Registered company number: 04573564 Registered charity number: 1096185 THE PUBLIC CATALOGUE FOUNDATION (A company limited by guarantee) TRUSTEES. REPORT AND FINANCIAL STATEMENTS 31 MARCH 2024 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) CONTENTS Page Legal & Administrative information Trustees, report Staternent of Trustee5' Responsibilities Report of the independent audwtor 23 Statement of Flnanclal ActNities 27 Balance Sheet 28 Statement of Cash Flows 29 Notes to the Financial Statements THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) LEGAL & ADMINISTRATIVE INFORMATION Trustees Kathleen Soriano (a)air) Hasan Bakh5hi Professor Carola Boehm Dr Caroline Campbell (Appointed 31 August 2024) Professor Jago Cooper (Appointed 12 August 2024) lan Cuerden (Resigned 15 April 20241 Thomas Dawe5 George Entwistle (Wice Chair) Dr Errol Franas {Resigned 18 March 20241 Sarah Hayden {Appointed 12 August 2024) Catherine Holden Clare Lilley (Resigned 05 April 2024) Robert Lisney OBE {Re5igned 13 August 2023) Thomas Marks Noura Al-maashouq (Resigned 19June 2023} 5herece Rainford (Appointed 12 August 20241 John Stack (Appointed 8 September 2023) Kimberley Streets Andria Zafirakou MBE (Resigned 19 June 20231 Chlef Executive Andrew Ellis Company Secretary Elizabeth Rimell Compary Number 04573564 Charity Number 1096185 (England & Wales) SC048601 (Scotlandl Reglstered Office address Salisbury House Station Road Cambridge En8land CBI 2L4 Audltors TC Group The Courtyard Shoreham Road Upper Beeding Steyning West Sussex BN44 3TN THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) The Trustees (who are also directors of thechartyforthe purposesof the Companies Act) presenttheir annual report together with the audited financial statements of The Public Catalogue Foundation {the company) for the year ended 31 March 2024. The Trustees confirm that the Annual Report and financial statements of the company comply with the current statutory requirements, the requirements of the company's governing document and the provisions of the Statement of Recommended Practice (SORP), applicable to charities preparingtheiraccounts in accordancewith the Financial Reportin8Standard applicable inthe UK and Republic of Ireland {FRS 102) {second edition October 2019}. Since the company qualifies as small under section 383, the strategic report required of medium and large companles under The Companies Act 20[￿ (Strategic Report and Director's Report) Regulations 2013 is not required. The Company operates under the name Art UL OBJEcfivES AND AcnviTIES Purpose and Objectives In brief, the charity is transforming public aC￿$stO the art that is owned by the public across the whole of the United Kingdom. At the same time, it is opening up opportunitie5 for the public to learn about and engage with the UK'S national art collection whilst also supporting participating publK collectlons through improved accesslbility and sustainability. The Public Catalogue Foundation's 'objects', as laid out in its Memorandum and Articles of Association, are: l. To research, publish and distribute infom)ation in relation to, and to promote, publish and provide catalogues of paintings, sculptures and other works of art, including associating with museums, art galleries and O￿anIsatIOnS affiliated with art, in a common effortto advance and promote arts and education generally. 2. To encourage, assist. arrange and provide support for the restoration of paintings* sculptures and works of art held or owned by museum5, art galleries and other bodies and organisations makingworks of art avallable to the public and to cooperate with, assist and support suth museums, art galleries and other bodies in connection with the same: 3. To promote. maintain, improve and adVan￿workS of art andthe arts in general forthe benefrt of the public, including the arts of paintin& drawin& sculpture, photography and design and to Promote, maintain and advance public education and appreciation of, and public interest in, the arts generally: 4. To promote the efficiency and effertiveness of charities. including without limitation charitable museums, art galleries and other charitable organisations making works of art available to the public and the effective use of charltable resources in the arts sector; and 5. To carry out such other charitable objectswhich thetrustees may considerto be ancillary orcomplimentary to any of the foregoing objects or which may be undertaken in connection or conjunction therewith or which are incidental or conducive to the attainment of any of the foregoing., THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES. REPORT (CONTINUED) The mission and work of the charity are driven by these objectives. In the earlyyears of the charity there wa5 a focus, Inter uliu, on raising funds for the conservation and restoratM)n of oil paintings, as per the second object above. However, this was not found to be an effective use of the charit¢s resource5 and the Trustees deterniined to focus on supporting the institutions that hold public art collections in other way5. as described in this report. The charity pursues its mission and perfomis its activities under the operating narne 'Art UK,. This operating name was adopted by the Trustees in February 2016. The 'Public Catalogue Foundation, will remain the charltVs legal name, The Chariws Work The charity'5 purpose is to open up art in public collection5 for enjoyment. learning and research. This means providing universal free online access to the UK'S national collection of art for anyone who loves art, wishe5 to learn about art orvi5it art, through a single digital platform shared by all the UK'S wblic art collections. It pursues its mission through digitising artworks, telling the stories behind the art and creating exciting opportunities for public interattion with art both online and offline. Its work contributes tothe promotion and sustainability of the UK cultural sectorthrough the use of the sha￿d artukorg digital infrastructure, Successful partnership and collaboration are a hallmark of the organisation. The UK holds one of the greatest public collections of art in the world. The vast majority of this collection is not on public view. Outside the collection of 300,000 plus artworks - digit15ed by the charity- much of the nation's public art collection has not been photographed. Atthe same timefew collections have the resources to put their collections online. Therefore, what is publicly owned is often not publlcly accessible. The charity's first major project was to create a photographic record of every oil painting in public ownership in the United Kingdom. This project was completed in late 2012. Initially, the principal publication vehicle for this project was the Oil Paintings in Public Ownershipseries of printed volumes. However, in 2011 the project went online through the Your Paintings website. In February 2016 Your Painting5 was retired and replaced by the Art UK website at artuk.org. Online publication s now the charit¢s principal publication vehicle. Oil paintings are not the only artworks where large numbers of objects are not on public view. High percentages of public collettions, holding5 of watercolours. prints, drawings and sculpture are in store and have not been photographed. Since September 2016 collections have been able to upload already-digitised works on paper onto Art UK; this will accelerate following the launch of the Museum Data Service {described below) In September 2024. In the summerof 2017 the charity commenced a major project to digitise the UK'S national sculpture collection of the last thousand years in a four-year project funded by the National Lottery Heritage Fund and other funders. This project was completed in 2022; it was the chariws second largest di8itisation project after its oil paintlng project. The charitws third UK-wide digitisation and engagement prograrnme commenced in January 2024. This three-year project Is recording murals and street art across the UK, and invobjes a significant contribution from Art UK'S network of over 100 volunteers. In total some 5,OtKJ rnurals are likelyto be recorded, However, going forward, digitisation programmes such as that of mura15 will provide only a small fraction of the works added to Art UK. The vast majority of new artworks joining the platform will come through 'ingest' frorn the Museum Data Service. The charity is also inviting important private collections such as those in country houses, livery companies and corporations to add their art to Art UK. However, private collections will never