# **Trustees’ Report and Financial Statements** For the year ended 30 June 2024
Trustees’ Report and Financial Statements — June 2024
## **Contents**
- 3 Legal and Administrative Information
- 4 Trustees’ Report
- 26 Auditor’s Report
- 33 Statement of Financial Activities
- 34 Balance Sheet
- 35 Statement of Cash Flows
- 36 Notes to the Financial Statements
- 56 Appendix
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## **Legal and Administrative Information**
## **Trustees (who are also Statutory Directors)**
Susan Gibbons (ex-officio Chief Executive) Peter Salovey (to 30 June 2024)
Stephen C. Murphy (to 6 September 2024) Scott Strobel (to 6 September 2024) Pericles Lewis (from 1 July 2024) Steven Wilkinson (from 23 August 2024) Edward S. Cooke (from 23 August 2024) Russell Epstein (from 28 August 2024) Timothy Barringer (from 28 August 2024)
## **Registered office & principal place of business**
16 Bedford Square London WC1B 3JA
## **Statutory Auditor**
Sayer Vincent LLP 110 Golden Lane London EC1Y 0TG
## **Non-Statutory Director**
Sarah Victoria Turner
## **Secretary**
## **Banker**
Lloyds Bank plc 113-117 Oxford Street W1D 2HW
Susan Gibbons
## **Solicitors**
## **Company Number**
983028 (England and Wales)
Farrer & Co LLP 66 Lincoln’s Inn Fields, WC2A 3LH
## **Registered Charity Number**
313838
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Trustees’ Report and Financial Statements — June 2024
## Section 1 **Trustees’ Report**
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## **Introduction**
The Trustees present their Annual Report and the financial statements of the Paul Mellon Centre for Studies in British Art (the PMC/the Centre) for the year ended 30 June 2024.
The financial statements have been prepared in accordance with the accounting policies set out in the notes to the accounts and comply with the charity’s governing document, the Companies Act 2006, the Statement of Recommended Practice: Accounting and Reporting by Charities preparing their accounts in accordance with _The Financial Reporting Standard applicable in the UK and Republic of Ireland_ (FRS 102) second edition (effective 1 January 2019) and the Charities Act 2011.
## **Governing instrument and legal status**
The company was established under a Memorandum of Association which established the objects and powers of the charitable company and is governed under its Articles of Association. Under those Articles, the members of the Board of Trustees (the Board) are appointed and removed by the members of the company. The charity is a limited liability company (Limited by Guarantee) and is registered in England and Wales (company number 983028).
## **Directors**
For the purposes of the Companies Act and Charity Law, the members of the Board are deemed to be Directors and Trustees of the charitable company and throughout this report are referred to as Trustees. The following Trustees have held office since 1 July 2023:
Susan Gibbons (ex-officio Chief Executive) Peter Salovey (to 30 June 2024) Stephen C. Murphy (to 6 September 2024) Scott Strobel (to 6 September 2024)
The following Trustees were appointed to the Board in the following financial year:
Pericles Lewis (from 1 July 2024) Steven Wilkinson (from 23 August 2024) Edward S. Cooke (from 23 August 2024) Russell Epstein (from 28 August 2024) Timothy Barringer (from 28 August 2024)
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Each member of the Board is a subscribing Member of the charitable company throughout their period of office.
The Centre operates under the aegis of Yale University. At the year-end date, four members of Yale University’s executive management comprised the Board of the Centre and have legal responsibility for its operations. Dr Susan Gibbons, Chief of Staff to the President, and Vice Provost for Collections and Scholarly Communication at Yale University, is also ex-officio Chief Executive of the Paul Mellon Centre. Significant decisions of a financial, operational, or strategic nature are made by the Board.
Day-to-day decision-making and management of the Centre is carried out by the Senior Leadership Team (SLT), which is comprised of the Director, Dr Sarah Victoria Turner, alongside the Chief Financial Officer, Sarah Ruddick; the Head of Research, Dr Sria Chatterjee; the Head of Grants, Networks & Learning, Dr Martin Myrone; and, since May 2024, Paul Adlam in the new role of Chief Operating Officer.
The Centre’s Advisory Council, which is currently comprised of twelve distinguished and senior professionals from the academic and museum sectors, meets twice a year to consider applications for financial support offered by the Centre’s Grants and Fellowships programme. The Advisory Council makes the final grant and fellowship allocation decisions.
Decisions relating to the Centre’s agreement to fund specific publications are made by the Centre’s Publications Committee. This committee meets twice a year and is comprised of six distinguished art professionals, senior colleagues from Yale University Press, and senior members of staff at the Centre.
## **Recruitment and appointment of trustees and staff**
Under the requirements of the charitable company’s Memorandum and Articles of Association, which were updated in May 2024, new Trustees shall be appointed by the members for such term as is specified at the time of appointment. A retiring Trustee who remains eligible may be reappointed. The President of Yale University is the Centre’s Person of Significant Control and has the power to appoint or remove Directors.
The Board keeps the skills requirements for the Board under review. Once a Trustee has been appointed, an induction process is undertaken to ensure that they understand the objects and activities of the charity and their responsibilities as a Trustee.
The Board gives its time freely and is not remunerated for its work. The Board sets the pay of the Centre’s Director. The pay of the remaining members of the SLT is reviewed and decided by the Director. The salaries of the remaining Centre staff are reviewed annually as part of the budget-setting process by the Director, with the input of the Chief Financial Officer, and in consultation with the Human Resources Manager. Each year, with effect from the beginning of the financial year, an appropriate cost-of-living salary increase is usually awarded to all staff. The cost-of-living salary increase for the next financial year is approved by the Board of Trustees at their annual meeting and the following criteria are used in setting this annual increase:
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- [Trends of pay in the sector and the UK generally]
- [The UK inflation rate]
- [The annual cost-of-living salary increase being awarded at Yale]
In accordance with the Centre’s Pay Principles, the Centre has engaged an external consultancy every three years to carry out a review of the compensation of all staff based on the nature of the roles and responsibilities of Centre staff in comparison with average salaries for comparable positions in the sector. The results of the benchmarking exercise are then reviewed by the Director who, in line with the Centre’s pay principles, assesses whether a pay increase is required and decides the new salary levels.
In response to the significant cost-of-living increases in the preceding two years and the number of staff changes at the Centre in 2023, it was decided that a benchmarking exercise would take place in December 2023, a year earlier than scheduled. The next benchmarking exercise for all salaries is planned for 2027.
## **Objectives and principal activities**
The charitable company is a non-profit-making organisation registered under the Charities Act (registration number 313838), the object of which is to advance the education in, and appreciation and understanding of, British Art for the public benefit, as set out in its governing document. No change in these activities is foreseen and all assets are held for these purposes. The sound investment policy operated by the Chief Financial Officer at Yale University will enable the Centre to comfortably cover all its commitments (see below).
The Centre is designed to promote the most original, important, and stimulating research into the history of British art and architecture. It does this by: supporting scholarly research through its Grants and Fellowships programme; publishing major works of scholarship in both hard copy and digital form; providing a world-class library and archive devoted to the history of British art; offering teaching and educational programmes to Yale University students and to members of the general public; delivering a vibrant programme of seminars, workshops, symposia, and conferences; convening professional networks to encourage, promote, and provide skills and knowledge sharing; and encouraging the Centre’s own employees to conduct, share, and publish their research.
The Centre’s legal purpose is to engage in, promote, advance, and assist in the conduct of research into British art and architecture. Our aim is to continually develop our different strands of activity in the fields of publishing, grant and fellowship giving, teaching, public outreach, research and writing, and in the provision of world-class library and archive facilities, so as to meet this legal purpose.
Success is measured in a number of ways by the Centre, including published critical approbation; the use of our publications and facilities; the attendance at our events; and the numbers of applications we receive for our various forms of funding provision. We have also begun to formally collect audience and workforce data and will report on this in future reports.
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The Centre’s SLT continually reviews the institution’s activities and the various performance indicators used to evaluate success. They also periodically undertake a process of institutional review to systematically analyse all the different strands of the Centre’s activities, with the most recent review having commenced during the previous financial year. The Centre’s Director, Dr Sarah Victoria Turner, presented her strategic vision for the Centre to the Board in February 2024. Following approval from and consultation with the Board, and support from the SLT, this new strategy is currently being implemented into the Centre’s activities and plans.
## **Relationship with Yale University**
The Paul Mellon Centre was established by Yale University in 1970. The University had received an endowment from an alumnus, Mr Paul Mellon, to support research and publication in the field of British studies, especially in the area of British art history. Yale University control and manage the investment of the endowment and the Centre’s income from the endowment.
During the year ended 30th June 2024, the Centre’s Board of Trustees, including the four main Trustees with legal responsibility for the Centre plus the other members of the Board, were all employees of Yale University. Following a governance review and new governing documents being filed in June 2024, the composition of the Board has changed, and the Board is planning to appoint independent Trustees in due course.
This close relationship is enhanced by the Yale-in-London programme. This undergraduate programme is run at the Paul Mellon Centre, and enables students from Yale to study British culture in London surrounded by access to excellent educational resources for the study of British art, history and culture.
## **Grant-giving policy**
The Paul Mellon Centre, established in 1970, augmented its grant-giving policy in 1998. The Centre’s grants and fellowships support scholarship, academic research, and the dissemination of knowledge in the field of British art and architectural history from the medieval period to the present. There are several categories of grants and fellowships available, all of which are detailed on the Centre’s website. There are two application rounds, one in the autumn and one in the spring. The application deadlines are 30 September and 31 January respectively. The Advisory Council meets twice a year to select the successful applications and agree how much will be awarded in each case.
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## **Review of Activities and Financial Review**
## **Overview**
This year the Centre embarked on a strategic planning exercise on a scale that the organisation has never previously undertaken. The process is being supported by the Centre’s new Chief Operating Officer, Paul Adlam, who began his employment in May 2024. The Director has provided a strategic outline with three key priorities for the organisation over the next five years. These are:
- [Opening-up the Paul Mellon Centre and the field of British art]
- [Putting research at the heart of everything we do]
- [Creating and sustaining pathways]
Each team is currently developing goals and accompanying metrics to ensure that we have a concrete and ambitious plan to help us in taking the work of the PMC forward and to ensure that we continue to provide and develop outstanding services and support.
During this period, the Centre also embarked on a major refurbishment of its public rooms and some offices, the last refurbishment having been completed in 2015. Trifle, a design company specialising in work environments, provided a design scheme that has resulted in a reorganisation of the ground floor to provide a more obvious welcome to visitors. Improved lighting and enhanced technology for events and meetings has been installed. This work complements the eighteenth-century architecture of the Centre’s buildings in Bedford Square whilst also updating the look and feel.
_Entangled Pasts, 1768–now: Art, Colonialism and Change_ , at the Royal Academy of Arts, London (3 February – 28 April 2024). Photo © Royal Academy of Arts, London / David Parry. Research supported by a PMC Curatorial Research Grant.
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The Centre is well equipped, both financially and structurally, to implement the vision set out by Paul Mellon to improve knowledge about and access to British art. We look to the future with confidence and optimism about the wider cultural and societal value of our work and the support we can offer to individuals and institutions in these challenging times.
The Centre continued to comfortably maintain its publication and academic activities and grants and fellowships awards during the financial year ended 30 June 2024.
This was possible as, in common with all previous years, the majority of the Centre’s funds derive from the endowment income transferred annually from Yale University. In addition, as the Centre’s annual endowment income is awarded in USD, the Centre benefited from the GBP:USD conversion rate during the year, meaning that the Centre received additional funds during the financial year to invest in specific special projects.
In addition to income from the endowment, the Centre also receives annual income in the form of royalties and revenue share on the sales of books that have been published or distributed for the Centre by Yale University Press. In the long term, this royalty and revenue share income represents approximately 50 per cent of the total annual investment in the publications programme.
The field of British art has changed considerably since the PMC’s foundation, both in terms of the range of subjects and those who interact with our work as researchers and audiences. A key area of ongoing work at the Centre is carrying out the objectives set out in our Equality, Diversity and Inclusion action plan, including assessing and improving access to our resources, spaces, and activities. This financial year we embarked on a major research project, supported by The Audience Agency, to collect data about our audiences and workforce. The results of this will be reported on in future work as we analyse the data to understand the demographics the PMC reaches through its activities.
## **Grants and Fellowships**
The overall level of grants and fellowships applications has continued to rise this year. In autumn 2023, 254 applications were received, of which 62 were successful. The spring 2024 round of funding received 250 applications, of which 47 were successful. The Early Career Fellowship was declined shortly after offer, due to the awardee receiving a permanent job offer; however, this was offered to the next suitable applicant and was accepted.
One change introduced in the autumn 2023 round was making the Conservation Research Project Grant public, having previously been a discretionary fund. The grant is designed to support a conservation research project and is an award of up to £25,000. The Centre invited Emma Schmuecker, Conservation Studio Manager at the National Trust, to help assess the applications for this new award.
In November 2023, Harriet Sweet, Grants and Fellowships Manager, returned from parental leave and Gareth Clayton, Grants and Fellowships Manager (Parental Leave Cover), finished his contract. Going into 2024 there have been concerted efforts to audit and track our grant giving and to make
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this public, and to connect with and learn from other funders as we seek continually to refine our offer and reach out to potential applicants. In April 2024, the Paul Mellon Centre joined London Funders, a network connecting funders who support people, organisations, and projects based in London. The Centre also began submitting anonymised grants data to 360Giving, a platform of open and standardised grants data from UK-based funders. See the Appendix for a full list of grants and fellowships awarded.
## **Print Publications**
This year’s publications from the Paul Mellon Centre exemplify our ongoing commitment to innovative scholarship, exploring both traditional subjects and new territories, and our mission to enrich and expand the study of British art. Though we have published fewer titles this year than in past years, the quality of those projects remains our highest priority.
The monumental _Architecture in Britain and Ireland, 1530–1830_ , by Steven Brindle, which examines the cultural, political, and economic contexts of architectural development across a 300-year period, has been eagerly awaited by scholars, researchers, and historians and is testament to the fact that architectural history remains one of the cornerstones of our publishing programme.
Harnessing the opportunities offered by print and digital publishing, Griselda Pollock’s _Woman in Art_ brought together a new, fully colour-illustrated setting of Helen Rosenau’s pioneering _Woman in Art: From Type to Personality_ (1944) with a digital facsimile of the original publication. Accompanied by new commentary and research, this innovative publication situates Rosenau as a foundational figure in feminist thought and cutting-edge art history across two centuries.
