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Bush Foundation Annual Report 2000

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Bush Foundation Annual Report 2000 Bush Foundation Foundation Bush Bush Foundation Annual Annual Report Annual Report Report BUSH FOUNDATION Information The Annual Report highlights grants made by the Bush Foundation in . For information on grant guidelines for organizations or fellow- ships, please contact the Foundation. Bush Foundation East First National Bank Building Minnesota Street St. Paul, Minnesota Tel: -- Fax: -- E-mail: [email protected] www.bushfoundation.org BUSH FOUNDATION Contents Grant Overview 3 Year in Review 5 Program Highlights 11 Grant List 27 Fellowship Programs 71 Financial Review 75 Board of Directors 86 Staff 88 Program Committees 90 Index 92 BUSH FOUNDATION Grant Overview Grant Payments and New Commitments - Grant payments are those made in the year indicated on current and past grants. New commitments are the sum of dollars the Board votes in approved grants each year. These obligations will be paid in either the current year or in later years. ’ ’ ’ ’ ’ Grant payments New commitments ($ Millions) Distribution of Grants This chart shows the Fellowship Arts & distribution of Programs Humanities . grant amounts by % .% Other program area. The .% Bush Board does not Education have any prior poli- .% cies which determine the amount to be granted in one pro- Human Services gram area in a given .% Health year, except in the .% fellowship programs. BUSH FOUNDATION Year in Review The year was an PROGRAMS unusual year for the Bush The spring retreat Foundation. Our endow- focused on Bush work in ment and grant making education. We examined exceeded expectations; we emerging issues in early expanded and evaluated childhood, K-, and higher program areas and devel- education. The Board oped new programs; and, approved several directions we began a long-range in education: to continue planning process. faculty development work ENDOWMENTS & GRANTS with regional colleges and universities, private histori- In the early part of we cally black colleges and began to realize that our universities, and accredited endowment was growing tribal colleges; to continue faster than we had project- to prepare trainers for infant ed and devised a plan for and toddler care but focus allocating additional grant on those populations who dollars during . need it most; to pursue a As a result of that plan, the K- program after setting Foundation Board allocated overall goals; and to consider nearly ,, and incorporating a stronger distributed ,, – emphasis on student learn- the largest amounts in its ing in faculty development history. The endowment work. More than simply average over the months examining these issues, we was approximately used the retreat to think ,, and is the collectively about our basis for the distribution future work in education. calculation. At the end of Foundation programming , the fiscal year (November is growing as well. The ) the endowment Bush Artist Fellows Pro- ,, stood at . gram is celebrating years This year we expect that of making grants to indi- number to remain flat. vidual artists in the Bush region. Since , the Artist Fellows program has distributed ,, to fund fellowships to provide artists with signifi- cant financial support that enables them to further Developing a more focused their work and their con- program in environmental tributions to their grantmaking. communities. Fellowship Evaluating our capital grants stipends have grown from programs in the human , in to , services and our work with currently. The program has refugees and immigrants. evolved from a focus on traditional visual and liter- Developing a new K- ary arts to additions of film program in education. and video (), creative Exploring the needs of nonfiction (), playwrit- libraries in our three-state ing (), choreography region. and music composition ( ), and scriptworks DIRECTORS and artists’ books (). The spring retreat Over the years the program was also an opportunity has expanded to include to collect the wisdom of rural artists, indigenous departing Board members. artists, folk artists, and Thomas H. Holloran joined ceramists. Some appli- the Board in . He serves cants apply annually for on several corporate boards the available fellowships. and currently teaches at the We hope that this program University of Saint Thomas. has stimulated the creativity With his business and of artists in our region and, financial background, he thereby, contributes to the was instrumental in assist- quality of life for all of us. ing the Investment Committee in diversifying Further information on the the Foundation’s portfolio Artist Fellows program is on and in contracting with pages - of this report. an advisor who monitored The Foundation staff is also investment