constitute more than a very THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES. REPORT (CONTINUED) small percentage of institutions on the website. the charl￿S prlncipal focus will always be showing art from public collections. The shared digital infrastructure that has been created ty Art UK has been extended to include a shared e-cornme￿ platform to allow participating art collections that are Partner Collections and paying Art UK an annual fee, to generate much-needed commeraal income for themselves. Showing art online creates substsntial publlc and economic benefit. It dramatically improves access to artworks and collections, It allows aUdIen￿S to find out about artwork5 in store while encouraging visits to the art that is on display, thereby promoting greater cultural tourism. It opens up wonderful leaming opportunltles for schools and audiences of all ages, inspires creativity and is vital for academic research. All of this can be achieved in ways that promote maximum social inclusion. And for collections it offers valuable commercial income-generating potential. The charitls head office was relocated to 5toke-oTrTrent in January 2022. Art UK has a distributed w0￿fOrCe, with staff working from home across England, Wales and Scotland (one staff member was also based in Northem Ireland until early 2024). Collections across the four Home Nations are involved in the strategic development of the charity through the Art UK Steering Panel. Strategies for khievin8 the Charitable Objectives Three strategies underline the charity's approach to achieving ts objectives: Innovative partnership buildin& the exploitation of scale and shared digital infrastructures; and delivering exciting public engagement offerings. Since the charws launch in 2003, collaborations with other organisations have been central to the way it works. Such collaborations and partnerships have allowed it to acce55 specialist knowledge, InnovatNe technologies, and authoritatlve content and new aUdien￿S. Oxford Universlty Press, the BBC, the Paul Mellon Centre, Culture Street, the Royal Photographic Society and VocalEyes have been among the Chartvs partners for a number of years. Following discussions that started in 2020, Art UK entered into a major partnership with Bloomberg Philanthropies that was announced in April 2021 bu1￿ around the Connects app. And in De￿mber 2022 the Charty annoUn￿d a major partnership with Collections Trust and the University of Leicesterto build the Museum Data SeNice, which is described further below. A key feature of the charivs offerto collertlons (and indirectty to public audien￿) is that by creating shared digital infrastructures and digitisin8 art in UK-wide projects, it enables participating institutions to reap the benefits of technology and scale and achieve outcomes that they would not nomially be able to achieve on thelr own, particularly rf they are Smaller institutions. For most srnall institutions, digitising and putting their art collections online is out of their reach. Art UK'S initiative meansthatthe audien￿5 have ac￿5$ to artworks in the national collection that they would not otherwise have been able to see. Art UK'S November 2022 collection supley, 76% of small collections, 46% of medium collection5 and 41% of large collections said they only showed their art on Art UK lit was 14% of very large collections). These percentages probably greatly understate the situation given such surveys are mainly completed by the collections with capacty to respond. Similarly, most of these collections are not able to take advantage of e-commerce opportunities on their own. We will re-survey collections in late 2024 to provide an up-to -date benchmark. THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES. REPORT (CONTINUED) Whilst the recording and digttisation of artworks is a key part of the process of improving acces5 to the UK'S national art collection, the charity believes strongly in ensuring these athorks can be made accessible to a5 wide an audience as possible through creating engaging way5 of interacting with the artworks online, telling the stories behind the art, and offering learning resources around the arhvorks that support the teaching of Art & Design and Art History. A significant focus is therefore put on producing learning resources and writing or commissioning engaging articles about art and artists, and the Subject matter represented in the art. Through initiatives such as Art Detective, Curations and Tagger the charity provides new and imaginative mechanisms for the public to engage with art and, in the case of Art Detective, contribute in satisfying ways to the charrvs work. However, the biggest focus in this area over the next few years will be growing the learning resources on thesitetocounterthe marginalisation of theteaching aboutthe visual arts in UK schools. Main Attl￿tieS Undertaken to Further the Charltys Purposes for the Public Benefit The Trustees have had due regard to guidance published by the Charity Commission on public benefit. The benefrts of the Charitvs work accrue to the public at large and art collections that participate in the Art UK website. Art UK believes that the public should have the right to access the art that is held on their behalf by publicly-funded institutions. The benefits to the public at large include easier access to images of, and information about artworks owned by the public. This information aids learning and informs the public of collections they can visit. This resour￿ is available to the public for free through the Art UK webslte and is presented to the public in an easy-to-use manner with interesting and contextual information that tells the stories behind many of the artworks. The benefits to the participating collertions principally revolve around the use of a shared digital infrastructure, which wou Id in most cases be out the reach of individual collection budgets. In addition, the benefits include free digital images during third party-funded digitisation projects. improved artwork security, better cataloguing records, greater public recognition. interest from other collections in borrowing artworks for exhibitions and the encouragement of cultural tourism. 19% of our audience In our Spring 23 survey said they used Art UK to plan physical vlsits to collections) confirms the view that seeing art onllne encourages audience5 to want to go and see artworks for real. As a result of the Art Detective project. the benefits have included improved knowledge of paintings in public collections. In addition, participating in Art UK'5 Shop allows collections to generate much-needed commercial income through the sale of products such as print-on-demand and museum merchandise. Revenue-Generatlng Activities The vast majortty of the Charitrfs revenue comes from grants from charitable trusts, donation5 from individuals and from grants from the public settor. In the last financial year 62% of income came from grant- giving foundations, 17% frorn the public sertor, Il% from individuals, 7% from earned income, 2% from corporates and 1% from 'otherf. Toensure the sustainability of the charity. the charty has diversified its income st￿arnS beyond voluntary and grant income. A key element of this'earned income, is a subscription scheme whereby participating public art collections become Partner Collections and pay an annual fee that ranges from £50 per year to £2,5￿ per year. In return the Partner Collections are able to upbad works on paperto the site and use the Charitls Art UK Shop digital infrastructure to generate commercial income. The growth in the Partner Collection income THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (cO￿rINuED) strearn is a key focus forthe charlty. Recruiting corporate collections- all paying at the higher annual rate - is part of this focus. The sale of hardcopy catalogues raises small amounts of funds for the charity as does the sale of a number of Art UK produtts through the shop. For some years there has been a focus ongrowing the recurring revenue income from the Benefactor scheme whereby individuals and corporations contribute £l,O(YJ to £IO,OCW) per annum to the charity. In addition. launched in 2019 the Angels scheme is focused on onÈxoff donations of £25,IXIO and alx)ve, It is a high impact philanthropy programme aimed at garnering vital core funding and valuable insight from a small group of individual donors in order to enable Art UK to achieve its ambitions. The charity also is attempting to reach a bigger, high volume donor base with entry level donations of a