Jeff Rosen’s _Julia Margaret Cameron: The Colonial Shadows of Victorian Photography_ is a bold examination of how Cameron’s work was shaped by
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the legacy of colonialism. Her iconic portraits are placed within the context of British imperialism following the 1857 Indian Uprising to explore how her imagery responded to an era of colonial crisis.
And in _The Radical Print_ , Esther Chadwick explores printmaking’s role in political and social commentary during the late eighteenth century. She demonstrates how printmakers like James Gillray and William Blake used their medium to respond to and shape public discourse, and she positions print as a vital tool in periods of political upheaval.
Our commitment to broadening access to our publications was furthered through our continuing involvement with the Yale A&AePortal. We added seven new titles this year, including _Men at Work_ by Tim Barringer and _Art for Art’s Sake_ by Elizabeth Prettejohn. We also embarked on a major special project to begin preparing the nine-volume catalogue raisonné of John Singer Sargent’s paintings, by Richard Ormond and Elaine Kilmurray, for publication on the platform in 2025.
## _**British Art Studies**_
Over this period _British Art Studies_ released Issue 25, in December 2023, and then paused publication to implement a redesign of the journal website. Issue 25 contains four long-form peer-reviewed articles on a range of artists and topics including J.M.W. Turner, L.S. Lowry, Victorian ‘sailors’ valentines’ (shell mosaics), and sugar as a theme in contemporary Scottish art that engages with histories of transatlantic slavery. It also includes an interview that profiles the artist Charwei Tsai and her ceramics.
In June 2024, the US-based digital development agency Design for Context was contracted to implement the new web design for BAS. This design will be built in Quire, the Getty Institute’s open-source tool for publishing art history online. Building the journal in Quire will involve significantly extending its functionality and range of templates, and this development work will feed back into a common pool of code for any journal to repurpose freely.
Three special themed issues of the journal were also in various stages of development: ‘Queer Art in Britain Since the 1980s’ (summer 2025), ‘Reframing King James VI & I’ (autumn 2025), and ‘Collage in Britain, 1945 to Now’ (summer 2026). Each special issue is led by a team of guest editors, who shape the articles and features alongside the usual peer-review process.
In March 2024, a workshop was held at the Bishopsgate Institute, London and at the PMC for authors contributing to the ‘Queer Art in Britain’ special issue. Each author gave a brief presentation about their planned article contribution, and group discussion focused on common methodological concerns, with a focus on the importance of community archival collections to this area of study.
A new team member also joined BAS in August 2023, in the post of freelance contributing editor: Chloë Julius (University of Nottingham). Chloë brings an expertise in modern and contemporary British and American art to the journal, with a focus on historiography and the history of art criticism. This post involves working one day per week at the journal for two years, shaping special projects and assessing open call submissions.
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## **Research Programme**
The Paul Mellon Centre’s academic events programme for 2023–24 was invested in showcasing some of the most exciting research being undertaken in the field of British art, both in Britain and internationally.
A major highlight for autumn 2023 were the Mellon Lectures delivered by Lynda Nead held at the Victoria & Albert Museum. Titled _British Blonde: Women, Desire and the Image in Post-War Britain_ , the lectures focused on the changing styles of femininity that expressed many of the key concerns of the nation in the twenty-five years that followed the end of the Second World War.
Research Lunch seminars at the Paul Mellon Centre continue to be much loved and well attended. They provide a space for dialogue for early career and senior scholars to present work in progress and receive feedback from an audience of experts and a general audience. Topics in autumn 2023 and spring and summer 2024 included Althea McNish’s textiles, Francis Bacon in wartime Britain, the art historian Brian Sewell and 1990s British art, queerness and Empire, to name a few.
The Archives & Library team collaborated with Hans Hönes at the University of Aberdeen to host a conference that took the art historian Paul Oppé’s life and multifaceted career as a springboard to reassess British art historiography in the first half of the twentieth century.
The Climate & Colonialism project hosted two conferences, one in autumn 2023 and one in spring 2024. Resist, Persist: Gender, Climate and Colonialism was a collaboration with the Barbican and used the themes of the _RE/SISTERS_ exhibition to explore the bonds between gender and environmental justice. In partnership with Autograph, the conference Extractivism/Activism: Art, Activism and Ecological Extraction collectively re-evaluated the relationship between the arts, extraction, and activism, both historically and in the present. The two days were framed around three broad themes: Colonial and extractive
_Resist, Persist: Gender, Climate and Colonialism_ , a conference in collaboration with Barbican, 7-8 December 2023.
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_British Blonde: Screenings and Panel Discussion_ , as part of the Mellon Lecture series, hosted at the V&A, 15 November 2023
histories, Reparative and fragile ecologies, and Environmental justice and legal rights. In spring 2024, the London, Asia project hosted a conference to complement its _Making New Worlds: Li Yuan-chia & Friends_ exhibition at Kettle’s Yard in Cambridge. Held at Wysing Arts Centre, it opened up themes from the exhibition for broader discussion, especially around questions of the rural, creating belonging and community, visionary spaces for co-existence, and legacies of the LYC project.
The summer 2024 Research Seminar series was programmed by Rebecca Tropp and focused on the influence of oceans and their coasts, in relation to Britain and its global empire, on visual and architectural imagination and production. All evening seminars continue to be live-streamed and accessible both to an in-person audience in London as well as a lively global community of online attendees.
We finished the year with a lively symposium on Angelica Kauffman in collaboration with the Royal Academy. The symposium featured ideas around Kauffman’s international career and her time in London, her inspirations and subjects, and her place in the art world at the time and her position now in the broader context of art history. It concluded with a special artist inconversation between Sutapa Biswas and Professor Griselda Pollock.
These are just some details from the busy programme in 2023–24.
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## **Special Projects**
## **Climate and Colonialism**
The Climate & Colonialism research project led by the Centre’s Head of Research & Learning, Sria Chatterjee, established a core working group (which will evolve and grow as the project moves forward). Current members include Debjani Bhattacharrya (University of Zurich), Rachael Z. DeLue (Princeton University), Astrida Neimanis (University of British Columbia), Mark Sealy, and Bindi Vora (Autograph, London). Astrida Neimanis has collaborated with the project as a visiting fellow, developing a strand on climate, colonialism, and gender. The first outcome of this work resulted in the symposium Resist/ Persist: Gender, Climate and Colonialism, a collaboration with the Barbican in December 2023. In October 2023, artist, curator, and environmental activist Ravi Agarwal came to London from New Delhi as a visiting fellow. Ravi will collaborate with the project to develop a strand on environmental justice. In March 2023, in partnership with Autograph, the project held an international symposium and workshop titled Extractivism/Activism: Art, Activism and Ecological Extraction which brought together artists, scholars, environmental activists, and legal historians. The highly popular Climate & Colonialism Reading Group ran from September 2023 to June 2024 and was fully online and open to all. Over five sessions participants read a variety of texts, and the group provided a space for reflective and in-depth interdisciplinary discussions. Another strand of the project on Climate & Form is a collaboration with art historian Nicholas Robbins (UCL). It explores on the one hand, how images, buildings, and objects shape understandings of climate’s material forms, and on the other, how objects and images are formed or shaped by climate knowledge. The project held the first of two workshops on Climate & Form in October 2023, with the next one planned for October 2025. It will result in a special issue of the journal _Art History_ . In 2023–24 the project has allowed the Centre to reach many new audiences and try different formats of engagement and interdisciplinary thinking.
_Extractivism/Activism: Art, Activism and Ecological Extraction Conference_ , a collaboration between the Climate & Colonialism research project at the Paul Mellon Centre and Autograph ABP, 13–14 March 2024.
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## **London, Asia**
The London, Asia research project marked its final year with the delivery of a major public exhibition: Making New Worlds: Li Yuan-chia & Friends, at Kettle’s Yard, University of Cambridge, from November 2023 to February 2024, cocurated by Sarah Victoria Turner and Senior Research Fellow Hammad Nasar with Amy Tobin. The exhibition and accompanying book focus on Li Yuan-chia’s LYC Museum & Art Gallery, in the village of Banks in the northwest of England, between 1972 and 1983. The exhibition received 26,600 visitors. Forty-one per cent of these visitors had not visited Kettle’s Yard before. It was widely reviewed and praised in the press, with Laura Cumming, art critic of the Observer, writing: ‘I can hardly think of a more uplifting show for the dying days of autumn than Making New Worlds at Kettle’s Yard in Cambridge. Everything about it is bright, beautiful, hopeful and as amiable as the subtitle suggests.’
View of the exhibition _Making New Worlds: Li Yuan-chia & Friends_ , at Kettle’s Yard, University of Cambridge, open from November 2023 to February 2024.
The project was established in collaboration with Asia Art Archive, Hong Kong, in 2016, and after the successful completion of phase one in June 2019, the project was awarded a further two years of funding by the Board of Trustees to support a second phase of activity until June 2021. A third and final phase was completed in March 2024. Co-led by the Paul Mellon Centre’s Director, Sarah Victoria Turner, and Hammad Nasar, Senior Research Fellow, the project has built a large, dynamic, and international community of researchers, artists, curators, and educators who regularly interact through events and meetings. All activity is archived at https://www.paul-mellon-centre.ac.uk/ research/london-asia?/about/london-asia
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## **Tate Catalogue of J.M.W. Turner: Sketchbooks, Drawings and Watercolours**
PMC has awarded Tate financial support of £387,144.90, drawn from US reserves, towards completing the Tate catalogue _J.M.W. Turner: Drawings, Sketchbooks and Watercolours_ for the period 9 June 2023 to 30 November 2025. This project will complete the online catalogue of 37,497 works on paper by Turner held at Tate, to coincide with the 250th anniversary year of the artist’s birth in 2025, a moment that will cast a celebratory spotlight on the artist and encourage worldwide engagement with his work via this digital resource. Funding will cover the costs of one full-time senior cataloguer, two further full-time cataloguers, and one additional cataloguer at three days per week (0.6 FTE). The project will also deliver an associated programme to engage new and existing audiences and support the research and development of the Tate exhibition, devoted to J.M.W. Turner and John Constable, which will open in 2025 and tour to other locations around the country. The project is overseen by a steering committee which includes members of the PMC’s Senior Leadership Team, Sarah Victoria Turner and Martin Myrone.
J.M.W. Turner, _The Roman Campagna and Distant Mountains_ , from Small Roman Colour Studies sketchbook, 1819, watercolour on paper, 13 × 25.5 cm. Image courtesy of Tate (D16469).
## **Archives and Library**
The most significant development in the Archives & Library area was the publication of revised collection development policies. These were widened to reflect broader and more inclusive definitions of the histories of British art. A key aim was also to address gaps in our holdings and surface underrepresented voices.
As a direct result, in August 2023 the Paul Mellon Centre acquired the archive and library of acclaimed biographer Fiona MacCarthy. This acquisition recognises that the histories of British art have been created by people who might not necessarily have described themselves as professional ‘art historians’ and now embrace individuals working in a diversity of roles. It is the third archive collection created by a woman to have been acquired by the Centre in the last twelve months.
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In total, throughout the year the archive was offered four collections, three of which – after due consideration – were declined. The archive also acquired substantial additions to the Benedict Nicolson Archive and the Michael Kerney Archive – additions to the latter included the Centre’s first born-digital material (a database).
The library continued to expand its remit and acquired 808 new books and exhibition catalogues during the year as well as numerous small donations of materials. Augustine Ford donated a small collection of rare eighteenth- and nineteenth-century illustrated books on the Grand Tour in May 2024. Also, a small number of books from Stephen Bann were donated in June 2024.
The Archives & Library team were instrumental in a number of outreach activities and events. The most significant of these was the last in the Centre’s series of _Drawing Room Displays: Art, Life, Love: Narratives from the Benedict Nicolson Archive_ , which ran from 6 March to 2 August 2024. A total of eight separate display tours were given to a variety of external audiences. The display also resulted in a workshop which brought together scholars from a range of disciplines and surfaced different narratives present in the collection, including, for example, Queer Histories. Other significant events based on the Archives & Library collections held at the Centre included a workshop celebrating the life and legacy of Deanna Petherbridge, and a conference exploring the life and multifaceted career of Paul Oppé as a springboard to reassess British art historiography in the first half of the twentieth century.
Other initiatives of note include participation in ARA’s (the Archives and Records Association’s) Distance Enquiry Survey, which obtains feedback from remote audiences and benchmarks these against repositories nationwide, and
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in LUX: Yale Collections Discovery platform, which will expand knowledge of the Archives & Library holdings to the wider international community.
The Archives & Library team continues to offer pathways into the information management professions. The Archives & Library Assistant graduate trainee programme continues to be a success. The first incumbent, Hannah Jones, left in September 2023 to study Archives and Records Management at UCL. Two further graduate trainees, Nida Shah and Amy Bradford, took up posts during this year. Work placements were also taken up by two UCL Archive and Library postgraduate students: Judy Lui and Lewis Hurst.
## **Learning Programme**
This year, the Learning team have continued to review and introduce a few changes to the Centre’s existing Learning programmes, to ensure they meet the needs and learning styles of their target audiences.
Yale-in-London hosted one spring semester and two summer sessions. The visiting Yale faculty members were the Bird White Housum Professor of English and Professor of Women’s, Gender, and Sexuality Studies, Margaret Homans; the Niel Gray, Jr. Professor of English, Langdon Hammer; and the Thomas A. Thacher Professor of Latin, Christina Kraus. Highlights included a tour of Osborne House with head curator, Christopher Warleigh-Lack, and an introduction to the University of Cambridge Museum of Classical Archaeology’s collections from Dame Mary Beard.
The 2024 Graduate Summer Programme was led by Sarah Victoria Turner, Sria Chatterjee, Nontsikelelo Mutiti, and Edward S. Cooke, Jr. Twelve artists and art historians studying MFAs and PhDs in the UK, South Africa, and at Yale University investigated the theme _Are we Postcolonial?_ The programme ran for two weeks, between London and Cape Town, and included workshops with Wolff Architects, artist Gavin Jantjes, and Wysing Arts Centre.
Graduate Summer Programme, Wysing Arts Centre, 2024. Image courtesy of the Paul Mellon Centre / Photo by Greta Zabulyte
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In autumn 2023, internal staff convened the Public Event Series ‘Printmaking for Change’, a festival of events exploring how different communities have used printmaking to enact change and share knowledge. In spring 2024, Jess Bailey convened ‘Gender and Cloth’, which included hands-on workshops and museum tours celebrating how different artists and communities have explored gender through practices such as quilting, weaving, and embroidery.
