and promote the artistic heritage of puerto ricans and all latin americans in the united states by means of exhibitions, public programs, publications, and educational activities.
The production of theater for and with disabled and marginalized artists. also the creation of NY theatrical standards.
Theater mu produces great performances born of arts, equity, and justice from the heart of the asian american experience.
Balletx expands the vocabulary of contemporary ballet for all audiences through innovative performances, world premiere choreography, dance education, and community programs.
For reference, the grantee most central to the portfolio’s shape is Harlem Stage Inc and the most unlike its peers is Orlando Philharmonic. 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 31 years old; the field is 16. You back the established end — and your money leans older still.
The field is 21% startups (under 5 years old) — 2% of your grantees by number, and just 0% of your money.
The orgs you fund almost never close — 0.6% 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.
606 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. 606 of the 892 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
Showing your 200 largest grantees by grant value.
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 BROOKLYN ACADEMY OF MUSIC INC ↗
- Who funds ALLIANCE OF RESIDENT THEATRES NEW YORK INC ↗
- Who funds NEW YORK CITY CENTER INC ↗
- Who funds LA MAMA EXPERIMENTAL THEATRE CLUB INC ↗
- Who funds GINA GIBNEY DANCE INC ↗
- Who funds NEW YORK SHAKESPEARE FESTIVAL ↗
- Who funds JOYCE THEATER FOUNDATION INC ↗
- Who funds BALLET HISPANICO OF NEW YORK INC ↗
- Who funds CHAMBER MUSIC AMERICA INC ↗
- Who funds SIGNATURE THEATRE COMPANY INC ↗
- Who funds ROUNDABOUT THEATRE COMPANY INC ↗
- Who funds BRIC ARTS MEDIA BKLYN INC ↗
- Who funds THE NATIONAL BLACK THEATRE WORKSHOP ↗
- Who funds DANCE THEATRE OF HARLEM INC ↗
- Who funds ST ANN'S WAREHOUSE INC ↗
- Who funds APOLLO THEATER FOUNDATION INC ↗
- Who funds MANHATTAN THEATRE CLUB INC ↗
- Who funds BARYSHNIKOV ARTS CENTER INC ↗
- Who funds THE BRONX COUNCIL ON THE ARTS INCORPORATED ↗
- Who funds THE SECOND STAGE THEATRE INC ↗
- Who funds THE MARTHA GRAHAM CENTER OF CONTEMPORARY DANCE INC ↗
- Who funds BROOKLYN ARTS COUNCIL INC ↗
- Who funds THE CARNEGIE HALL CORPORATION ↗
- Who funds PLAYWRIGHTS HORIZONS INC ↗
- Who funds ATLANTIC THEATER COMPANY ↗
- Who funds LOWER MANHATTAN CULTURAL COUNCIL INC ↗
- Who funds HARLEM STAGE INC ↗
- Who funds JAZZ AT LINCOLN CENTER INC ↗
- Who funds DANCE SERVICE NEW YORK CITY INC ↗
- Who funds ORPHEUS CHAMBER ORCHESTRA INC ↗
- Who funds BILLIE HOLIDAY THEATRE INC ↗
- Who funds NEW YORK THEATRE WORKSHOP INC ↗
- Who funds Visual Arts Research and Resource Center Relating ↗
- Who funds VINEYARD THEATRE AND WORKSHOP CENTER INC ↗
- Who funds THE CLASSICAL THEATRE OF HARLEM INC ↗
- Who funds ALVIN AILEY DANCE FOUNDATION INC ↗
- Who funds THE BUSHWICK STARR INC ↗
- Who funds Primary Stages Company Inc ↗
- Who funds PREGONES PUERTO RICAN TRAVELING THEATER 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 Fan Fox and Leslie R Samuels Foundation Inc · The Shubert Foundation Inc · Booth Ferris Foundation Xxxxx4008 · The Lucille Lortel Foundation Inc · The Harkness Foundation for Dance Inc · Mid Atlantic Arts Inc · Mertz Gilmore Foundation · The Andrew W Mellon Foundation · The Hyde and Watson Foundation · Axe-Houghton Foundation · Alliance of Resident Theatres New York Inc · Emma a Sheafer Charitable Tr Xxxxx7006
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 The Howard Gilman 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.
- Mid Atlantic Arts Inc — 66% of income from government
- Yale New Haven Hospital — 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 The Howard Gilman Foundation Inc?
Find your warmest path to The Howard Gilman Foundation Inc 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.