matter of pounds but with an option to give rn0￿ if people are able. This will be a rnajor focus forthe charity starting late 2024. Looking to the future a key focus for the charity will be to raise Substantial funding from the US through a planned 501C3 vehicle which is in the prO￿sS of being Set up, with the American Friends of Art UK now Incorporated in New York State and a Board of Directors established. The Chartty is also looking to explore ways of working more closely with HE institutw)ns and through this collatK)ration raise funding for its work. Afull-time Head of Development is employed bythe charityas partof the DevelopmentTeam who focuses on grant applications to public sector and private Sector grant-giving organisations as well as supporting the Charitvs fundraising from individuals. A full-time Indivldual Giving Manager is also employed to support fundraising from individuals and a Development Officer has re￿ntrY been recrutted. A Philanthropy Board comprising Trustees, the Chief Executive and external members, WTth the Development Team in attendance, meets everythree months with a focus on fundraising from individuals. The Head of Commercial Programmes and Collection Partnerships is focused on increasing the recurring Collection Partnership income stream and is supported in th￿ role bythe Chief Executive. Approach to Fundralslng The Board of Trustees is closely involved in fundraising planning and implementation establishing strategic priorities and goals, and approving plans put forward by the Philanthropy Board and Development team. The Philanthropy Board is primarily focused on sourcing both one-off and recurring unrestricted donations from high-net-worth individuals and corporates with an interest in the arts, through introducing prospects, making approaches and developing a funder events programme. The efforts of the Philanthropy Board are focused on generating ￿ndS towards core costs through encouraging prospects to join the Angels and Benefactors schemes. The Charity is fully aware of the provenance of each gift proposed to it. A more fonnal gift ac￿ptance policy was implemented In March 2023. Due diligence is carried out on all single gifts or cumulative giving valued at more than £25,000. Approaches to trusts and foundations are largely project-based (but not exclusNely), and made when appropriate prospects have been identified through research. Care istaken to approach trusts and foundations with a demonstrable history of supporting similar projects and organisations. There were no professional fundrai5er5 carrying out any fundraising activities on the Chariws behalf during the year, and there were no failures by the charity or by any person acting on its behalfto comply with fundraising standards. There were no complaints receNed by the charity with Tegards to fundraising activity. The Charity subscribes voluntarily to the Fundraising Regulator. THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) In 2024, following grant support from the National Lottery Heritage Fund, the charity has sought consultancy support in a number of areas including building a requirements specification for a new CRM, improving its mass individual giving offering and. in due course, seeking corporate sponsorship. ACHIEVEMEKfs AND PERFORMANCE Review of Actlvlties Audiences Overthe yearto the end of April 2024 there were 5.5 million total users of the Art UK website, up 14% on the previous year. This represents a slight downturn in growth to last year (previous yearfs growth was 16%). It should be noted that there was a major sector-wide change in analytics reporting due to the end of Universal Analytics and the introduction of GA4 and complete historic data are not available irr GA4 hence yearly totals have been provided to the end of April, ratherthan March (which is not available). A part-time audien￿ data analyst wa5 recruited to support with improved reporting proosses and audience insights. According to GA4, over the year to the end of April 24, 41.7% of total users were from the UK, with the USA once again the second largest Sour￿ of traffic with 23.9% of total users, followed by Canada with 2.8%. There was a growth of 14.9% in users who came via organic search, with direct traffic up 30.4% and referral traffic growing by 10.3%. The total social media following at the end of March 2024 was 177,690, representing a growth of 11.3% on the previous year. There was a drop of -6.5% in referrals from social media to the site. due to the changes to our largest platform, X Iforrnerly Twitter). The weekly newsletter had an audience of 25,737 and with a very strong averaEe open rate of 48% it was a key driver of traffic to the site. Engaging with communitie5 Public art digitisation We continue to record new installations and unveilings of public sculpture across the UK, with the invaluable support of our volunteer network. In February 2024, Art UK produced its second annual report of public sculptures that were unveiled and subsequently recorded by Art UK during the previous year {20231. We recorded 94 new installations in 2023. from sculptures of Agatha Christie and Lenny Henry to works commemorating Windwsh and victims of the coronavirus pandemic. Our report uncovered some of the patterns and thernes in public sculpture, as well as hEhlighting lesser-known sculptures which people walk past each day. Five broad categories were observed in the types of public sculpture unveiled during 2023-. Environment and nature-themed artworks {29 artworks, 31% of the total); Artworks installed in public arttrails and collections {24 artworks, 26% of the total); Statue5 dedicated to named women and men (17 artworks, 18% of the total). History- and heritage-themed artworks {14 artworks. 15% of the total),. Symbolic and abstract artworks110 artworks, Il% of the total). The report and rt5 findings were picked up by several media outlets, leading to an article on the BBC website and a series of radio interviews including BBC 5Live and BBC Radio Scotland. y March 2024, there were 52.583 sculptures on Art UK from institutional collections and from outdoors in our streets and squares, of which 39,917 had an image {76%). Art UK was successful in several grant applications in support of a new UK-wide digitisation and engagement programme focused on rnurals and street art. Thisthree-year programme, which commenced in January 2024, THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED} uses digital and in-person engagement to raise awareness of murals and street art, and their place in our communlties. The projert is supported by grants from The National Lottery Herriage Fund, The Pilgrim Trust, H istoric England, Colwin5ton Charitable TTUSt, The Walker Trust and Honeymead Arts Trust. Public porticipution Art DetectNe.- The Charitvs Art Detective initiative provides collections that have joined Art UK with access to a network of speciallst knowledge offered by professionals and members of the public. Inthe reporting period, Art Detective had 325.244 users to its interfa￿. Art Detective has provided over ten years new information on works of art owned by around 1,200 Individual collections, enabling them to update and improve their own catalogue records. In ten years, more than 10.000 data enhancements have been provided, ranging from important new artist attributions and sttter identities to spelling/dating/provenance updates. The top three collectlons by the number of discussion5 run are Sheffield Museums 132), National Maritime Museum (29} and Manchester Art Gallery 123). The main collections we have helped include National Museum Wales. Government Art Collection, Royal Academy of Music, Wellcome Collection, ANGUSalive. Jersey Heritage. West Suffolk Heritage Service, lrnperial War Museums, Essex County Council, Science Museum. Grimsby Fishing Heritage Centre, Camiarthenshire M useums Servlce, South Ayrshire Council. Sadty, due to the lack of core fvnding on the retirement of the Art Detective Manager the charity decided to pause Art Detertive in the summer of 2024. Tagger: By the end of the reporting period over 250,OLKI tags had been added to Tagger in less than two years since its relau nch. Competing work pressures relating to the launch of the People authorlty (which makes it easier to search for paintings of named people) meant that the number of unverified ta85 had mushroomed right up to over 110,000 and so a sustained period of addressing the backlog began towards the end of 2023. Stimulus was given by two sets of OxFord University micro-internships of four students helping on the