Art Teachers Connect (formerly known as Plan, Prepare, Provide) continued to deliver subject-specific continued professional development sessions and a residential programme at the University of Leeds for secondary school art teachers. This year’s programme explored how teachers can diversify the artists they discuss in their classroom; bring creative writing into their teaching; and positively utilise AI image generation to encourage experimentation and play. In July 2024, a dedicated website was launched, intended to attract new teachers to the programme and share the research of the programme’s alumni: www. atcuk.org
The Write on Art prize attracted much interest, with over 200 applications from young people across the UK. This year the prize was judged by Sally Shaw MBE, Director of Firstsite, and the _Financial Times_ journalist Enuma Okoro. This summer a call for proposals has been launched, inviting artist-educators to submit proposals for in-person workshops and digital resources that can be used to introduce more young people to writing about art. Galia Admoni (Head of English at Friern Barnet School and poet) was appointed in December 2024.
## **Networks**
The Centre’s Networks comprise the Doctoral Researchers Network (DRN), the Early Career Researchers Network (ECRN), and the British Art Network (BAN, organised with Tate), along with an undergraduate film competition, British Art in Motion, and a residential programme, the Art Trade Forum. Together, these connect and support curators, researchers, and arts professionals at different stages of their working lives. Across these programmes we have seen continuing growth and a widening reach in terms of participation from individuals working in different disciplinary, geographical, and organisational contexts. The growing range of perspectives and experiences being brought into play through the activity of the networks is actively enriching understandings of the category of British art and its cultural and historical resonances.
The DRN and ECRN are programmed by guest convenors, supported by the Networks team. In 2023–24 the DRN was led by Lucy Shaw and Jenny Warren. The network grew by almost a third, rising to 326 members, with a significant number of new sign-ups from practice-based researchers. Programme activity included sessions on archival research into exhibition making and a visit to the Turner Prize (Towner Eastbourne). Over the same period, the ECRN was led by Roz Hayes and Chloe Asker, who similarly saw a rise in membership of 25 per cent to 163, with particularly strong US participation. Their programme featured events around impact and engagement in research (at Kaleider Studios, Exeter) and a curator’s tour and workshop at the exhibition _Kim Lim: Space, Rhythm & Light_ (The Hepworth Wakefield). On 1 July 2024, the ECRN and DRN co-
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Trustees’ Report and Financial Statements — June 2024
programmed the Summer Symposium at the IKON Gallery, Birmingham, focusing on ‘Precarity in Art History’.
BAN continued its work as a community of curators, academics, artistresearchers, conservators, producers, and programmers, supported by a team based at PMC and at Tate. Over 2023–24, membership continued to grow strongly, rising from 1,800 in June 2023 to 2,350 in June 2024, and BAN supported an extensive programme of member-led seminars, workshops, and networking activities as well as a major annual conference. This year’s BAN Emerging Curators Group brought together fifteen individuals to meet in person in Leeds (Leeds Art Gallery) and Middlesbrough (MIMA and Pineapple Black Gallery) as well as joining online sessions, including one on ‘Slow Curating’. The residential BAN Curatorial Forum was this year aimed at curators and researchers working internationally. This brought together twelve participants from South Africa, Botswana, Australia, Nepal, Germany, the US, India, Mauritius, New Zealand, and Hong Kong for an intensive ten-day programme of visits and workshops in London and Manchester.
Alongside these membership-based programmes, the Networks team organised the British Art in Motion film competition, giving eight undergraduates the training and resources to produce a short film about British art; and the Art Trade Forum, a residential opportunity bringing together twelve individuals from around the UK to get behind-the-scenes insights into the commercial art world during London Art Week.
In 2023–24, the Networks team additionally oversaw the delivery of the Drawing Room Displays, showcasing the Centre’s Archive & Library collections and new research.
Screening event and awards ceremony of _British Art in Motion 2023_ , January 31 2024.
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## **Going Concern**
As stated previously in this report, the bulk of the Centre’s funds derives from the endowment income transferred annually from Yale University. This endowment was left to Yale University by an alumnus, Mr Paul Mellon, to support research and publication in the field of British studies, especially in the area of British art history, and so the University established the Paul Mellon Centre.
The endowment is invested and managed by Yale University, and the Paul Mellon Centre’s annual funding comes from the interest earned on this investment.
Every year, the Centre’s Trustees review budgets and projections for the next financial year and the following four years at their February meeting. Based on these reports, and the investment returns of the Centre’s endowment, the Trustees expect the Centre will have adequate reserves and resources to continue its activities for the foreseeable future and to meet its obligations as they fall due.
## **Future Plans**
Dr Sarah Victoria Turner was appointed as the sixth Director of The Paul Mellon Centre for Studies in British Art by the Board of Trustees, with effect from 1st July 2023. After joining the Centre as Head of Research in 2013, Turner was promoted to Deputy Director for Research and then Deputy Director. She held the interim position of Acting Director of the Centre from March to July 2023. She has been working with the Trustees and PMC staff to set out her strategic vision and strategy for the Centre and the field of British art studies. The Director and staff are preparing a strategy action plan, highlighting key objectives for the Centre, for the Board of Trustees’ approval.
The exterior of the Centre’s premises was decorated in summer 2023 and scheduled work to the roof and windows was completed. A refreshment of internal decor and an analysis of the use of public spaces and staff amenities commenced in spring 2024. A longer-term plan for creating accessible space for public events, visiting fellows, and teaching is in process.
The Centre’s Senior Leadership Team is in discussion with Tate Britain about future funding streams for the British Art Network following the completion of the grant from Arts Council England.
## **Public Benefit**
We have referred to the Charity Commission’s general guidance on public benefit when reviewing our aims and objectives and in planning our future activities. In particular, the Trustees consider how planned activities will contribute to the aims and objectives they have set.
## **Reserves Policy**
The Centre maintains a reserve held in GBP that is equivalent to the current year’s operating budget.
At the year end, the unrestricted reserves are £11,865,979 (2023: £10,812,057 [restated]). After removing reserves related to intangible, tangible fixed assets, and heritage assets of £2,949,142 (2023: £3,008,173) and designated funds of £251,899 (2023: £296,128), there are free reserves of £8,664,938 (2023: £7,507,756 [restated]). The level of annual expenditure will fluctuate year on year and the level of reserves is broadly in line with this.
At the year end, reserves totalled £11,942,949 (2023: £10,899,423 [restated]). A breakdown of reserves is given in the notes.
## **Risk Review**
The Centre’s Senior Leadership Team periodically reviews the principal risks and uncertainties facing the charity and aims to establish policies, systems, and procedures to mitigate the risks identified. The main financial risks currently faced by the Centre are the fluctuation in the GBP:USD exchange rate, as the Centre’s annual endowment income is awarded in USD, and the potential reduction in annual endowment income if the investment performance of the Centre’s endowment, which is under the control of Yale University, is negatively impacted by global economic conditions.
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The Centre mitigates these risks by ensuring that it maintains sufficient reserves in the UK.
The exchange rate fluctuation risk is also managed by the Centre by ensuring that its annual budgets are calculated at a variety of potential exchange rates to ensure that the Centre could cover its expenditure based on the worst potential exchange rate.
The Senior Leadership Team also focuses on non-financial areas where risks may occur, such as fire safety, health and safety, emergency planning, IT, human resources (HR), and, since the impact of the recent pandemic across the world, the Centre also considers the impact of global economic conditions when assessing risk. During the year, existing policies, procedures, and systems in these areas continued to be updated, enhanced, and developed as required and relevant training arranged where necessary. Work reviewing, updating, and formalising the Centre’s HR documentation and processes also continued during the year.
Going forward, the main factor that could affect the financial performance or position of the charity would be the fluctuation in the GBP:USD exchange rate and the investment performance of the Centre’s endowment.Going forward, the main factor that could affect the financial performance or position of the charity is the fluctuation in the GBP:USD exchange rate and the investment performance of the Centre’s Endowment.
## **Investment Policy**
The Centre does not invest the endowment, which is under the control of Yale University. However, the reserves in London, as required in the reserves policy above, are kept on secure fixed-term deposit.
## **Fundraising**
The Centre does not currently carry out fundraising activities.
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Trustees’ Report and Financial Statements — June 2024
## **Statement of responsibilities of Trustees**
The Trustees (who are also directors of The Paul Mellon Centre for Studies in British Art for the purposes of company law) are responsible for preparing the Trustees’ Annual Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).
Company law requires the Trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charitable company and of the incoming resources and application of resources, including the income and expenditure of the charitable company for that period. In preparing these financial statements, the Trustees are required to:
- [Select suitable accounting policies and then ] apply them consistently
- [Observe the methods and principles in the ] Charities Statement of Recommended Practice (SORP)
- [Make judgements and estimates that are ] reasonable and prudent
- [State whether applicable UK accounting ] standards and statements of recommended practice have been followed, subject to any material departures disclosed and explained in the financial statements
for the prevention and detection of fraud and other irregularities.
The Trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and group and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.
The Trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions.
The members of the charity, who are also Statutory Directors, guarantee to contribute an amount not exceeding £1 to the assets of the charity in the event of winding up. The total number of such guarantees as of 30 June 2024 was four (2023: four). The Trustees are members of the charity, but this only entitles them to voting rights. The Trustees have no beneficial interest in the charity.
- [Prepare the financial statements on the going ] concern basis unless it is inappropriate to presume that the charity will continue in operation
The Trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and group and hence for taking reasonable steps
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## **Statement as to the disclosure of information to auditor**
The Trustees in office on the date of approval of these financial statements have confirmed, as far as they are aware, that there is no relevant audit information of which the auditor is unaware. Each of the Trustees has confirmed that they have taken all the steps that they ought to have taken as Trustees in order to make themselves aware of any relevant audit information and establish that it has been communicated to the auditor.
In August 2022, Sayer Vincent LLP were appointed by the Board of Trustees as the Centre’s accountants and auditors.
This report has been prepared in accordance with the exemptions available for small entities under the Companies Act.
On behalf of the Board
Susan Gibbons
Trustee Date: 26 February 2025
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Statement of responsibilities of Trustees
Trustees’ Report and Financial Statements — June 2024
## Section 2 **Auditor’s Report**
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Trustees’ Report and Financial Statements — June 2024
## Section 2
## **Auditor’s Report**
## **Opinion**
We have audited the financial statements of The Paul Mellon Centre for Studies in British Art (the ‘charitable company’) for the year ended 30 June 2024 which comprise the statement of financial activities, balance sheet, statement of cash flows, and notes to the financial statements, including significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including FRS 102 _The Financial Reporting Standard applicable in the UK and Republic of Ireland_ (United Kingdom Generally Accepted Accounting Practice).
In our opinion, the financial statements:
- [Give a true and fair view of the state of the charitable company’s affairs ] as at 30 June 2024 and of its incoming resources and application of resources, including its income and expenditure for the year then ended
- [Have been properly prepared in accordance with United Kingdom ] Generally Accepted Accounting Practice
- [Have been prepared in accordance with the requirements of the ] Companies Act 2006
## **Basis for opinion**
We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report. We are independent of the charitable company in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
## **Conclusions relating to going concern**
In auditing the financial statements, we have concluded that the Trustees’ use of the going concern basis of accounting in the preparation of the financial statements is appropriate.
Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on The Paul Mellon Centre for Studies in British Art’s
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ability to continue as a going concern for a period of at least twelve months from when the financial statements are authorised for issue.
Our responsibilities and the responsibilities of the Trustees with respect to going concern are described in the relevant sections of this report.
## **Other Information**
The other information comprises the information included in the Trustees’ Annual Report, other than the financial statements and our auditor’s report thereon. The Trustees are responsible for the other information contained within the annual report. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon. Our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the course of the audit, or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether this gives rise to a material misstatement in the financial statements themselves. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact.
We have nothing to report in this regard.
Opinions on other matters prescribed by the Companies Act 2006
In our opinion, based on the work undertaken in the course of the audit:
- [The information given in the Trustees’ Annual Report for the financial year ] for which the financial statements are prepared is consistent with the financial statements; and
- [The Trustees’ Annual Report has been prepared in accordance with ] applicable legal requirements.
## **Matters on which we are required to report by exception**
In the light of the knowledge and understanding of the charitable company and its environment obtained in the course of the audit, we have not identified material misstatements in the Trustees’ Annual Report. We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion:
- [Adequate accounting records have not been kept, or returns adequate for ] our audit have not been received from branches not visited by us; or
- [The financial statements are not in agreement with the accounting records ] and returns; or
- [Certain disclosures of Trustees’ remuneration specified by law are not ] made; or
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- [We have not received all the information and explanations we require for ] our audit; or
- [The Trustees were not entitled to prepare the financial statements in ] accordance with the small companies regime and take advantage of the small companies’ exemptions in preparing the Trustees’ Annual Report and from the requirement to prepare a strategic report.
## **Responsibilities of Trustees**
As explained more fully in the statement of Trustees’ responsibilities set out in the Trustees’ Annual Report, the Trustees (who are also the directors of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the Trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.
In preparing the financial statements, the Trustees are responsible for assessing the charitable company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the Trustees either intend to liquidate the charitable company or to cease operations, or have no realistic alternative but to do so.
## **Auditor’s responsibilities for the audit of the financial statements**
Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.
Irregularities, including fraud, are instances of non-compliance with laws and regulations. We design procedures in line with our responsibilities, outlined above, to detect material misstatements in respect of irregularities, including fraud. The extent to which our procedures are capable of detecting irregularities, including fraud are set out below.
## **Capability of the audit in detecting irregularities**
In identifying and assessing risks of material misstatement in respect of irregularities, including fraud and non-compliance with laws and regulations, our procedures included the following:
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- [We enquired of management, which included obtaining and reviewing ] supporting documentation, concerning the charity’s policies and procedures relating to:
- [Identifying, evaluating, and complying with laws and regulations and ] whether they were aware of any instances of non-compliance;
- [Detecting and responding to the risks of fraud and whether they have ] knowledge of any actual, suspected, or alleged fraud;
- [The internal controls established to mitigate risks related to fraud or ] non-compliance with laws and regulations.
- [We inspected the minutes of meetings of those charged with governance.]
- [We obtained an understanding of the legal and regulatory framework that ] the charity operates in, focusing on those laws and regulations that had a material effect on the financial statements or that had a fundamental effect on the operations of the charity from our professional and sector experience.
- [We communicated applicable laws and regulations throughout the audit ] team and remained alert to any indications of non-compliance throughout the audit.
- [We reviewed any reports made to regulators.]
- [We reviewed the financial statement disclosures and tested these to ] supporting documentation to assess compliance with applicable laws and regulations.
- [We performed analytical procedures to identify any unusual or unexpected ] relationships that may indicate risks of material misstatement due to fraud.
