Comments on: “College Boards of Trustees: A Need for Directive Leadership” — By Kenneth H. Blanchard

1969 ◽  
Vol 12 (1) ◽  
pp. 123-124
Author(s):  
J. G. HUNT
Keyword(s):  
Boards Of Trustees ◽  
College Boards

College Boards of Trustees.

1965 ◽  
Vol 36 (7) ◽  
pp. 412
Author(s):  
W. W. Watt ◽  
S. V. Martorana
Keyword(s):  
Boards Of Trustees ◽  
College Boards

College Boards of Trustees: A Need for Directive, Leadership

1967 ◽  
Vol 10 (4) ◽  
pp. 409-417
Author(s):  
Kenneth H. Blanchard
Keyword(s):  
Boards Of Trustees ◽  
College Boards

College Boards of Trustees

1965 ◽  
Vol 36 (7) ◽  
pp. 412-414
Author(s):  
W. W. Watt
Keyword(s):  
Boards Of Trustees ◽  
College Boards

Boards of trustees, agency problems, and university output

Public Choice ◽  
1990 ◽  
Vol 67 (1) ◽  
pp. 1-9 ◽  
Author(s):  
Eugenia Froedge Toma
Keyword(s):  
Agency Problems ◽  
Boards Of Trustees

The Ford Foundation, Matching Grants, and Endowment Building

2020 ◽  
pp. 129-154
Author(s):  
Michael Sy Uy
Keyword(s):  
Performing Arts ◽  
Local Community ◽  
Symphony Orchestra ◽  
Ford Foundation ◽  
Expert Advice ◽  
Social Connections ◽  
Boards Of Trustees ◽  
Funding Sources ◽  
Boston Symphony Orchestra ◽  
Matching Grants

This chapter examines the Ford Foundation’s predominantly economics- and finance-based expertise, and the way it sustained the country’s largest and most expensive performing arts institutions: orchestras, operas, and conservatories. Ford accomplished its goals primarily through matching grants and endowments, hoping with matching requirements to diversify organizations’ funding sources and expand the public’s commitment to local arts. Based on the expert advice of economists and administrators, Ford intended endowments to be a permanent source of income for orchestras and conservatories, if they managed the invested principal properly. In practice, however, wealthy individuals on boards of trustees for institutions such as the Boston Symphony Orchestra and the Juilliard School solidified their personal, social connections to elicit five-, six-, and sometimes seven-figure gifts. In general, ordinary citizens and the local community did not participate, and as a result, broad-based support never materialized. Orchestras and conservatories came back knocking on the foundation’s door again and again.

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