verification in Decemberandthen March, and bythe end of the reportingperiod the backlog had been reduced to just over 50,000 tags with the backlog continuing to be reduced by several thousand per week. Verif led tags led to the semi-automated creation of over 400 stub records for the People authority during thi5 period. Curations: By the end of the reporting period, 2,269 Curations had been published on Art UK, an increase of 529 Curation5 overthe previous 12 months. The most ￿?pUlarcUration duringthe reporting period was'Artists and places: Ashington Group I'Pitmen Painters.), Northumberland, by Art UK'S Director of Digital Assets, with 10,748 views. Curdtions had 467,010 overall views in the reporting period. Dl8ital Assets As of March 2024, we had over 309,000 artwork records on Art UK, an uplift of less than 10.CKKI during the year. Using the existing system of spreadsheet imports, a relatively small range of collections submitted significant updates of hundreds of records at one time. The Northern Ireland Civil Selvice submitted the most with nearly 8QK) new artworks, relatively closed followed by the Royal Welch Fusiliers Museum with over 7QX) new records, and other collections from the RAF Museum to Somerset Council contributed over l(N) new records. Approachlng 288,000 of those 309.000 records are illu5tTated. The ambition was to see before the end of the reporting period the first of the Museum Data Service driven updates, following its announcement in November, and a very rapid expansion of numbers. However, delays in the delivery of tools meant that the Servi￿ was still under development during thi5 period. THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES. REPORT (CONTINUED) From November there was a significant push on obtaining expressions of interest in the new Museum Data Service amongst individual collections and services, and by the end of the reporting period, following the introduction of a monthly sending out of 100 personalised emails to collections, over collections had forrnally expressed interest, including many significant collections: Aberdeen Archives, Gallery & Museums. Armagh County Museum; Bradford Museums & Galleries: Bristol Museums, Galleries & Archives. English Heritage. Hampshire Council Collection; National Army Museum," National Museum of the Royal Navy National Portrait Gallery; National Trust: Nottingham Museums; Potteries Museum & Art Gallery; Royal Albert Memorial Museum: Shakespeare Birthday Trust; Southampton City Art Gallery. University of Aberdeen; University of Dundee and the Victoria and Albert Museum. In Februarythe new People area ofthe websitewas launched with Over4,0(￿ name authortties and the coding of individuals has continued sin￿. Intellertual Property Rights Management An increase of c.900 artist profiles during this period resuked in 54,51X) artists being represented on Art UK, a5 of March 2024. 58% of arttsts are listed a5 being in copyright and accountfor 41% of all artworks on Art UK. 97% of all images are cleared for reproduction on the website. The Shop Image Licensingservice was closed down upon the launch of the new5hop platform in October 2023. The 59 partlcipating collections were provided with our commercial image licen5ingfee matrix and Bridgeman Images was suggested an alternative route for thern if they wished to continue licensing their high-resolution images for commercial gain. We continue to advocate for open access licensing through supplying the tools and Infrastructure for collections to share their images more freely, however uptake is slow with only 4% of all images available for reuse without restrictions. and 21% made available with a Creative Commons licence. For the launch of the new Shop platform, 137 commercial Print-on-demand agreement5, along with 39 Merchandise agreements, were suc￿SsfUllY renegotiated with Shop collection partners. The renegotiated terms of the agreements ensured smooth transrtion to the new platform and entitled Art UKto IO% of the net revenue from print-on-demand sales. Website Temis and Conditions. and Privacy Policies on both platfonns, were updated in September 2023 to reflect changes as a result of the new Shop. The Print-on-demand service continues to promoted to artists and artists, estates, with 521 artworks by 29 in-copyright artists being commercially licenced for POD during the period, including works by Joan Eardley, David Bomberg and Elisabeth Frink. The total number of copyright holders signed up for the seNice increased to 203. Story Content and Engagement As part of the content strategy, the story content on the site has continued to grow, attracting a growing and more dwerse audience. By the end of March 2024 there were 2,097 stories published on the site, wtth 208 published in the year April 2023 to March 2024. Since November 2022, the Charity has applied for a series of content grants focused either geographically or thematically, with great success. Since this plan was adopted. successful grant applications have been made toArts Council Northern Ireland, the Esme Mitchell Foundation, Creative Scotland, the Welsh government, the Us-based samuel H. Kress Foundation, Jerwood Foundation and the Bridget Riley Art Foundation. We have also had recent grants from the Henry Moore Foundation and PF Trust. Each provides for a part-time THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES. REPORT (CONTINUED) commissioning editor. focused on delivering content, and includes budget to pay the writers for their contributions. However, the Kress and Wales roles only started in October 2023, and the Jerwood and Bridget Riley Foundation in early 2024. The plan Is to keep going with this approach, identifying gaps in the content offering and matching up with trusts and foundations that align WTth those areas. This is a particular area of focus in the coming year. The content strategy document was updated in December 2023 to reflect these and other changes within the organisation. Over the 12 months between April 2023 and March 2024. the number of users reading Stories was 1.336.675 up 24.9% from the figure of 1,070,228 in the previous year {but note both f￿ureS are from Google Analytic5 4, which gNes slightly different figures to the one quoted in last year's report). Views of stories were up 18,6% at 2,026,870. Organic traffic to stories was up 31% on the previous year - in particular, some of the most popular older stories continue to build up views overtime. We have contlnued to make our story content and learning output more a5igned, with elements such as Art terms and Topics worked on jointly. Stories are also supporting the wider learning offer. linking up with lesson plans and other resources to provide onward journeys through the site. Leamlng Activities The learning pages on Art UK continue to be develoFed and new resources added. Between April 2023 and March 2024 there were 25 new resources created, bringing the total learning offer to 237 on Art UK. Fifteen of these were aimed at secondary and post-sixteen students and teachers, also suitable for selF- directed study. Four of these were new Superpower resour￿5 including six new films utilising geographically diverse collections and artists focused on the theme of identity. Resources include lesson plans, activities. videos, and audio descriptions. There has been a significant increase in developing learning partnerships and networking with other arts organisations and learning teams from UK collertions, with a good example being the new resources created for photography- S. difte-, :ntl learnir, to erier t11rou￿5 ho iogfc ns which was made in collaboration with Auto ra .P 3. These resources were shared across platforms to en8age educators and amplify our learning offer further. In March, our learning programme Suc￿ssfullY raised funds through The Big Give campaign to connectyoung people to the art they own in a national collection. Donations enabled u5 to add a postcode search function to the learn webpage, enhancing place-based artwork discovery. The Su perpower of Looking program began its national rollout in September 2023, engaging 1,132 primary schools across the UK by March 24. We aim to embed this program in 25% of the 21,(XY) UK primary schools by 2027. As of March 2024, therewere 137 dedicatedteacher champion5 who have integrated the programme into their schools. Mandy Barret, SLE Lead for Art at Gomersal Primary School, highlighted the initiative's importance in a new TedLhe:- Cbiarr.. ,ori rl I m. Over 1,145 teachers engaged with Su perpower resour￿5 and CPD sessions delivered online