- [In addressing the risk of fraud through management override of controls, ] we tested the appropriateness of journal entries and other adjustments, assessed whether the judgements made in making accounting estimates are indicative of a potential bias and tested significant transactions that are unusual or those outside the normal course of business.
Because of the inherent limitations of an audit, there is a risk that we will not detect all irregularities, including those leading to a material misstatement in the financial statements or non-compliance with regulation. This risk increases the more that compliance with a law or regulation is removed from the events and transactions reflected in the financial statements, as we will be less likely to become aware of instances of non-compliance. The risk is also greater regarding irregularities occurring due to fraud rather than error, as fraud involves intentional concealment, forgery, collusion, omission or misrepresentation.
A further description of our responsibilities is available on the Financial Reporting Council’s website at: www.frc.org.uk/auditorsresponsibilities. This description forms part of our auditor’s report.
## **Use of our report**
This report is made solely to the charitable company’s members as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable company’s
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members those matters we are required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charitable company and the charitable company’s members as a body, for our audit work, for this report, or for the opinions we have formed.
Noelia Serrano (Senior statutory auditor)
## Date 21 March 2025
For and on behalf of Sayer Vincent LLP, Statutory Auditor Invicta House, 110 Golden Lane, LONDON, EC1Y 0TG
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Section 3 **Financial Statements**
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Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Statement of financial activities (incorporating an income and expenditure account)
For the year ended 30 June 2024
|Note
Income from:
2
3
4
5
6
7
7
7
7
7
7
7
9
Reconciliation of funds:
27
Investments
Other trading activities
Yale in London
Donations and legacies
Charitable activities
Net incoming resources for the year
Total expenditure
Charitable activities
Research collections
Pevsner programme
Other
Total income
Expenditure on:
Total funds carried forward
Transfers between funds
Net movement in funds
Total funds before restatement brought
Prior year adjustments
Total funds after restatement brought
Publishing - print and digital
Grants and fellowships
Academic activities
Yale in London
Research projects|Unrestricted
£
6,851,065
210,653
165,255
163,636
24,013|Restricted
£
-
-
-
-
-|2024
Total
£
6,851,065
210,653
165,255
163,636
24,013
7,414,622
657,865
1,303,118
1,927,229
382,912
1,178,034
906,296
15,642
6,371,096
1,043,526
-
1,043,526
11,077,010
(177,587)
10,899,423
11,942,949|Unrestricted
£
6,171,619
337,249
272,707
83,942
215|Restricted
£
383,747
-
-
-
-|2023
Restated
Total
£
6,555,366
337,249
272,707
83,942
215|
|---|---|---|---|---|---|---|
||7,414,622|-||6,865,732|383,747|7,249,479|
||651,469
1,299,118
1,927,229
382,912
1,178,034
906,296
-|6,396
4,000
-
-
-
-
15,642||983,702
1,127,301
1,449,710
458,743
1,173,012
900,303
-|-
2,953
-
-
387,145
-
131,203|983,702
1,130,254
1,449,710
458,743
1,560,157
900,303
131,203|
||6,345,058|26,038||6,092,771|521,301|6,614,072|
||1,069,564
(15,642)|(26,038)
15,642||772,961
(4,310)|(137,554)
4,310|635,407
-|
||1,053,922
10,989,644
(177,587)|(10,396)
87,366
-||768,651
10,043,406
-|(133,244)
220,610
-|635,407
10,264,016
-|
||10,812,057|87,366||10,043,406|220,610|10,264,016|
||11,865,979|76,970||10,812,057|87,366|10,899,423|
All of the above results are derived from continuing activities. There were no other recognised gains or losses other than those stated above. Movements in funds are disclosed in Note 24a to the financial statements.
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Statement of Financial Activities
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
## Balance sheet
Company no. 00983028
## As at 30 June 2024
|Note
£
Fixed assets:
14
15
16
Current assets:
17
785,934
18
646,541
6,420,000
2,695,985
10,548,460
Liabilities:
19
(1,372,653)
21
24a
251,899
11,614,080
Total unrestricted funds
General funds
Total charity funds
Cash at bank and in hand
Short term deposits
Tangible assets
Intangible assets
Heritage Assets
The funds of the charity:
Creditors: amounts falling due within one year
Net current assets
Total net assets
Creditors: amounts falling due after one year
Total assets less current liabilities
Restricted income funds
Unrestricted income funds:
Designated funds
Stock
Debtors|Note
£
Fixed assets:
14
15
16
Current assets:
17
785,934
18
646,541
6,420,000
2,695,985
10,548,460
Liabilities:
19
(1,372,653)
21
24a
251,899
11,614,080
Total unrestricted funds
General funds
Total charity funds
Cash at bank and in hand
Short term deposits
Tangible assets
Intangible assets
Heritage Assets
The funds of the charity:
Creditors: amounts falling due within one year
Net current assets
Total net assets
Creditors: amounts falling due after one year
Total assets less current liabilities
Restricted income funds
Unrestricted income funds:
Designated funds
Stock
Debtors|2024
£
103,883
1,622,509
1,222,750|£
670,910
701,606
4,292,415
3,951,597|2023
Restated
£
118,271
1,697,152
1,192,750|
|---|---|---|---|---|
|||2,949,142
9,175,807||3,008,173
8,103,966|
||10,548,460
(1,372,653)||9,616,528
(1,512,562)||
||251,899
11,614,080||296,128
10,515,929||
|||12,124,949
(182,000)||11,112,139
(212,716)|
|||11,942,949||10,899,423|
|||76,970
11,865,979||87,366
10,812,057|
||||||
|||11,942,949||10,899,423|
Approved by the Trustees on 26 February 2025 and signed on their behalf by
Susan Gibbons Trustee
34
Balance Sheet
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Statement of cash flows
|Statement of cash flows|||||
|---|---|---|---|---|
|For the year ended 30 June 2024|||||
|Cash flows from operating activities
Net income for the reporting period
(as per the statement of financial activities)
Depreciation charges
Amortisation charges
Leasehold Improvements write off
Dividends, interest from investments
(Increase) in stocks
(Increase)/decrease in debtors
(Increase) in short term deposits
(Decrease)/Increase in creditors
Net cash (used in)/ provided by operating activities
Analysis of cash and cash equivalents and of net debt
Cash at bank and in hand
Total cash and cash equivalents
Cash and cash equivalents at the beginning of the year
Net cash (used in) investing activities
Cash flows from investing activities:
Dividends, interest and rents from investments
Purchase of fixed assets
Purchase of intangible assets
Donation of Heritage Assets
Cash and cash equivalents at the end of the year
Change in cash and cash equivalents in the year|£
1,043,526
146,322
35,720
66,688
(163,636)
(115,024)
55,065
(2,127,585)
(170,625)
163,636
(138,367)
(21,332)
(30,000)|£
2024|£
635,407
134,872
34,677
-
(83,942)
51,777
(283,532)
(592,415)
276,688
83,942
(49,170)
(100,836)
(45,000)|Restated
£
2023|
|||(1,229,549)
(26,063)||173,532
(111,064)|
||At 1 July
2023
£
3,951,597||Other non-
cash
changes
£
-||
|||(1,255,612)
3,951,597||62,468
3,889,129|
|||2,695,985||3,951,597|
|||
Cash flows
£
(1,255,612)||
At 30 June
2024
£
2,695,985|
||3,951,597|(1,255,612)|-|2,695,985|
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Statement of Cash Flows
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
## For the year ended 30 June 2024
- 1 Accounting policies
## a) Statutory information
The Paul Mellon Centre for Studies in British Art (the Centre) is a private charitable company limited by guarantee and is incorporated in England and Wales (no. 983028).
The registered office address is 16 Bedford Square, London, WC1B 3JA.
## b) Basis of preparation
The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) - (Charities SORP FRS 102), The Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Charities Act 2011.
Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy or note.
In applying the financial reporting framework, the trustees have made a number of subjective judgements, for example in respect of significant accounting estimates. Estimates and judgements are continually evaluated and are based on historical experience and other factors, including expectations of future events that are believed to be reasonable under the circumstances. The nature of the estimation means the actual outcomes could differ from those estimates. Any significant estimates and judgements affecting these financial statements are detailed within the relevant accounting policy below.
## c) Public benefit entity
The charity meets the definition of a public benefit entity under FRS 102.
Key judgements that the charity has made which have a significant effect on the accounts are included in the note below. The trustees do not consider that there are any sources of estimation uncertainty at the reporting date that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next reporting period.
## d) Critical accounting estimates and areas of judgement
In the application of the charity's accounting policies, the Trustees are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.
The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised.
The Centre holds a large collection of historical books and archives which are held in support of the Centre's primary objective of advancing education in, and appreciation and understanding of British art. The Trustees must consider whether a suitable and reliable valuation technique is available at a cost that is not so onerous as to outweigh any such benefits of obtaining the valuation. These assets are valued professional regularly to ensure they are disclosed at their fair value at the balance sheet date. More details can be found in note 1t.
The Trustees review any grants that have been committed during the year and remain unpaid at the year end. The Trustees must make a judgement as to whether the unpaid grants meet the criteria to be recognised in the financial year and therefore accrued as a liability at the year end. The amount of grants and fellowships awarded but not paid as at 30 June 2024 was £1,042,083 (2023: £928,320).
A key judgement is the determination of whether the publications stock held by third parties should be held on the Centre's Balance Sheet. Management have considered the risks and rewards attached to the stock, and have determined that the stock of publications, which are held by third parties, should be treated as consignment stock, and therefore held on the Centre's Balance Sheet at the reporting date at the lower cost and net realisable value. The value of stock (finished goods and publication in progress) recognised at the year end is £785,934 (2023: £670,910 restated).
## e) Going concern
The trustees consider that there are no material uncertainties about the charity's ability to continue as a going concern.
36
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
## For the year ended 30 June 2024
- 1 Accounting policies (continued)
- f) Income
Income is recognised when the charity has entitlement to the funds, any performance conditions attached to the income have been met, it is probable that the income will be received and that the amount can be measured reliably.
Publishing royalties are accounted for on an accruals basis.
Income relating to Yale in London is recognised in the year in which a programme is undertaken. Income received in advance of provision of the service is deferred until the criteria for income recognition are met.
- g) Interest receivable Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity; this is normally upon notification of the interest paid or payable by the bank.
- h) Fund accounting Restricted funds are donations and other income receivable or generated that are subjected to restrictions on their expenditure imposed by their donor.
Unrestricted funds are donations and other income receivable or generated for the objects of the charity without further specified purpose and are available as general funds.
Designated funds are donations, set aside by the Trustees for key programmes.
i) Expenditure and irrecoverable VAT Expenditure is recognised on an accruals basis as a liability is incurred. It is allocated to the particular activity where the cost relates directly to that activity. Expenditure is classified under the following activity headings:
- Expenditure on charitable activities includes the costs of publication and printing costs, grants and fellowship costs, academic activity costs, educational programme costs, research projects and collections costs, and Pevsner programme costs, undertaken to further the purposes of the charity and their associated support costs.
- Support costs and overheads include central functions and have been allocated to charitable activity based on staff costs on each charitable activity.
- Governance costs are costs associated with the governance arrangements of the charity which relate to the general running of the charity as opposed to those costs associated with charitable expenditure. Included within this category are costs associated with the strategic as opposed to day to day management of the charity's activities.
Irrecoverable VAT is charged as a cost against the activity for which the expenditure was incurred.
- j) Grants and fellowships payable Grants are accounted for on an accruals basis according to when they are awarded. Grants awards that are subject to the recipient fulfilling performance conditions are only accrued when the recipient has been notified of the grant.
- k) Operating leases
Rentals payable under operating leases are charged on a straight-line basis over the term of the lease.
- l) Intangible fixed assets and amortisation Intangible assets are recognised at cost and are subsequently measured at cost less accumulated amortisation. Amortisation is recognised so as to write off the cost of assets less their residual values over their useful lives on the following bases:
> Website development over 3 years
Website development has a useful economic life of 3 years because after this period it will become outdated.
37
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
For the year ended 30 June 2024
- 1 Accounting policies (continued)
- m) Tangible fixed assets and depreciation All fixed assets are stated at historical cost less accumulated depreciation. The cost of minor additions or those costing below £1,000 are not capitalised.
Depreciation is provided at rates calculated to write each asset down to its estimated residual value evenly over its expected useful life, as follows:
- Leasehold improvements
- Fixtures and fittings
- Computer equipment
over remaining lease term over 5 years over 3 years
A review for impairment of a fixed asset is carried out if events or changes in circumstances indicate that the carrying value of any fixed asset may not be recoverable. Shortfalls between the carrying value of fixed assets and their recoverable amounts are recognised as impairments. Impairment losses are recognised in the Statement of Financial Activities.
## n) Stock
Under the memorandum of agreement (MOA) with YUP effective from 1 January 2020, the cost of the Centre's publications are recognised as an asset in the Centre's Balance Sheet. Stock comprises of both finished publications and publications in progress. Finished publications are valued at the lower of cost and estimated selling price less costs to complete and sell. Publication in progress represents the direct costs incurred on titles that have not been published at the balance sheet date.
The cost of publications produced by the Centre is determined as the total publication costs for each publication, including proofing, designing, printing and delivery to the warehouse. The cost of publications produced by a third party (such as YUP) is determined as the total amount paid to the third party to produce the publications.
At each reporting date, management assesses whether stocks are impaired or if an impairment loss recognised in prior periods has reversed. Any excess of the carrying amount of stock over its estimated selling price less costs to complete and sell is recognised as an impairment loss.
- o) Debtors
- Trade and other debtors are recognised at the settlement amount due after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.
- p) Short term deposits
- Short term deposits includes cash balances that are invested in accounts with a maturity date of between 3 and 12 months.
- q) Cash at bank and in hand
Cash at bank and cash in hand includes cash and short term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar account.
- r) Creditors and provisions
- Creditors and provisions are recognised where the charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors and provisions are normally recognised at their settlement amount after allowing for any trade discounts due.
- s) Financial instruments
The charity has elected to apply the provisions of Section 11 "Basic Financial Instruments" and Section 12 "Other Financial Instruments Issues" of FRS 102, in full, to all of its financial instruments.
Financial instruments are classified and accounted for according to the substance of the contractual arrangement as financial assets, financial liabilities or equity instruments. An equity instrument is any contract that evidences a residual interest in the assets of the entity after deducting all of its liabilities.
## Financial assets
Basic financial assets, which include trade and other debtors and accrued income are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost.