managers. investigating several new Tom Holloran also made or expanded initiatives: wise and thoughtful con- tributions to the Grants Evaluating the first five Committee, the Nominat- years of the Regional Arts ing Committee, and the Development Program. Presidential Search Com- mittee. He served as chair of the Board of Directors from -. Kennon V. Rothchild The retreat was also our brought his years as a first opportunity to meet mortgage banker and his three new Directors. service to other nonprofit Esperanza Guerrero- organizations to the Bush Anderson, Executive Board when he joined in Director of the Milestone . He will be remembered Growth Fund, is a as a very careful reader of Nicaraguan immigrant grant reviews and a tireless advocate for women and children. During his tenure, he served on all Board committees and chaired the Presidential Search Committee in -. Richard L. McFarland, a Board member since , brought a wealth of invest- ment and management experience to the Invest- ment Committee. The Bush endowment doubled and investments diversified under his nine-year stew- ardship. He chaired the Board on an interim basis in -. His acuity and good humor as he dealt with all aspects of the Founda- tion were greatly valued. Each of these Directors will be sorely missed; their influence, however, has become part of the Foun- dation’s history. Ann Wynia Chair, Board of Directors with a background in oversees a fund that provides banking. She has led the investments to businesses Minority Economic Devel- owned and managed by opment Association people of color. (MEDA) and currently Dudley Cocke directs Roadside Theater, part of Appalshop, an arts and humanities organization in Whitesburg, KY. He describes Appalshop as an organization that brings art to blue collar workers. He brings to the Board a perspective on rural arts and wide experience in the nonprofit sector. He has served on a Bush Artist Fellows panel and on the Ruth Mott Fund Board. Catherine V. Piersol, an attorney from Sioux Falls, SD, has worked with a variety of legal organizations and community nonprofits in South Dakota. She has a broad understanding of the state and its nonprofit organizations, having served on boards of colleges, arts organizations, and human service organiza- tions in South Dakota. PLANNING Like most organizations, foundations must evaluate and plan their work. Foundation directors and staff consider processes for Anita M. Pampusch President proposal evaluation, deter- Next year’s message will mine areas of focus, review report on the outcomes of past grantmaking results, the planning process. disseminate lessons learned, identify hoped-for outcomes of future work, and assess the general framework within which the Foundation operates. Ann Wynia Chair of the Board Several factors led us to begin a formal planning process: Changing situations within Anita M. Pampusch several Bush grantmaking President areas. An increase in the volume of proposals. Projected completion of several programs undertaken on a time-limited basis. The growth of the endowment. The Bush Board and staff will work into summer on a strategic plan: we will assess our mission, values, and programs.We want to define our role in the foundation community and to plan our future directions thoughtfully. The Board retreat in April will be devoted to strategic planning. BUSH FOUNDATION Program Highlights NUMBER AMOUNT PERCENT OF GRANTED OF TOTAL GRANTS ($ MILLIONS) GRANTS Arts & Humanities 34 5.11 9.6 Education 51 15.74 29.7 Health 11 2.20 4.1 Human Services 95 17.64 33.2 Other 20 9.58 18.1 Fellowship Programs 3 2.81 5.3 Total 214 53.08 100 GRANTS TO ORGANIZATIONS Arts and Humanities In , the Bush Foundation continued to support arts and humanities organizations that enrich the cultural life of the region. The Bush Board approved grants total- ing ,,. The organizations receiving grants were diverse in terms of geography, medium, discipline, size, and ethnic identity of population served. More than one-third of the organi- zations were supported through either the Development Fund for Large Regional Cultural Organizations or the Regional Arts Development Program. Minnesota Historical Society, a nationally pre-eminent institution, received a million capital grant to create a milling museum and interpretative center in the Saint Anthony Falls Heritage District of Minneapolis. Envisioned . as the centerpiece of a new cultural corridor for the city, . this project is the culmination of years of the Society’s collaboration with government agencies to preserve, pro- tect, and interpret this historical area. ’ ’ ’ Northern Plains Ballet in Bismarck, North Dakota was Arts and formed in to bring professional dance performance Humanities and training opportunities to communities in the north- Grants ern Great
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