by our schools. officers between September 2023-March 2024. In March, we added a new Advocac -Ilm tothe Superpowerwebpage, alongwith resJnter led film5 featuring Gu5 Casely-Hayford and Harold Offeh discussing powerful artworks at various UK galleries. In November 2023 we held a successful Superpower of Looking roundtable with artists, educators and politicians at the Royal Academy. io THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES. REPORT (CONTINUED) The 2023 Write on Art competition Teceived 180 applications. The annual art writing prize, in collaboration with the Paul Mellon Centre, has engaged new judges Sally Shaw MBE and Enuma Okoro for the 2024 cycle, judging will take place in August. Supportlng Collections Over the 2023-2024 financial year our partnership with Bloomberg Philanthropies has gone from strength to strength. We support Bloomberg to create Connectsguides forour partner collection, with a target of having produced 80-IIXI guides for them by February 2025. Over the course of the year, we have moved from onboarding collections one at a time, to onlx)aTding collections through cohorts, meaning that we work wf(h them on a twelve week programme collectively. and all guides are released at the end of that twelve week period. We had created 50 guides by March 2024 but there is now something of a snowball effect {partly helped by the marketing work we have been doing to our collections about Connects) and there are now an increased number of sign-ups, improved efficiency of the onboarding process, and many more collections coming to completion. We expect to exceed the target of 100 guides by February 2025. Another way we sUPPOrt collections is by generating revenue through the Art UK Shop. We relaunched the shop in Ottober 2024, ￿nded through the Bloomberg Digital Accelerator Programme, and were very exctted about the prospect of rolling out a brand new platform for our collection5 and audiences. Unfortunatelythere were a number of issues at launch, including an enforced domain name change, and errors on the part of the developers in assigning meta-title5 to pages, which had a serious impact on the SEO of the shop, and we saw traffic from Google search drop dramatically. This has a negatNe impact on sales at our busiest time. At the end of the FY, sales had dropped to just under £200,(X)O wtth £65,000 of revenue going to collections, At the time of writin& traffic is improvingto the Shop (the meta-title issues have now been fixed and we saw forthe first time, YOY growth in sales in May 20241) but ongoing technical issues have seen a drop in the conversion rate to the shop which we urgently trying to address with the developers. Since, October, however, we have started to take a share of the revenue from Shop Sales, giving us an opportunity to generate more revenue for Art UK through this channel. We generated £8,700 from revenue share in the first 6 month5 of the new shop. People and Culture Art UK has a dispersed workforce throughout the UK, with all staff working remotely from home. Staff are invited to utilise rented deskspace in their local area with maximum usage guidelines of one day a week. Our centrally located small head office in Stoke on Trent provides office space as required for our local North Staffordshire staff and a convenient location for other staff, trustees and volunteers to meet and provides opportunities for new partnerships and projects. We have recently closed the Glasgow office as found this space to be underused and no longer an efficient use of resources. The comprehensive staff handbook is routinely reviewed, updated and relevant new policies added, with additions this year including a newly developed Menstruation and Menopause policy. The Charity continues to provide staff with excellent pastoral support, particularly in relation to mental heaEth and wellbeing and this year we have introduced a monthly wellbeing hour for all staff. We continue to focus on training and CPD opportunities for staff, with a focus on nurturing talent and developing our team to support internal progression. However, the wider organisational focus on cost control means we Spend less on training than we would like to. li THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) The Equalty, Diversity and Inclusion group contlnues to work together to ensure the organisation Is inclusive across all its activitie5. The Charty contlnues to monitor EDI data for its staff, job applicants, content contributor5, and Trustee Board. and utilises positNe action within the recrultment process by redacting applications and ensuring that at least one candidate from an under-represented background in the arts progresses to the intenfiew stage. FINANCIAL REVIEW The Year Under Review The charity recorded a net income during the year of £232,333 {2023: £276,525), which resulted in an increase of Net Assets, wtth Fund5 carried forward at year end of £772,873 (2023: £540,540). Funds raised for the Charity through donations and grants amounted to £2,290,292 over the year {2023: £1,936,374) and revenue from charitable activities amounted to £168,763 (2023: £126,924). Included in the donations figure, contributions in kind from corporations are estimated to have amounted to £97,374 {2023: £89,986) during the year. Approximatety 4.75% of total expenditure supported fundraising and publicity during the year {2023: 7.96%). This % includes the cost of a Development Manager, a Developmentofficerand an allocation of support costs based on staff costs allocated to fundrdising. The funds generated have been used to plan and invest in the Chariws assets namely the development of the new e-commerce plath)rm and the component of the Museum Data Service that will sit on the Charity's balance sheet as well as expenditure on other specific projects such as Art Detective, Tagger, and targeted work on developing We15h, Scottish and Northern Irish content and audience development. The other more recent significant projects include further development of The Superw>wer of Looking project. and the start of the Murals project. With the majorfty of employees working remotely, the office rent and runnlng costs have reduced significantlv with On￿ the rent of the much smaller office in Stoke-on-Trent. The income received from partnership subscriptions has continued to grow as planned with a small year on year increase to £109,715 (2023: £107.215), the vast majority of partners having renewed their subscriptions. Over the period 2017 to 2024 dependence on total public funding {mainly ACE and NLHF) rose to a peak of c.72% of total income but has fallen back sharply since. With an increased emphasi5 on a wider variety of sources of income, the dependencyon publicfunding declined down to 23% in the yearto March 23 and again reduced to 17% in the yearto March 24. Reserves Poliry The financial statements of the charity show that at 31 March 2024 there were £207,275 {2023: £92,050) of unrestricted funds and £565,598 (2023.. £448,490) of restricted funds. The Board of Trustees and sen￿r management continue to review the reserdes policy and position on a regular basis and it has been agreed recently in June 2024 by the Trustees that there should be a shift in emphasis towards ensuring that there is alway5 sufficient forecasted unrestricted cashflow for the following six months, a position that we are currently maintaining. 