## Financial liabilities
Basic financial liabilities, which include trade and other creditors, grants awarded but not yet paid and accruals, are initially measured at transaction price and subsequently measured at amortised cost.
38
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
## The Paul Mellon Centre for Studies in British Art
## Notes to the financial statements
## For the year ended 30 June 2024
- 1 Accounting policies (continued)
- t) Heritage assets
- The Centre has a collection of historical books and archives which are held in support of the Centre's primary objective of advancing education in, and appreciation and understanding of, British art. Additions to the collection are capitalised and recognised on the Balance Sheet at the cost or value of the acquisition, where such a cost or valuation is reasonably obtainable. Such items are not depreciated as they are deemed to have indefinite lives. Acquisitions are capitalised at cost. Purchased assets above a cost of £1,000 are capitalised. Donated objects are capitalised at their deemed value at the date of donation. This value will be determined by professionals with the relevant and appropriate qualifications and experiences. The Trustees adopt a revaluation policy for heritage assets. The collection is revalued regularly to ensure it is stated at their fair value.
- u) Retirement benefits
The charity operates a defined contribution scheme. The charge to the Statement of Financial Activities is the amount payable in respect of the accounting period. Unpaid contributions are recognised and are provided for in the Balance Sheet (see note 22 for further information).
- 2 Income from donations and legacies
|Income from donations and legacies|||||||
|---|---|---|---|---|---|---|
|Income from endowment at Yale
Donation of heritage assets
Gifts in Kind|Unrestricted
£
6,821,065
30,000
-|£
-
-
-
Restricted|2024
Total
£
6,821,065
30,000
-|Unrestricted
£
6,119,215
45,000
7,404|£
383,747
-
-
Restricted|2023
Total
£
6,502,962
45,000
7,404|
||6,851,065|-|6,851,065|6,171,619|383,747|6,555,366|
- 3 Income from charitable activities
|Income from charitable activities|||||||
|---|---|---|---|---|---|---|
|Yale in London|Unrestricted
£
210,653|£
-
Restricted|2024
Total
£
210,653|Unrestricted
£
337,249|£
-
Restricted|2023
Total
£
337,249|
||210,653|-|210,653|337,249|-|337,249|
39
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
## Notes to the financial statements
## For the year ended 30 June 2024
- 4 Income from other trading activities
|4
Income from other trading activities|||||||
|---|---|---|---|---|---|---|
|Publishing royalties
5
Bank interest receivable
6
Profit on sales of fixed assets
Miscellaneous
Income from investments
Other Income|Unrestricted
£
165,255|£
-
Restricted|2024
Total
£
165,255|Unrestricted
£
272,707|£
-
Restricted|2023
Total
£
272,707|
||165,255|-|165,255|272,707|-|272,707|
||Unrestricted
£
163,636|£
-
Restricted|2024
Total
£
163,636|Unrestricted
£
83,942|£
-
Restricted|2023
Total
£
83,942|
||163,636|-|163,636|83,942|-|83,942|
||Unrestricted
£
2,255
21,758|£
-
Restricted|2024
Total
£
2,255
21,758|Unrestricted
£
215
-|£
-
Restricted|2023
Total
£
215
-|
||24,013|-|24,013|215|-|215|
40
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
|Notes to the financial statements||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
|For the year ended 30 June 2024||||||||||||
|7a
Staff costs (note 10)
Publications
Academic direct costs
Grants awarded (note 8)
Special projects
Pevsner
Operating costs
Building costs
Audit and accountancy
Legal and professional
Amortisation and depreciation
Other expenses
Support costs
Governance costs
Total expenditure 2024
Total expenditure 2023
Analysis of expenditure (current
|year)||C|haritable activi|ties|||
Governance
costs
£
-
-
-
-
-
-
-
-
38,310
58,426
-
7,360|
Support costs
£
819,401
-
-
-
-
-
130,755
631,285
-
-
-
555,014|2024
Total
£
2,372,494
225,578
772,514
985,023
374,014
15,642
130,755
631,285
38,310
58,426
182,042
585,013|
2023
Total
£
2,275,404
418,157
816,051
982,157
708,943
121,389
159,239
349,045
55,140
64,439
169,549
494,559|
||Publishing -
print and
digital
£
168,872
225,578
-
-
-
-
-
-
-
-
19,794
-|
Grants and
fellowships
£
115,419
-
-
985,023
-
-
-
-
-
-
13,529
22,639|
Academics
activities
£
581,268
-
439,270
-
-
-
-
-
-
-
68,132
-|
Yale in
London
£
47,766
-
260,637
-
-
-
-
-
-
-
5,599
-|
Research
projects
£
314,089
-
-
-
374,014
-
-
-
-
-
36,815
-|
Research
collections
£
325,679
-
72,607
-
-
-
-
-
-
-
38,173
-|
Pevsner
programme
£
-
-
-
-
-
15,642
-
-
-
-
-
-|||||
||414,244
232,302
11,319|1,136,610
158,772
7,736|1,088,670
799,600
38,959|314,002
65,708
3,202|724,918
432,065
21,051|436,459
448,008
21,829|15,642
-
-|104,096
-
(104,096)|2,136,455
(2,136,455)
-|6,371,096
-
-|6,614,072
-
-|
||657,865|1,303,118|1,927,229|382,912|1,178,034|906,296|15,642|-|-|6,371,096||
||983,702|1,130,254|1,449,710|458,743|1,560,157|900,303|131,203|-|-||6,614,072|
41
41
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
- For the year ended 30 June 2024 7b Analysis of expenditure (prior year)
## Charitable activities
|Staff costs (note 10)
Publications
Academic direct costs
Grants awarded (note 8)
Special projects
Pevsner
Operating costs
Building costs
Audit and accountancy
Legal and professional
Amortisation and depreciation
Other expenses
Support costs
Governance costs
Total expenditure 2023|Publishing -
print and
digital
£
266,742
418,157
-
-
-
-
-
-
-
-
27,013
-|Grants and
fellowships
£
62,174
-
-
982,157
-
-
-
-
-
-
6,296
16,276|Academics
activities
£
480,743
-
430,440
-
-
-
-
-
-
-
48,685
-|Yale in
London
£
57,831
-
334,759
-
-
-
-
-
-
-
5,856
1,371|Research
projects
£
401,479
-
-
-
708,943
-
-
-
-
-
40,657
-|Research
collections
£
400,647
-
50,852
-
-
-
-
-
-
-
40,573
-|Pevsner
programme
£
4,629
-
-
-
-
121,389
-
-
-
-
469
-|Governance
costs
£
-
-
-
-
-
-
-
-
55,140
64,439
-
6,345|Support costs
£
601,159
-
-
-
-
-
159,239
349,045
-
-
-
470,567|2023
Total
Restated
£
2,275,404
418,157
816,051
982,157
708,943
121,389
159,239
349,045
55,140
64,439
169,549
494,559|
|---|---|---|---|---|---|---|---|---|---|---|
||711,912
251,728
20,062|1,066,903
58,675
4,676|959,868
453,684
36,158|399,817
54,576
4,350|1,151,079
378,882
30,196|492,072
378,097
30,134|126,487
4,368
348|125,924
-
(125,924)|1,580,010
(1,580,010)
-|6,614,072
-
-|
||983,702|1,130,254|1,449,710|458,743|1,560,157|900,303|131,203|-|-|6,614,072|
42
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
- For the year ended 30 June 2024 8a Grants and Fellowships (current year)
|Grants and Fellowships (current year)
e year ended 30 June 2024||||||
|---|---|---|---|---|---|
|Early Career Fellowship
Junior Fellowships
MA/Mphil Studentship
Mid-Career Fellowships
Postdoctoral Fellowships
Research Support Grants
At the end of the year
Andrew Wyld Research Support Grants
Collaborative Project Grants
Curatorial Research Grants
Digital Project Grants
Event Support Grants
Publication Grants
Rome Fellowship
Senior Fellowships
Conservation Grant
Doctoral Scholarship|Grants to
institutions
£
-
39,593
161,000
79,752
35,577
81,150
-
-
-
-
-
-
-
11,500
-
43,757|
Grants to
individuals
£
4,000
-
-
-
-
19,370
56,209
96,000
70,000
32,000
64,000
108,000
105,000
7,000
60,000
-|
Grants
cancelled/
written back
in the year
£
-
-
-
(40,000)
(2,800)
(19,710)
(5,640)
-
-
(7,500)
-
-
(10,000)
-
(3,235)
-|
2024
£
4,000
39,593
161,000
39,752
32,777
80,810
50,569
96,000
70,000
24,500
64,000
108,000
95,000
18,500
56,765
43,757|2023
£
2,953
40,000
155,054
78,376
15,196
93,728
58,339
96,000
70,000
32,000
32,000
121,093
90,000
20,000
52,445
24,973|
||452,329|621,579|(88,885)|985,023|982,157|
In the year ended 30 June 2024, 66 grants and fellowships were awarded to individuals (2023: 72) and 44 grants and fellowships were awarded to institutions (2022: 35). A description of the nature of grants paid is included in the Governor's Report.
## Administration of grants was £22,639 (2023: £16,276).
Grants cancelled in the year are higher than usual. This figure includes two grants to ICA totalling £50,000, which were awarded in October 2018. The projects that the grants were awarded for were delayed due to the Covid pandemic and then, due to changes in priorities of the ICA, the projects were cancelled. The grants awarded were returned during the year.
43
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
## For the year ended 30 June 2024
- 8a Grants and Fellowships (current year continued)
|e year ended 30 June 2024
Grants and Fellowships (current year continued)||
|---|---|
|Nottingham contemporary
Hamilton Kerr Institute, Fitzwilliam Museum
Whitechapel Gallery
Oxbow Books
University of Edinburgh
The Stained Glass Museum
The Womens's Art Library (Goldsmith's, University of London University
V&A
Kingston University
Letchworth Heritage Foundation
Liverpool Cathedral
Mount Stuart Trust
Studio Voltaire
McGil-Queens' University Press
Yale University Press London
Institutional grants were awarded as follows:
Curatorial Research Grants
Camden Art Centre
Delaware Art Museum
Collaborative Project Grants
Conservation grant
Sir John Sloane's Museum
The Photographers' Gallery
Association of Historians of Nineteenth Century Art
University of York
University of Westminster
Kunsthalle Mannheim
The Photographers' Gallery
Universidad de San Buenaventura Cali
Warwick University
British School at Rome
Publication Grants
Queen Mary, University of London & University of Aberdeen
Queen's University, Belfast
Event Support Grants
Royal Holloway, University of London
Digital Project Grants
Peckham Platform
Leeds Museums and Galleries
Pallant House
The Chinese University of Hong Kong Press
Museums Norththumberland
Compton Verney House Charity
Whitechapel Gallery
Rome Fellowship
Manchester University Press
The Hepworth Wakefield
Baltic Centre for Contemporary Art
Drawing Room
National Galleries of Scotland
National Museums Liverpool
The Hunterian|Awarded in
the year
£
19,593
20,000
20,000
25,000
36,000
40,000
40,000
5,847
20,945
22,960
30,000
600
1,000
1,327
2,000
2,000
2,000
2,000
2,000
2,000
2,650
3,000
3,000
3,000
3,000
3,000
3,000
5,000
5,000
5,000
5,000
5,000
5,000
5,000
5,000
5,000
5,500
6,900
7,000
7,000
9,750
11,500
18,757
25,000|
||452,329|
44
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
For the year ended 30 June 2024
- 8a Grants and Fellowships (current year continued)
|Individual grants subtotal carried forward
Alan Mitchell
Anna Kaczynska
Publication Grants
Evelyn Whorrall-Campbell
Dorota Jagoda Michalska
Lydia Fisher
Junior Fellowships
Megan Boulton
Meredith Gamer
Mid-Career Fellowships
Sarah Churchill
Isabelle Jain
Megha Chand Inglis
Sonal Khullar
Postdoctoral Fellowships
Hope Doherty-Harrison
Giulia Smith
Kate Nichols
Emily Lashford
Doctoral Scholarship
Morgan Quaintance
Jennifer Marine
Alborz Dianat
Michael Sappol
Meg Kobza
Dominic Johnson
Michael Ohajuru
Catherine Spencer
Altair Brandon-Salmon
Michael Clegg
Jennifer Marine
Early Career Fellowship
Sequoia Barnes
McKenzie Stupica
Amy Orner
Caterina Franciosi
Gabe Beckhurst
Hilary Fraser
Andrew Wyld Research Support Grants
MA/Mphil Studentship
Individual grants were awarded as follows:|Awarded in
the year
£
2,000
2,000
96,000
70,000
8,000
8,000
8,000
8,000
32,000
32,000
18,000
18,000
18,000
18,000
18,000
18,000
15,000
15,000
15,000
15,000
15,000
15,000
15,000
1,000
1,000
1,370
2,000
2,000
3,000
3,000
3,000
3,000|
|---|---|
||498,370|
45
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements For the year ended 30 June 2024
|For the year ended 30 June 2024||
|---|---|
|8a
Individual grants subtotal brought forward
Aurelie Petiot
Paola Colleoni
Marion Belouard
Joseph McBrinn
Lucy Howie
Constance Marq
Kirsty Sinclair Dootson
Joy Onyejiako
Hemdat Kislev
Carole Nataf
Imogen Hart
Cassandra Harrington
Jennifer Johnson
Senior Fellowships
Sarah Thomas
Bryony Coombs
Lucy Chiswell
Miara Fraikin
James Moir
Jean Marie Christensen
Phoebe Herland
Anika Shaikh
Christopher Williams-Wynn
Lauren Working
Rome Fellowship
Bruce Peter
Louis-Antoine Mege
Anirbaan Banerjee
Sofia Nannini
Tristan Dot
Matthew Wells
Geraldine Mulcahy-Parker
Edward Gillin
Melanie Williams
Grants and Fellowships (current year continued)
Research Support Grants
Doris Duhennois
Lisa Brown
Nora Veszpremi|Awarded in
the year
£
498,370
490
660
790
1,300
1,312
1,370
1,430
1,435
1,472
1,500
1,555
1,670
1,784
1,806
1,860
1,922
1,952
1,961
1,974
1,986
1,990
1,990
2,000
2,000
2,000
2,000
2,000
2,000
2,000
2,000
2,000
2,000
2,000
7,000
60,000|
||621,579|
46
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
## Notes to the financial statements
## For the year ended 30 June 2024 8b Grants and Fellowships (prior year)
|Grants and Fellowships (prior year)|||||
|---|---|---|---|---|
|Senior Fellowships
Conservation Grant
At the end of the year
Rome Fellowship
Early Career Fellowship
Junior Fellowships
MA/Mphil Studentship
Mid-Career Fellowships
Postdoctoral Fellowships
Doctoral Scholarship
Andrew Wyld Research Support Grants
Collaborative Project Grants
Curatorial Research Grants
Digital Project Grants
Event Support Grants
Publication Grants
Research Support Grants|Grants to
institutions
£
-
40,000
155,054
80,000
17,400
65,481
-
-
-
-
-
-
-
11,500
-
24,973|
Grants to
individuals
£
2,953
-
-
-
1,500
33,247
58,339
96,000
70,000
32,000
32,000
126,000
90,000
8,500
60,000
-|
Grants
cancelled/
written back
in the year
£
-
-
-
(1,624)
(3,704)
(5,000)
-
-
-
-
-
(4,907)
-
-
(7,555)
-|
2023
£
2,953
40,000
155,054
78,376
15,196
93,728
58,339
96,000
70,000
32,000
32,000
121,093
90,000
20,000
52,445
24,973|
||394,408|610,539|(22,790)|982,157|
47
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
- For the year ended 30 June 2024 9 Net incoming resources for the year
This is stated after charging:
|This is stated after charging:|||
|---|---|---|
||2024|2023|
||£|£|
|Amortisation of intangible fixed assets|35,720|34,677|
|Depreciation of tangible fixed assets|146,322|134,872|
|Operating lease rentals payable:|||
|Property|340,401|340,400|
|Auditor's remuneration Fee (excluding VAT):|||
|Audit|26,500|23,800|
|Other services|-|12,180|
Of the total income, £7,318,876 (2023: £7,116,246) was received from outside the United Kingdom.