12 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) Wwth regards to the balance sheet reserve5 the polFCy is that unrestricted reserves should be an amount that is equivalentto 4 months, unrestricted budgeted expenditure plus an estimation of wind up costs rfthe Charity was to cease. This policy allows reserves to support any shortfall in voluntary income whilst givlng the Charity time to address this but ensuring that there are sufficient reserves if the Charity needed to be wound up. The unrestricted reseNes figure of £207,275 at 31 March 2024 is a significant improvement on the previous year figure but still falls short of the target, and so continued work is being done on generating alternative unrestricted income streams in the future in orderto improve on the reserves balan￿. With the investment in its fixed assets and in particular intangible assets developing the Art UK platfomi, unrestrirted funds less fixed assets {free reseNes) at 31 March 2024 show a deficit of £238, 224 (2023.. deficit of £192,136). Focus on Improving the Charivs Financial Sustainability The Charity remains focused on implementing a broadly based miKed revenue funding model that encompasses ra ising subscription income from collections. re￿Iving grants from charitable trusts, philanthropyfrom high net worth and other individuals and corporate philanthropy. But publicsector fundingj which has fallen back considerably as a proportion of total fundin& does remain an important constituent in the Charity's mixed funding model mix. Whilst the Charity will seek one-off project grants from Arts Council England, the National Lottery and the devolved Governments of the Home Nations-where it has had Suc￿sS over the years- the Charity will continue to explore p055ible regular public funding for its work, despite the lack of success with its Arts Council England grant National Portfolio application in 2022. In the medium term the Charity 15 also keen to pursue public funding that might be available through bodies such as Innovate and the AHRC although it recognizes that such funding is most likely to be achieved in partnership with HE instttutions. Trust fundingwillcontinueto be importantwiththe Charity having built up strong relationshipswith numerous grant-EivinE trusts overthe years. There remains a large number of grant-giving trusts that have not supported the Charity for a number of years (or ever) that it will be returning to for support. The Charity is particularly grateful to the Trusts and Foundations that supported it so generously in the year ending March 2024. A major development in April 2021 was the announcement of a two-year partnership with Bloomberg Philanthropies. This partnership strengthens and improves digital acce5S to the UK'S national collection of art while encouraging broader engagement with local museums and art galleries. With this multi-year collaboration, Bloomberg Philanthropies became one of Art UK'S leading supporters, helping Art UK deliver substantial benefits to over 3,400 public art collections across the UK as well as our growing global audience. The Charitywas delighted that this partnership was renewed in early 2023 and it hoping that this partnership will continue for a number of years. Meanwhile, led by the Chief Executive and supported energetically by a growing Philanthropy Board (where a new Chair was appointed during the financial year under review) there will be an increased focus on growing the membership of the Benefactor Scheme whereby Corporates and Individuals contribute between £1,000 and £5,OOOto the charity. There will also be a renewed emphasis on growing the Angels scheme membership which seeks one-off donations of £25.0￿ or more. To support this growth the Charity 15 setting up a 501{ CI (31 in New York with the pro bono support of Linklaters to enable the Charity to grow sharply the income raised in the USA (where approaching 25% of Art UK'5 Users are based). Three Direttors have been appointed 13 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) to the Board of the American Friends of Art UK with the President of the Board being Charles Gregson, the fom)er Chair of Art UK. Meanwhile at the other end of the individUa￿E1VIng scale the Charity will be embarking on a revised approach to growing the high-volume low-value gifts to the Charity With a particular focus on asking users of the site more frequentty to support the ChariWs work. At present less than 0.02% of users give to the charity. With generous support from a National Lottery Heritage Fund grant the Charity has since the financial year end employed consultants to improve sharply its ability to grow its income St￿arn from this audien￿. This guidance will be irnplemented In late 2024. Meanwhile a generous grant from a foundation will allow the charity to build a new CRM and employ a CRM officerwhich will helpthe charity Optimise its management of fundraising land other) contacts as well as its communication with these contacts. The key commercial income stream that is currently in place is the Collertion Partnership subscription fees. Collections that are part of this scheme pay this a) to support the sustainability of the Art UK site and b) to be able to use the Art UK shop to generate commercial income for themselves a5 well as make use of other opportunities on the Art UK platfomi. To support our Collection Partners. we have continued to run our very successful series of partnership webinars, which show good engagement on the part of partner collections. Topics include,"Mak5ng the most of your partnership ' Social Media";"Dlgital Marketin￿. °Creating Content with Art UK" This year we have added new webinar5 about Museum Data serrf1￿ (helping to drive sign-ups to MDS) and Superpower of Looking. Last year we recruited an additional 29 partners. Going Concern Given the plans and forecast5 in place and known income streams for the next year5 referred to in the sections above, the Trustees are satisfied that the going con￿rn basis of preparation of the accounts remains appropriate. PLANS FOR THE FUTURE Our principal plans forthe future are covered below by business area. DigitalAssets Once the data transformation tools to filter Fine Art wor*s for the Museum Data Service are delivered and the Integration of the Museum Data servi￿ completed in September, it is vltally important that within a year we move all new artwork record additions and updates over to the Museum Data Service and we begin to wind down the old mechanism for adding artworks usingthe import spreadsheets and the Collertions Portal. At the same time we will need to starttoget a fargreater numberof collections engaging with Art UK through the Museum Data Servi￿, so there will be a concerted effort to increase rapidly the numberof expressions of interest in joining MDSthrough a continuation of a monthly set of pitthe5 to the collections, at the same time as handling the backlogwlth over 175 collertions currently wishing to move overto the Museum Data Service. At the same time we recognise that the processing of record and image data needs to be accelerated with other automations and triggers in our use of the Qi collections management Sy5tern and changes are now starting to be introduced. These are being mirrored by other changes we are rnaking with the Introduction of new too15 and workflows to rapidly speed up the proce55ing of images. 14 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) Content The Charity will continue to grow the number of stories about artists, art and the subjects represented. Over time this will be supported by the substantial growth in numbeis and breadth of artworks joining the website. The Charty will continue to write powerfullyabout the contributions made by artists under-recognised due to theirgender, colouror socio-economicgroup, whilsttelling more stories relatingto underserved communities. The growth in the stories on the website will be funded through a range of grant applications to Trusts {and in due course indtviduals) who have particularareas of grant focus that align with our story writing aspirations. Learning We aim to support young leamers by expanding our resources and ensuring discoverability through a place- based approach. By collaborating with collections and young people to produce a series of co-curated digital place-based art and design resources, we will build on our ambition to connert every young person to the national art collection, especially the art local to them, helping to create a sense of place. This will be subject to funding applications and our application to take part in The Big Give Christmas campaign. The Superpower of Looking will continue be our Flagship learning initiative enhancing the visual literacy of school children and supporting teachers in deliverlng the Art & Design curriculum by creating new resources and new presenter led films by 2025. We a￿ in the process of securing an academic research partner for a longitudinal study of the impact of visual literacy resources in schools and began a knowledge exchange with the University of Roeharnpton focussing on visual literacy in schools. As part of our marketing and communications plan for The Superpower of Lookin& we will create opportunities for virtual visits, digitally transporting school children to see artworks come to life. This event will go live in October duringArt UK'S planned Visual Literacy WeelL Efforts to increase applications for Write on Art 2024 will include CPD sessions, a social media pack for collections, and a review of the competition using theory of change. The partnership aims to develop this into a year-round program, culminating in the annual competition. with plans to celebrate its 10-year anniversary in 2027. Community Engagement In January 2024, the Charity started running a three-year volunteer-led programme to identify, research and photograph outdoor murals and street art. Our target is to record at least 5,000 rnurals acro55 the UK by the end of 2025. The murals learning and engagement programme runs from July 2025 to December 2026, and will include in-person attivrties with schools and communities. filmmaking and audio descriptions, and the creation of new stories, curations and learni￿ resources on the Art UK websrte. We were successful in a grant application to The National Lottery Heritage Fund (as part of the Resilience Building grant mentioned above) for a Community Volunteering programme, which started in February 2024. This two-year programme is being run by a new￿ recruited Community Volunteer Manager, and aims to develop deeper engagement between the public and Tagger through volunteering and micro-engagement, both in-person in Stoke-on-Trent and online as well as more generally growing the Charivs awarene55 of exhibitions at our Partner Collections so we can promote these more effectively to our audiences. 