- 10 Analysis of staff costs, trustee remuneration and expenses, and the cost of key management personnel
Staff costs were as follows:
|Staff costs were as follows:|||
|---|---|---|
|Employer’s contribution to defined contribution pension schemes
Salaries and wages
Social security costs
Other forms of employee benefits|2024
£
1,844,936
219,273
293,413
14,872|2023
£
1,742,857
220,972
311,575
-|
||2,372,494|2,275,404|
The following number of employees received employee benefits (excluding employer pension costs and employer's national insurance) during the year between:
|
insurance) during the year between:|||
|---|---|---|
||2024|2023|
||No.|No.|
|£60,000 - £69,999|3|2|
|£70,000 - £79,999|2|2|
|£80,000 - £89,999|-|1|
|£90,000 - £99,000|1|-|
|£100,000 - £109,999|-|1|
|£110,000 - £119,999|1|-|
|£120,000 - £129,999|-|1|
|£150,000 - £159,999|-|1|
|£170,000 - £179,999|1|-|
The total employee benefits (including pension contributions and employer's national insurance) of the key management personnel were £543,237 (2023: £687,173). This comprises the Director, Chief Operating Officer, Chief Financial Officer, Head of Research & Learning and Head of Grants, Fellowships and Networks.
The Trustees were neither paid nor received any other benefits from employment with the charity in the year (2023: £nil). No Trustees received payment for professional or other services supplied to the charity (2023: £nil).
No amounts were paid, or expenses reimbursed to the Trustees during the year (2023: £nil).
48
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
For the year ended 30 June 2024
## 11 Staff numbers
The average number of employees (head count based on number of staff employed) during the year was 38 (2023: 35).
Staff are split across the activities of the charity as follows (based on average headcount):
|Staff are split across the activities of the charity as follows (based on average headcount):|||
|---|---|---|
|Charitable activities|2024
No.
38|2023
No.
35|
||38|35|
## 12 Related party transactions
During the year the charity received income of £7,150,698 (2023: £6,814,419) from Yale University, the entity responsible for establishing the charity. The University releases endowment monies to the charity from monies originally received from alumnus, Mr Paul Mellon. During the year, the charity paid £5,871 (2023: £6,549) to Yale University in reimbursement for costs incurred by Yale University on behalf of the charity. Included in accrued income is a balance of £211,759 (2023: £189,106) due from and included in accruals is a balance of £nil (2023: £nil) due to Yale University. At the year end, the charity owed Yale University £1,316 (2023: £897) in respect of sterling expenses incurred on behalf of the charity.
During the year the charity received £25,256 (2023: £36,551) from Yale NUS (Singapore), an entity under common control of Yale University.
During the year the charity received £165,255 (2023: £272,707) from Yale University Press, in relation to revenue share and publishing royalties. Yale University Press is a subsidiary of Yale University, the entity responsible for establishing the charity. During the year, the charity paid £40,790 (2023: £140,127) to Yale University Press for book publishing costs. Included in trade creditors is a balance of £1,316 (2023: £897) due to Yale University Press. Included in trade debtors is a balance of £30,057 (2023: £56,077) and included in accrued income is a balance of £11,779 (2023: £8,878) due from Yale University Press.
There are no donations from related parties which are outside the normal course of business and no restricted donations from related parties.
## 13 Taxation
The charity is exempt from corporation tax as all its income is charitable and is applied for charitable purposes.
## 14 Intangible fixed assets
|Intangible fixed assets||
|---|---|
|At the start of the year
Charge for the year
Eliminated on disposal
Amortisation
Additions in year
Disposals in year
Cost
At the start of the year
At the end of the year
Net book value
At the end of the year
At the end of the year
At the start of the year|Website
development
£
224,010
21,332
-|
||245,342|
||105,739
35,720
-|
||141,459|
||103,883|
||118,271|
Amortisation is charged to expenditure on charitable activities.
49
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
## For the year ended 30 June 2024
|For the year ended 30 June 2024|||||
|---|---|---|---|---|
|15
Cost
At the end of the year
At the start of the year
Depreciation
Eliminated on disposal
At the end of the year
Charge for the year
Tangible fixed assets
At the end of the year
Net book value
At the start of the year
Additions in year
At the start of the year
Disposals in year|Leasehold
improvements
£
2,280,081
-
(77,441)|
Fixtures and
fittings
£
654,029
52,467
(27,573)|
Computer
equipment
£
364,578
85,900
-|
Total
£
3,298,688
138,367
(105,014)|
||2,202,640|678,923|450,478|3,332,041|
||688,337
90,444
(10,754)|592,465
25,237
(27,573)|320,735
30,641
-|1,601,537
146,322
(38,327)|
||768,027|590,129|351,376|1,709,532|
||1,434,613|88,794|99,102|1,622,509|
||1,591,744|61,564|43,843|1,697,152|
All of the above assets are used for charitable purposes.
## 16 Heritage assets
The Paul Mellon Centre maintains a collection of approximately 34,400 books and exhibition catalogues, 16,000 auction catalogues, 250 journal titles and 47 separate archive collections. The Centre's archives mainly consist of the research papers of art historians, many of whom were pioneers in the formation of this discipline.
In the last five years approximately 3,700 books and 250 auction catalogues were added to the library collection and there were no major disposals.
In the last five years the Centre has acquired 8 archive collections and there were no disposals.
As of end of June 2024 the library collections (including rare books) were insured for the sum of £2,759,742 (2023: £2,671,908); the archive collections for £1,246,750 (2023: £1,170,000); and the photographic archive collections for £250,000 (2023: £250,000).
|Valuation at the start of the year
Additions
Impairments
Valuation at the year end|2024
£
1,192,750
30,000
-|2023
£
1,147,750
45,000
-|
|---|---|---|
||1,222,750|1,192,750|
The last valuation was undertaken in February 2020 by Maggs Bros. Limited, an expert bookseller for antique and modern books. The assets were reviewed in the year by the Archive team, who are experts in their field, at the Centre and do not consider that they have been impaired . Whilst the library collections have been insured they have not been recognised as heritage assets as individually they are below the capitalisation threshold.
## 17 Stock
|Stock|||
|---|---|---|
|Finished goods
Publication in progress|2024
£
731,008
54,926|2023
Restated
£
620,785
50,125|
||785,934|670,910|
50
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
## For the year ended 30 June 2024
|For the year ended 30 June 2024|||
|---|---|---|
|18
19
Accruals
Deferred income (note 20)
Trade creditors
Taxation and social security
Special Projects Creditor
Grants awarded but not yet paid
Trade debtors
Debtors
Other creditors
Creditors: amounts falling due within one year
Other debtors
Prepayments
Accrued income (incl. author royalties due)|2024
£
32,763
8,173
477,587
128,018|2023
£
56,077
12,875
353,377
279,277|
||646,541|701,606|
||2024
£
778,367
81,716
222,129
72,325
27,257
190,859
-|2023
£
797,320
155,834
227,686
1,260
23,537
296,925
10,000|
||1,372,653|1,512,562|
## 20 Deferred income
Deferred income comprises of income received in advance of publication not yet produced.
|20
Deferred income comprises of income received in advance of publication not yet produced.
Deferred income|||
|---|---|---|
|Balance at the beginning of the year
Amount released to income in the year
Amount deferred in the year
Balance at the end of the year
21
Grants awarded but not yet paid
Creditors: amounts falling due after one year
Special Projects Creditor|2024
£
10,000
(10,000)
-|2023
£
10,000
-
-|
||-|10,000|
||2024
£
182,000
-|2023
£
131,000
81,716|
||182,000|212,716|
51
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
## The Paul Mellon Centre for Studies in British Art
## Notes to the financial statements
For the year ended 30 June 2024
## 22 Pension scheme
The company operates a defined contribution pension scheme whose assets are held separately from those of the company in an independently administered fund. The pension cost charge represents contributions payable by the company, including death in service, and amounted to £293, 413 (2023: £311,575). Contributions payable to the fund at the year end and included in other creditors amounted to £27,257 (2023: £23,537). The pension expense and liability are allocated between activities and restricted and unrestricted funds based on the staff time spent on those activities.
## 23a Analysis of net assets between funds (current year)
|Analysis of net assets between funds (current year)|||||
|---|---|---|---|---|
|Net current assets
Tangible fixed assets
Creditors: amounts falling due after one year
Intangible fixed assets
Net assets at 30 June 2024
Heritage assets|Restricted
Funds
£
-
-
-
80,970
(4,000)|
Designated
Funds
£
-
-
-
251,899
-|
Unrestricted
Funds
£
103,883
1,622,509
1,222,750
8,842,938
(178,000)|
Total funds
£
103,883
1,622,509
1,222,750
9,175,807
(182,000)|
||76,970|251,899|11,614,080|11,942,949|
23b Analysis of net assets between funds (prior year)
|Creditors: amounts falling due after one year
Net current assets
Heritage assets
Intangible fixed assets
Tangible fixed assets
Net assets at 30 June 2023|Restricted
Funds
£
-
-
-
169,082
(81,716)|
Designated
Funds
£
-
-
-
296,128
-|
Unrestricted
Funds
£
118,271
1,697,152
1,192,750
7,638,756
(131,000)|
Total funds
Restated
£
118,271
1,697,152
1,192,750
8,103,966
(212,716)|
|---|---|---|---|---|
||87,366|296,128|10,515,929|10,899,423|
52
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
## The Paul Mellon Centre for Studies in British Art
## Notes to the financial statements
## For the year ended 30 June 2024
24a Movements in funds (current year)
|Total restricted funds
Total unrestricted funds
Designated funds:
Special projects fund
British Art Network
Unrestricted funds
Sargent Publications
Turner Catalogue
Andrew Wyld Fund
Total funds
Unrestricted funds:
Restricted funds:
Pevsner Programme
The Allen Fund|At 1 July 2023
Restated
£
-
11,262
43,764
32,340
-|Income &
gains
£
-
-
-
-
-|
Expenditure &
losses
£
(15,642)
-
(6,396)
(4,000)
-|
Transfers
£
15,642
-
-
-
-|At 30 June 2024
£
-
11,262
37,368
28,340
-|
|---|---|---|---|---|---|
||87,366|-|(26,038)|15,642|76,970|
||243,797
52,331
10,515,929|75,000
200,000
7,139,622|(112,931)
(206,298)
(6,025,829)|-
-
(15,642)|205,866
46,033
11,614,080|
||10,812,057|7,414,622|(6,345,058)|(15,642)|11,865,979|
||10,899,423|7,414,622|(6,371,096)|-|11,942,949|
The narrative to explain the purpose of each fund is given at the foot of the note below.
## 24b Movements in funds (prior year)
|Total restricted funds
Total unrestricted funds
Turner Catalogue
Restricted funds:
Sargent Publications
Pevsner Programme
The Allen Fund
Andrew Wyld Fund
Total funds
Unrestricted funds
Designated funds:
Unrestricted funds:
British Art Network
Special projects fund|At 1 July 2022
£
130,291
11,262
43,764
35,293
-|Income &
gains
£
-
-
-
-
383,747|
Expenditure &
losses
£
(131,203)
-
-
(2,953)
(387,145)|
Transfers
£
912
-
-
-
3,398|At 30 June 2023
Restated
£
-
11,262
43,764
32,340
-|
|---|---|---|---|---|---|
||220,610|383,747|(521,301)|4,310|87,366|
||281,882
79,865
9,681,659|60,000
210,000
6,595,732|(98,085)
(237,534)
(5,757,152)|-
-
(4,310)|243,797
52,331
10,515,929|
||10,043,406|6,865,732|(6,092,771)|(4,310)|10,812,057|
||10,264,016|7,249,479|(6,614,072)|-|10,899,423|
53
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
Notes to the financial statements
For the year ended 30 June 2024
Purposes of restricted funds
Restricted funds are subjected to restrictions on their expenditure as imposed by their donor. Further details of each restricted fund are as follows:
Pevsner Programme : The Pevsner Architectural Guides are a series of guidebooks on the architecture of the British Isles. The Centre agreed to provide financial support to Yale University Press for the updating of the Pevsner Buildings of England series, a project which was originally scheduled to run from 2012 to 2020. During the year ended 30 June 2019, the Pevsner project was re-assessed and the timescale for the completion of the project was extended for a further two years. At their meeting in February 2019, the Centre's Board of Governors agreed to support the additional funding requirements of the Pevsner project, in line with the revised timescale. Whilst the majority of the project work has now been completed, due to the disruption caused by the global pandemic, the final stages of the project were delayed and so the final project expenses will be paid in 2024.
The Allen Fund : This fund was created by a generous gift from the Trustees of Paul Mellon's Estate to The Centre in May 2015 in honour of Brian Allen who was the Centre's Director from 2003 to 2012. The majority of this donation will be used to fund a new Fellowship at the Centre, called "The Allen Fellowship". The Allen Fellow worked at the Centre between 2015 and 2018 on a variety of scholarly projects. The remaining funds are being used to support the Centre's "The Country House Project", in which the collections of paintings at some of Britain's most important country houses have been catalogued and are now available, via the Paul Mellon Centre website, as a digital publication called "Art & the Country House".
Sargent Publications: During 2020, the Horowitz Foundation for the Arts provided the Paul Mellon Centre with a generous grant of £80,697 ($100,000) towards the research, writing, photography, and general publication costs of John Singer Sargent: The Portrait Charcoals, by Richard Ormond. Approximately £17,000 of this sum now remains. This amount ($20,000) was designated as a subvention towards the production costs of the book and will be used as such in due course.
In addition, a separate amount of £27,507 was transferred from YUP to the PMC in 2020. This sum represented the remainder of the funding provided by the Horowitz Foundation for the indexing and production costs of a cumulative index volume that was to complete the John Singer Sargent nine-volume catalogue raisonné by Richard Ormond and Elaine Kilmurray. (This funding was transferred to the PMC when the PMC took over the production work on this volume from YUP.) Owing to unforeseen circumstances, this project had to be cancelled.
Since then, the PMC has embarked on a special project to make the Sargent catalogue raisonné available on the YUP Art & Architecture ePortal. As digitising the volumes will allow a new level of searchability across the series, it has been agreed with Horowitz Foundation that the sum left over from the cancelled index volume can instead be put towards the costs of this major digitisation project.
Andrew Wyld Fund : In October 2020, the Andrew Wyld Fund transferred monies to the Centre for the purposes of administering the Andrew Wyld Research Support Grant. The Centre will continue to award up to £2,000 per person per year (and a maximum of two awards per year) from the Andrew Wyld Fund monies until all the monies are fully awarded, as stipulated in the agreement between the Centre and the Andrew Wyld Fund. The recipients of the Andrew Wyld Research Support Grant awards will be decided upon by the Centre's Advisory Council. These awards will be made to individuals working on a topic in the field of British works of art on paper of the eighteenth and nineteenth centuries (including watercolours, prints and drawings).
Turner Catalogue: In June 2023, the Paul Mellon Centre agreed to provide Tate financial support totalling £387,145, in instalments between June 2023 and November 2025, towards completing the Tate catalogue of JMW Turner’s sketchbooks, drawings and watercolours. The conclusion of this major cataloguing project, which began at Tate in 2002 and will include a total of 37,497 entries, will coincide with the 250th anniversary year of the artist’s birth. With major exhibitions and events planned across 2025 there will be a celebratory spotlight cast on Turner, and this comprehensive digital resource will encourage worldwide engagement with his art.
54
Notes to the Financial Statements
Trustees’ Report and Financial Statements — June 2024
The Paul Mellon Centre for Studies in British Art
## Notes to the financial statements
## For the year ended 30 June 2024
## 24 Movements in funds (continued)
## Purposes of unrestricted funds
Unrestricted funds represent donations and other income receivable or generated for the objects of the charity without further specified purpose and are available as general funds.
Due to the favourable US dollar to UK sterling exchange rate during the year ended 30 June 2017, additional funds of £560,000 were made available to the charity by Yale University. These funds have been set aside in a separate designated fund to support the work on these special projects that has been carried out since 2017. Further funding for the Centre's special projects has been made available by Yale University in the subsequent years.
The British Art Network (BAN) is a "Subject Specialist Network bringing together professionals working on British art including curators, researchers and academics, reflecting the combined strength of the UK's public collections and curatorial expertise in this field". At their meeting in February 2019, the Centre's Board of Governors approved a plan for the Centre to support the BAN to help enable the development of a thriving curatorial research network across British's museums and galleries. This project is undertaken in partnership with Tate and Arts Council, England.
## 25 Commitments under operating leases
The charity's total future minimum lease payments under non-cancellable operating leases is as follows for each of the following periods
|
periods|||
|---|---|---|
|Less than one year
One to five years
Over five years|2024
2023
£
£
348,316
348,076
1,391,428
1,390,240
3,670,547
4,018,047
Property||
||5,410,291|5,756,363|
## 26 Legal status of the charity
The charitable company is limited by guarantee and has no share capital. On winding up each person who is a member at the date of winding up, or ceased to be a member during the year prior to that date, is liable to contribute a sum not exceeding £1 towards the assets of the charitable company. At 30 June 2024, the charitable company had 4 members (2023: 4).
## 27 Prior period adjustment
|Prior period adjustment||||
|---|---|---|---|
|Reserves position
Funds previously reported
Stock - reprinted publications
Funds restated
Net movement in funds
Net movement in funds previously reported
Stock - reprinted publications
Net movement in funds restated|Unrestricted
£
10,989,644
(177,587)|Restricted
£
87,366
-|30 June 2023
Total
£
11,077,010
(177,587)|
||10,812,057|87,366|10,899,423|
||Unrestricted
£
946,238
(177,587)|Restricted
£
(133,244)
-|30 June 2023
Total
£
812,994
(177,587)|
||768,651|(133,244)|635,407|
## Details of adjustment
Since the value of stock was brought on to the balance sheet in 2020, any reprints were included in the accounts valued at the original costs to print. This included design, proofreading and other costs of the original print run not just the reprint cost. From the current year, reprints will be valued at the actual cost to reprint as this accurately reflects the cost to reprint the books, as design and other costs incurred on the initial print run are not re incurred on subsequent reprints. Prior year results have been restated to reflect this change in policy.
## Ultimate controlling party
The company's ultimate parent undertaking and controlling party is Yale University, a higher education institution in the US.
28
55
Notes to the Financial Statements
Section 4
Appendix
Trustees’ Report and Financial Statements — June 2024
## **Reference and Administrative Details**
## **Board Of Trustees[*]**
1 July 2023 – 30 June 2024
## **Trustees**
## **Members**
_(who are also Statutory Directors)_
## Timothy Barringer
## Susan Gibbons
Chief of Staff to the President, Vice Provost for Collections and Scholarly Communication, Yale University
Stephen C. Murphy Vice President for Finance & Chief Financial Officer, Yale University
Paul Mellon Professor of History of Art, Yale University
## Edward S. Cooke
Charles F. Montgomery Professor of American Decorative Arts, History of Art, Yale University
## Pericles Lewis
Peter Salovey President and Chris Argyris Professor of Psychology, Yale University
Dean of Yale College and Douglas Tracy Smith Professor of Comparative Literature, Yale University
## Scott Strobel
University Provost and Henry Ford II Professor of Molecular Biophysics & Biochemistry, Yale University
## Jules D. Prown
Paul Mellon Professor Emeritus Director of History of Art, Yale University
## Keith Wrightson
Randolph W. Townsend Jr. Professor Emeritus of History, Yale University
_*known as Board of Governors to 22 May 2024_
57
Appendix: Reference and Administrative Details
Trustees’ Report and Financial Statements — June 2024
## **Advisory Council**
1 July 2023 – 30 June 2024
Jo Applin Courtauld Institute of Art
Viccy Coltman University of Edinburgh
Elena Crippa Courtauld Institute of Art
Caroline Dakers University of Arts London
David Dibosa Tate Britain _Until October 2023_
John Goodall Country Life
Fiona Kearney University College, Cork
Dot Price Courtauld Institute of Art _Until November 2023_
Kate Retford Birkbeck, University of London
## **Publications Committee**
1 July 2023 – 30 June 2024
Paul Binski University of Cambridge _Until Jan 2024_
Alixe Bovey Courtauld Institute of Art
Alex Bremner University of Edinburgh
Kirsty Dootson University College London
Mark Eastment Yale University Press London
David Getsy University of Virginia
Saloni Mathur University of California, Los Angeles
Catherine Molineux Vanderbilt University
Liz Prettejohn University of York _Until Jan 2024_
Mark Sealy Autograph ABP
Victoria Walsh Royal College of Art
Beth Williamson University of Bristol
58
Appendix: Reference and Administrative Details
Trustees’ Report and Financial Statements — June 2024
## **PMC Staff List**
1 July 2023 – 30 June 2024
Sarah Turner Director
Paul Adlam Chief Operating Officer _From 1 May 2024_
Sarah Ruddick Chief Financial Officer
Martin Myrone Head of Grants, Networks & Learning
Sria Chatterjee Head of Research
Gaetano Ardito Assistant Librarian
Esme Boggis Learning Programme Coordinator
Bryony Botwright-Rance Networks Manager
Amy Bradford Archives & Library Assistant (Graduate Trainee) _From 28 May 2024_
Charlotte Brunskill Archivist, Data Protection & Records Manager
Anthony Campbell HR Manager _From 10 June 2024_
Baillie Card Senior Editor
Gareth Clayton Grants & Fellowships Manager (Parental Leave Cover) _Until 30 November 2023_
Daisy Dickens Office Administrator _From 7 August 2023_
Ella Fleming Events Lead
Emma Floyd Librarian
Pawel Jaskulski Digital Preservation & Records Manager
Rosie Jennings Networks Membership and Communications Assistant _From 26 February 2024_
Lewis Johnston Digital Content Assistant (Graduate Trainee) _From 13 March 2024_
Hannah Jones Archives & Library Assistant (Graduate Trainee) _Until 31 August 2023_ Gavin Stamp Archive Project Cataloguer _From 13 May 2024_
Stephanie Jorgensen Operations Coordinator
Emily Lees Senior Editor
Shai Mitchell Digital and Marketing Assistant (Graduate Trainee) _Until 8 March 2024_
Doug Palfreeman AV Technician
Suzannah Pearson Operations Lead
Karen Pilz Receptionist
Martin Postle Senior Research Fellow
59
Appendix: Reference and Administrative Details
Trustees’ Report and Financial Statements — June 2024
Tom Powell Assistant Editor
Rachel Prosser Learning Programme Manager
Alice Read Digital Marketing Manager
Maisoon Rehani Picture Researcher
Gabriella Rhodes HR Officer
Morwenna Roche Assistant Archivist _Until 31 January 2024_
Barbara Ruddick Finance & Administration Officer
Tom Scutt Digital Lead
Nida Shah Archives & Library Assistant (Graduate Trainee) _From 14 August 2023_
Harriet Sweet Grants & Fellowships Manager
Anthony Tino Networks Administrator
Rebecca Tropp Research and Events Convenor _From 6 December 2023_
Marianette Violeta Finance Officer
Victoria Walker Executive Assistant to Director
Kathleen Ward Events and Research Projects Coordinator _From 1 August 2023_
Barbara Waugh Human Resources Manager (until 31 March 2024)
Donna Witter Finance Manager
Guy Smith Operations Lead (Parental Leave Cover) _Until 31 Dec_ e _mber 2023_
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Trustees’ Report and Financial Statements — June 2024
## **Grants and Fellowships**
List of Awards, July 2023 – June 2024 4
## **Autumn 2023**
_At the autumn 2023 meeting of the Centre’s Advisory Council, the following grants were awarded:_
## **Collaborative Project Grants**
Queen Mary, University of London and University of Aberdeen for the collaborative research project _Women Making Art in post-war Britain, ca. 1945–1974_ (£19,593)
Queen’s University Belfast and Twentieth Century Society (C20) for the collaborative research project _Miners’ Modernism: Mapping the Social Impact and Legacy of Pithead Baths_ (£20,000)
## **Conservation Project Research Grants**
Hamilton Kerr Institute, Fitzwilliam Museum towards conservation work on _Leonora Carrington’s Tempera Paintings, 1945–47_ (£18,757)
Whitechapel Gallery for the curatorial research project _Expanding the Contemporary British Art Canon: New Research, Exhibitions and Publications on the Work of Hamad Butt, Joy Gregory and Gavin Jantjes_ (£40,000)
## **Digital Project Grants**
Association of Historians of NineteenthCentury Art (on behalf of the scholarly open-access journal _Nineteenth-Century Art Worldwide_ ) for the digital project _Annotating The New Union Club: Antiracist Ethics and Curation for Digital Art Histories_ (£22,960)
Kingston University for the digital project _The Shadow of Ruination: The Expression of Post-War, Diasporic Anxiety through Modernist Catholic Churches in Britain_ (£30,000)
The Photographers’ Gallery for the digital project _Thinking, Mindless, Unthinking Photography: A Contemporary Perspective_ (£20,945)
## **Curatorial Research Grants**
Camden Art Centre for the curatorial research project _Caught in the Middle_ (£20,000)
Compton Verney House Charity for the curatorial research project _Reimagining Compton Verney’s Folk Art Collection_ (£40,000)
Delaware Art Museum for the curatorial research project _Simeon Solomon: Queer and Jewish in Victorian London_ (£25,000)
Museums Northumberland for the curatorial research project _PP XC – 90 Years of the Pitmen Painters_ (£36,000)
University of Edinburgh for the digital project _Windows on the Past: Digital Analysis of Window Design in Later Medieval England_ (£5,846.70)
## **Publication Grants**
Baltic Centre for Contemporary Art for publisher costs towards _Franki Raffles: Photography, Activism, Campaign Works_ (£7,000)
Altair Brandon-Salmon for author costs towards the article _Wastelands: East End Bombsites in Postwar Photography_ (£1,000)
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Marian Campbell and Oxbow Books Archaeopress for author and publisher costs towards _Limoges Enamels – French Art in Medieval England, with a Gazetteer of Limoges Enamels found in England_ (£5,500)
The Chinese University of Hong Kong Press for publisher costs towards _Form Follows Fever: Malaria and the Construction of Hong Kong, 1841–1849_ (£5,000)
Michael Clegg for author costs towards _The AIA 1951 Lithographs: Contesting National Identity in Intermodern Prints_ (£1,000)
Alborz Dianat for author costs towards _Walter Gropius in Britain: Emigration and Collaborations_ (£2,000)
Drawing Room for publisher costs towards _The Time of Our Lives – Drawing and Feminism_ (£5,000)
Hilary Fraser for author costs towards _The Renaissance: Studies in Art and Poetry_ (Collected Works of Walter Pater, volume 1) (£1,370)
The Hunterian for publisher costs towards _Digging in Another Time: Derek Jarman’s Modern Nature_ (£5,000)
Dominic Johnson for author costs towards _Hamad Butt: Apprehensions_ (£3,000)
Meghan Kobza for author costs towards _Masquerade: Unmasking Georgian London_ (£3,000)
Michael Ohajuru (Canbury Press) for author costs towards _The John Blanke Project_ (£3,000)
Michael Sappol for author costs towards _Queer Anatomies: Aesthetics and Desire in the Anatomical Image, 1700–1900_ (£2,000)