15 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) Unfortunately, Art Detective has had to be temporarily paused due to insufficient funding to run the service after Marion Richards, its Manager, retired in July 2024. AII 887 discussions and more than 22,{￿ individual submissions remain accessible on our website. but no new discussion or submission comments are being accepted. Art UK has thanked the group leaders and the thousands of other contributots over the last ten years for so generously helping to improve knowledge of the UK'S national collection of art. The links in the Art Detective Resources pages also remain live, including to more than 200 artist biographies produced through Art Detective (30 of them women artists) and to a selective list of source5 useful for researching the history of work5 of art. On the announcement of the temporary pausing of Art Detective, several collections who have beriefrtted from the service have passed on their thanks to Art UK: 'Art Detective has been an invaluable forum and . has greatly improved the accuracy and quality of NT cataloguing. The scale of discussions and submissions is remarkable, and testament to the success of Art UK., The National Trust 'It has always been a pleasure to know that there are colleagues across the sector and members of the public willing to assist with and carry out research on our collection on a voluntary basis . Art DetectNe has undoubtedly been a valuable resource for us., City of London Corporation The Charity is working towards fundlng applications to rebuild the Art Detective digital infrastructure and to continue to staff the service In the future. Collections Support The Charity plays a key role supporting collections showcasetheir art to a global audien￿. There will be three focuses over the next couple of years. First, the Charity Is ambitious about growing revenue in the Shop to over £750,(K)O by March 2028 with over £250,OCQ pa retu rned to collections plus more income for artists. The upgrade to the ecommerce interface has, however, posed some challengeswhich are being urgently addressed as technical i55ues are hinderingthe growth of sales at the tirne of writing. Second, Art UK aims to drlve digital engagement with collections and physical visits to collections. In the ChariVs spring 23 survey of respondents said they used the site to plan visits. Our partnership with Bloomber8 Connects supports our aMbIt￿n to use digital en8agement to drNe physical footfall to collections through the creation of in%allery guides and dedicated app contenL Third, the Charity will bu ild on Its collection training programrne, offering webinars to collections around intellectual property rights, Art Detective, the Shop arKJ how best to use Art UK as well as introducing a range of toolkit guides to help Collections make the most of the platform. The first of these toolkits joined the site in August 2024. STRu￿URE. GOVERNANCE AND mANAGEmE￿r Constitution The company is registered as a charitable compary in England and Wales limited by guarantee and was set up by a Memorandum of Association on 12 December 2002. registered under the number 1096185. The charity was registered in the Scottish Charrty Register by the OSCR on 3 August 2018 and now has charitable status under the Charitles and Trustee Investment {Scotland) Act 2005, registered under the number SC048601. 16 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) Method of Appointment or Elertlon of Trustees Trustees are chosen for their experience relating to the CharIt￿S work. A Trustees skllls and experience matrix is kept. There is a Norninations Commlttee which has been set up for appointing Trustees which consists of 4 Trustees and the Chief Executive, Deputy Director and Company Secretary. It is chaired by the Vi￿-chaIr. The nominations committee is responsible for writing role descriptions, reviewing applications, condutting interviews and recommend1￿ candidates to the Board of Trustees. Decisions to appoint are minuted at a meeting of the Trustees. Policies Adopted for the Induction and Training of Trustees An induction programme is offered to Twstees to ensure they are aware of the Charity's objectives, strategy and activities and their duties as Trustees. Pay Policy for Senior Staff The settinE of pay for staff is the responsibility of the Chief Executive following consu Itation with the Deputy Chief Executive. the Head of People and Culture and an assessment of relevant market pay scales. The range of pay awards is agreed by the Board. The Chair is responsible for setting the pay of the Chief Executive following consultation with the Trustees and an asse55ment of relevant market pay scales. Organisational Structure and De¢Fslon Maklng The Board of Trustees has ultimate responsibility for the Charity. as described in the Articles of Association {updated in 2016). It Is responsible for ensuring Art UK follows an appropriate strdtegy that deliver5 public benefrt, arts responsib￿ with regard to risk management and financial control, and in accordance with the law. These responsibilities are shared with Trustee5 as part of their indUct￿n. Trustees land senior management) are required to declare conflirts of interest four times per annum in line with The Charty'5 policy. The Chlef Executive reports to the Chair regularlyp providing updates on operations, finance and risk management. The Board meets fourtimes peryearto review financial and operational progress and risks, and address issues of strategic importance. A comp￿hen51Ve, data driven Board Report is delivered to Trustees ahead of meetlngs. Meetings are hybrid to help ac￿ssibility. At least one meeting a year is held in Stoke, where a Trustee is based. Meeting minutes are available to funders. The Board delegates certain responsibilities and decision-making to the Chief Executive as defined in his job specification. The Chief Executive manages the CharFty on a day-to-day basis supported closely by the senior management team (Smn. Three committees bring the SMT together with Trustees.. the Management Board, The Platform Strategy Board, and The Finance Committee. Art UK'5 programme of work is divided into 4 delivery areas ('verticals'}, each with a department head. The first 3 are audience facing and logically build on each other. {1) getting the artworks onto our platform (Digital Assets). then move to {ii) telling stories about the art and offering learning opportunities (Content and Learningl- before liiil giving the audien￿ agency over the artworks through participative digital engagement & volunteering activities, In Real Lrfe activities nationally and in Stoke {Community Engagement). The fourth vertical covers the Charivs sUPPOrtforcollections and artists. These aresupported byfNe'horizontals' (Digital Infrastructure, Marketin& HR. Development and Finance). The Management Board comprises the Directors of 17 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) each vertical and the heads of each horizontal. Each vertical and horizontal department head has a 'buddrf or mentoron the Board of Trustees. The Management Board meets twi￿ a month and ensures the business plan and operational plans of the Charity are implemented and the needs of audiences and collections are met. It focuses on monitoring financia15, performance In key areas, resourcin& marketing and risk management. A digital dashboard of metrics monitors progress against goals and inforrns decision making. A recently appointed part-time audience data analyst is helpingto improve dramaticallythe use of data bythe Management Board. Relevantteam ideas are discussed. Two trustees join Management Board meetings one meeting a month, ensuring it is held to account. The PlatForm Strategy Board comprises the D1￿CtorS of the vert&ils and the Dirertor of Marketing and Communications. Its focus is the long-term strategic directlon of Art UL It has responsibility for developing the Chariws business plan (subject to Board approval), responding to new opportunities, being alert to organisational weakne55es and threats, and assessing investrnent needs. It meets monthly. Two Trustees join the meeting5. Each month a Resource Management Meeting is attended by the Chief Executive, Deputy Chief Executive and Head of People and CultUTe. Its focus is staffing and recruitment- salaries and contracts. team wellbeing and feedback (there is an annual staff suNey); talent development; staff handbook updates; whilst thinking about long-term resource needs. Since moving to majority remote working the meeting has focused on ensuring an inclusive workplace for a distributed workfor￿. A weekly team meeting provides direction and encouragesteam communlcation and cohesion. It covers KPIS, organisational developments. audience and collectionfeedbackand ￿lebrate5 Success. It sometimes includes presentations on new initiatives and Strate￿ updates. Staff are encouraged to share ideas and opinions, also through annual staff surveys and a digital suggestion box. A longer business Strategy update is given by the Chief Executwe Officer twi￿ a year. The Charity looks to take external advi￿ on many of its activities through the setting up of Steering Panels. The Charity sees Art UK as a digital plarfomi that Is shared by the participating collections. ASI of them have a stake in it. Ensuring the collections - large institutions and small - are involved in developing the initiative is key and the Steering Panels playa key role here. A numberof these have existed for limited periods duringthe development of new initiatives such as for the creation of Art Detective and for the running of the Audien Broadening Initiative. The principal extant Steering Panel is the Art UK Steering Panel. The other exiant ones are the Learning and Engagement Steering Panel. the Shop Steering Panel and the Ceramics Digitisation Steering Committee. An Advisory Board provides the Art UK Board of Trustees with guldance on the strategic direction of the Art UK Charity and, in particular, artuk.org. Its membership comprises independent experts and Senior representative5 from leading stakeholders inthe Art UK initiative. A Philanthropy Board plays a key role in supporting the Charity raise fvnds from individuals and corporates and is now chaired by one of the Trustee5, Tom Davies. 18 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES, REPORT (CONTINUED) Related Partles Detai15 of related party transactions are disdosed in note 22 to the accounts. Risk Mana8ement The Charity assesses risks to its operations, finances, strategic direction and charitable objectrves on a regular basis. A full risk matrix has been compiled and is reviewed by the Trustees at every quarterly Board meeting. Three particular risks are uppermost in the minds of the Trustees and management at all times. The first is ensuring that the charity represent5 on the Art UK website and in any related media the catalogue information, data and images of institutions and artists that participate in the Charivs project5 as accurately and authoritatively as possible and in a way that does not bring the Charity or other stakeholders into disrepute. The Charity does this by having in place stringent work procedure5 forthe creation and checking of content that is added to the Art UK website and for ensuring that copyright in images 15 respected in line with the law and best international practi￿. The second risk relates to the financial sustainability of the organisation at a challenging time for charities and the arts and culturesertor. Considerablefocus has been put on protectingand improving thefinancial strength of the organisation by broadening the streams of income to the Charity and ensuring that an increasin8 proportion of these are from reliable recurring sources. This work continues. The third rlsk relates to the security of the website and the charitls other digital assets from cyber security threat. Greatfocus has been put on evaluatingthevulnerability of the charivs digital platformsto cyber attack and putting in place additional protections and training for staff. The charity is in the process of putting in place an Al policy. Internal Controls The Board hasoverall responsibilityfor establishing, maintaining and reviewingthe effecliveness of the system of internal control. The system of internal control is designed to manage risk and provide reasonable assurance that key business objectives and expected outcomes will be achieved. It also exists to give reasonable assurance about the preparation and reliability of financial and operational information, the safeguarding of the Charity's assets and interests and Complian￿ with relevant legislation, law and regulations. The assurance framework is designed to provide sufficient, continuous and reliable assurance on organisational stewardship and the management of the major risks to organisational success and delivery of value for money, Executive responsibility has been clearly defined forthe identification, evaluation and control of significant risks. The Chief Executive Officer and executive members of the Management Board carry out evaluations of the risks which impact on the Charws ability to meet key business objectives. Risk assessments are carried out on a monthly basi5 at the Management Board and are aligned tothe business planning process. The Chief ExecutÈve is responsible for reporting to the Board any significant changes affecting key risks or the breakdown of internal control. The Board is responsible for a defined range of issues covering strategic. operational, and financial and compli8nce issues. The Board has not formally adopted the Charity Governance Code for smaller charities but has due regard to it. The govemance framework is supported by a framework of policies and procedures with which employees must comply covering issues such a5 health and safety. data protection, and safeguarding. 19 THE PUBLIC CATALOGUE FOUNDATION (A COMPANY LIMITED BY GUARANTEE) TRUSTEES. REPORT (CONTINUED) Financial reporting procedures include detailed budgets for the year ahead which a￿ reviewed by the Chief Executive Officer and Head of Finan￿ on a monthly basis and approved by the Board of Trustees quarterly- The Board confirms that there is an ongoing process for identifyin& evaluating and managing significant ri5k5 faced by the Charity. This prows has been in place throughout the year under review. up to the date of the annual report, and is reviewed by the Board. The Board has reviewed the effectiveness of the systems of internal control, including the agreed sources of assurance and confirm they are appropriate for that purpose. The Board is satisfied there is sufficient eviden￿ to confirm that adequate systems of internal control existed and operated throughout the year. Up to the date of signing of these financial statements those systems were directed at the management of the significant risks facing the Charity. No weaknesses were identtfied which would have resulted in material misstatement or loss that would have required disclosure in the financial statements. CONCLUDING COMMENTS Art UK'S mission is simple: to connect everyone to art, whetheryou are a school child or scholar, a teacher or tourist. From one dlgital platfonn. anyone can delve into the wealth of the UK'S national art collection. We unite almost 3.500 collections big and small-from local museums to large universitie5- on one platfonn and bring their artworks to millions of people, with almost 60% of our audience being overseas. Art UK inspires creativity, support5 lifelong learning and gives everyone a unique opportunity to discoverart that inspires. As a pioneering charity which has created the UK'S largest ever institutional arts partnership, we are commltted to innovation. Over the past 12 months we have developed a new Art UK Shop platform to help collections generate critical revenue, launched a ground-breaking education programme-The Superpower of Looking- that will tran5fomi young lives. and done the groundwork to add millions of object records to our platform as the game