Otto Saumarez Smith and Lund Humphries for author and publisher costs towards _The Modern British City_ (£5,000)
Giulia Smith and Manchester University Press for author and publisher costs towards _Caribbean Eco-Aesthetics_ (£6,900)
Christina Smylitopoulos and McGillQueen’s University Press for author and publisher costs towards _The Accidental Patron: Thomas Tegg, Late Georgian Graphic Satire, and the Aesthetics of Modernity_ (£5,000)
Ego Ahaiwe Sowinski and The Hepworth Wakefield for author and publisher costs towards _Ron Moody: His Universe_ (£9,750)
Catherine Spencer for author costs towards _Grassroots Artmaking: Political Struggle and Activist Art in the UK, 1960– Present_ (£3,000)
Whitechapel Gallery for author and publisher costs towards _Whitechapel Gallery: A Legacy in Public Education, 1979–1990_ (working title) (£5,000)
Yale University Press for publisher costs towards _The Mack: Charles Rennie Mackintosh and the Glasgow School of Art_ (£5,000)
National Galleries of Scotland for publisher costs towards _Everlyn_ **Andrew Wyld Research Support Grants** _Nicodemus_ (£5,000)
National Museums Liverpool for publisher and author costs towards _Black_ (working title) (£5,000)
Jennifer Marine (University of Virginia) for research on the project _Seeing the Supernatural in Victorian England_ (£2,000)
Nottingham Contemporary for author and publisher costs towards _Donald Rodney, 2025_ (£7,000)
Alan Mitchell (Cambridge University) for research on the project _Works on Paper by Phoebe Anna Traquair_ (£2,000)
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## **Research Support Grants**
Marion Belouard (Institut National d’Histoire de l’Art (INHA)/Université de Limoges) for research on the project On the _Wings of Albion. John James Audubon in Great Britain: Art, Natural History and Learned Societies_ (1826–1839) (£2,000)
Lisa Brown (independent scholar) for research on the project _The Mural Works of Henry Collins and Joyce Pallot_ (£1,989.88)
Lucy Chiswell (University of Auckland) for research on the project _Crossing Boundaries: Alethea Talbot Howard, Countess of Arundel (c.1585–1654), and the Power of Female Patronage in Early Modern England_ (£2,000)
Paola Colleoni (Hong Kong Baptist University) for research on the project _Gothic at the Crossroads_ (£2,000)
Bryony Coombs (University of Edinburgh) for research on the project _Scotland on Parchment: Scraped, Limned, and Bound. Manuscripts and their Images in Late Medieval Scotland_ (£1,986.30)
Miara Fraikin (KU Leuven) for research on the project _State Bedrooms and Domestic Sleeping Rooms at the English Royal Court_ (£1,500)
Imogen Hart (independent scholar) for research on the project _Race in the English Arts and Crafts Movement_ (£1,554.50)
Phoebe Herland (Institute of Fine Arts, New York University) _for research on the project For the Record: Barney Bubbles and the Graphic Counterculture_ (£2,000)
Lucy Howie (University of St Andrews) for research on the project _Disability, Sexuality and the Politics of Representation: A Reconsideration of Jo Spence’s Photo Therapy in 1980s Britain_ (£1,430.00)
James Moir (independent scholar) for research on the project _Berkhamsted’s Father & Son Architects: The Rew Legacy_ (£2,000)
Gerardine Mulcahy-Parker (independent scholar) for research on the project _David Remfry’s Early Years_ (£790)
Carole Nataf (Courtauld Institute of Art) for research on the project _Gum Arabic: Visualizing Transparency from the WestAfrican Sahel to Paris and London Art Studios in the Eighteenth Century_ (£1,806)
Joy Onyejiako (SOAS University of London) for research on the project _West African Links in Tudor Elizabethan Decorative Arts and Architecture_ (£660)
Aurélie Petiot (Université Paris Nanterre) for research on the project _Transposition of Locatedness_ (£2,000)
Nora Veszpremi (Masaryk University, Brno) for research on the project _Transnational Memory in the Home: Staffordshire Ceramic Figurines of the Hungarian Revolutionary Lajos Kossuth_ (£1,990)
Matthew Wells (University of Manchester) for research on the project _The Carpet, the Office, an Environment: Work in 1960s British Architecture_ (£1,300)
Melanie Williams (University of East Anglia) for research on the project _Muriel Box: Feminist Aesthetics, Women’s Filmmaking and British Cinema_ (£1,435)
Christopher Williams-Wynn (Kunsthistorisches Institut in Florenz – Max-Planck-Institut and the Stiftung Preußischer Kulturbesitz) for research on the project _The Geometry of Social Relations: How Stephen Willats’s Cybernetic Techniques Remade the Artist, Audience and City in the 1970s_ (£2,000)
Lauren Working (University of York) for research on the project Painted Fancies: _Women, Plantation, and the Aesthetics of Empire in Early Stuart England_ (£1,670)
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## **Event Support Grants**
Leeds Museums and Galleries to support the event _Public Houses? What Makes Civic Custodianship of Historic House Museums in Britain Different and Where Next?_ (£3,000)
Letchworth Heritage Foundation to support the event _Amal Ghosh Bridge_ (£3,000)
Royal Holloway, University of London to support the event _The Performing Object: Ceramics as Performance_ (£1,327.50)
The Photographer’s Gallery to support the event _Bert Hardy: Picturing Britain_ (£2,000)
University of Westminster to support the event _Women in Revolt: Radical Acts, Contemporary Resonances_ (£1,000)
Pallant House Gallery to support the event _The Shape of Things: Still Life in British Art 1650 to 2024_ (£2,000)
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## **Spring 2024**
At the spring 2024 meeting of the Centre’s Advisory Council, the following grants and fellowships were awarded:
## **Senior Fellowship**
Sarah Thomas (Birkbeck) for the project _Chattel: Art, Slavery and the British Collector, 1768–1833_ (£60,000)
## **Mid-Career Fellowships**
Megan Boulton (independent scholar) for the project _Art at the End of the World: Rethinking the Medieval Millennium and the ‘Birth’ of England in the Romanesque Period_ (£18,000)
Megha Chand Inglis (The Bartlett School of Architecture, University College London) for the project _Companions of Stone: Architectural and Cultural Lifeworlds of the Sompura Hereditary Temple Builders of Western India (1888– 2019)_ (£18,000)
Meredith Gamer (Columbia University) for the project _Taken from Life: William Hunter’s Anatomy and the Art of Reproduction_ (£18,000)
Sonal Khullar (University of Pennsylvania) for the project _Unpeace in the Land: Art and War in Sri Lanka, c. 1930–2020_ (£18,000)
Kate Nichols (University of Birmingham) for the project _A Global History of Victorian Painting: Circulations and the Making of British Art_ (£18,000)
Giulia Smith (independent scholar) for the project _Living Landscapes: Nature as Anti-Colonial Agent in Guyanese Art_ (£18,000)
## **Postdoctoral Fellowships**
Gabe Beckhurst for the project _A Timely Grammar: Trans Visualities between Art and the Archive in Britain_ (£15,000)
Sarah Churchill for the project _Slums in the Sky: How Photography Killed the Desire for Mass Social Housing in Britain_ (£15,000)
Hope Doherty-Harrison for the project _Gendering Judas in Medieval Insular Art and Text_ (£15,000)
Lydia Fisher for the project _Visualising Faith: Stained-Glass Windows, Belief and the Parish in the South-West of England, c.1400–1700_ (£15,000)
Isabelle Jain for the project _The Imperial Skyscraper: Reconstructing Empire on London’s South Bank_ (£15,000)
Dorota Jagoda Michalska for the project _Dialogue Out of Proximity: The Grabowski Gallery in London (1959–1975) as a Model for Horizontal Art History_ (£15,000)
Evelyn Whorrall-Campbell for the project _The Trans 1990s: Or, What Happened to Trans British Art?_ (£15,000)
## **MA/MPhil Studentships**
Anna Kaczynska to undertake an MA in Art History at University College London with a research focus on _Archiving the Unseen: A Queer Chronopolitics of HIV Representation in British Visual Culture (1970s–1990s)_ (£32,000 split over a parttime two-year course)
Emily Lashford to undertake an MPhil in History of Art at the University of Cambridge with a research focus on _Working Class Practitioners of the Arts and Crafts Movement in the North-West of England_ (£32,000 for one year)
## **Doctoral Scholarship**
Morgan Quaintance to undertake a PhD at the Royal College of Art with a research focus on _Autofiction as Art Criticism: A Critical Ethnography of London’s Art Scene in the 2010s_ (£32,000 a year for three years)
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## **Early Career Fellowship**
Sequoia Barnes for the research project _Useable Several Times: Blackness as ‘Cute’ in 20th Century White Supremacist Art Practices_ (£35,000 per year for two years)
## **Junior Fellowships**
Caterina Franciosi (Yale University) to conduct research in the United Kingdom for the project _Latent Light: Energy and Nineteenth-Century British Art_ (£8,000)
Jennifer Marine (University of Virginia) to conduct research in the United Kingdom for the project _Registering the Invisible in Fin-de-Siecle Europe_ (£8,000)
Amy Orner (The Pennsylvania State University) to conduct research in the United Kingdom for the project The _Empress of the North: Edinburgh’s New Town as a City of Empire_ (£8,000)
McKenzie Stupica (Northwestern University) to conduct research in the United Kingdom for the project _Unexpected Genealogies: Argentina’s Display at the 1969 London International Design Exhibition_ (£8,000)
Liverpool Cathedral to support the event series _Sir Giles Gilbert Scott Season_ (£3,000)
Mount Stuart Trust to support the event _Mount Stuart Trust Symposium 2024: The Art of Uncomfortable Truths_ (£3,000)
Peckham Platform to support the event _Memories for the Future: Social Architecture_ (£2,650)
Studio Voltaire to support the event series _Beryl Cook: Public Talks Programme_ (£3,000)
The Stained Glass Museum to support the event _Recording British Stained Glass – the Future of Databases_ (£3,000)
The Women’s Art Library (Goldsmiths, University of London) to support the event _Re-appraising the Legacy of 20th Century British Landscape Painter, Yasmin David, at Luscombe Farm_ (£2,000)
Universidad de San Buenaventura Cali to support the event _The Middle Hall English House in Bogotá_ (£2,000)
University of York to support the event _Texture in the Medieval World_ (£600)
V&A to support the event _Rethinking Francis Williams_ (£2,000)
## **Rome Fellowship**
Jennifer Johnson (University of Oxford) to spend three months at the British School at Rome to undertake research for the project S _andra Blow and Alberto Burri: Exchanges in Abstraction, 1948–1955_ (£11,500 paid to the British School at Rome for the residency and an honorarium of £7,000 paid to the individual)
## **Event Support Grants**
Kunsthalle Mannheim to support the event series _On Bodies, Class and Feminism: A Lecture Series on Sarah Lucas_ (£2,000)
## **Research Support Grants**
Anirbaan Banerjee towards research costs for the project _Imagining the InterDiasporic: Black and Asian Relations in British Independent Film_ (£1,471.60)
Jean Marie Christensen towards research costs for the project _Bodies of the Crown: Kinship, Health, and the Construction of the Royal Body in Early Modern English Portraiture_ (£2,000)
Kirsty Sinclair Dootson towards research costs for the project A _nglo-Indian Film Colour at the Mid-Century_ (£1,922)
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Tristan Dot towards research costs for the project _Weaving patterns in Victorian Britain (1840–1914) – Circulation between Periods, Places and Media_ (£490)
Doris Duhennois towards research costs for the project _Recording the Dismantlement of Empire: Contested Narratives and the After-lives of Colonial Statues in De-colonising Britain and France, 1950–2021_ (£1,783.96)
Edward Gillin towards research costs for the project _Gothic Science: William Whewell and the Disciplining of Architectural History_ (£1,312)
Cassandra Harrington towards research costs for the project _Foliate Heads and Masks in Gothic Art: A Reappraisal of ‘Green Man’ Iconography, c. 1200–1350_ (£2,000)
Hemdat Kislev towards research costs for the project _Modern Art and Self Determination in Mandatory Palestine_ (£1,370)
Constance Marq towards research costs for the project _The Lure of France: British Architects’ Travel across the Channel between 1802 and 1834_ (£1,960.80)
Joseph McBrinn towards research costs for the project _Evie Hone and the International Avant-Garde_ (£1,952.15)
Louis-Antoine Mege towards research costs for the project ‘I don’t think of myself as an English Conceptual artist.’ A Controversial English History of Art & Language (1970–2000) (£1,860)
Sofia Nannini towards research costs for the project _The Mechanization of Life: An Architectural History of Intensive Animal Farming_ (£2,000)
Bruce Peter towards research costs for the project _Modern Art Onboard British Ships_ (£1,974.50)
Anika Shaikh towards research costs for the project _Ethel Mairet and ‘Oriental’ Modern Textile: Transnational Design in Twentieth-century Britain_ (£2,000)
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## **Research Programme**
July 2023 – June 2024
## **Autumn Research Lunch Series 2023**
## **5 October**
Greg Smith (Senior Research Fellow, Paul Mellon Centre for Studies in British Art), ‘Rethinking the Artist Catalogue for the Online Age: Thomas Girtin 1775–1800’
## **Mellon Lectures 2023**
V&A Gorvy Lecture Theatre
## **18 October**
Lynda Nead (Birkbeck, University of London), The British Marilyn – Diana Dors 25 October Lynda Nead (Birkbeck, University of London), Blonde Noir – Ruth Ellis
## **13 October**
Rosalind Sinclair (Goldmiths, University of London), ‘The Creolisation of the English Countryside: Exploring the Textiles and Wallpaper of Althea McNish’
## **20 October**
Chloë Julius (University of Nottingham), ‘Whither the Establishment? Brian Sewell and 1990s British Art’
## **1 November**
Lynda Nead (Birkbeck, University of London), Carry On Blonde – Barbara Windsor
## **8 November**
Lynda Nead (Birkbeck, University of London), Sixties Blonde – Pauline Boty
## **15 November**
## **3 November**
Zoë Dostal (Columbia University), ‘“Employ’d, twisted and tortur’d”: Hemp Rope, Female Models, and the Line of Beauty’
Lynda Nead (Birkbeck, University of London), British Blonde – Screenings and Panel discussion
## **17 November**
Altair Brandon-Salmon (Stanford University), ‘Rooms: Francis Bacon in Wartime London’
## **24 November**
Dustin Valen (Toronto Metropolitan University), ‘Material Cultures of Climate and Health in Architecture’’
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## **Autumn Conferences 2023**
## **30 November-1 December**
## _**The Practice of Art History in Britain,**_
## _**1900–60: Paul Oppé’s Art Worlds**_
The conference took Oppé’s life and multifaceted career as a springboard to reassess British art historiography in the first half of the twentieth century. This conference was co-convened with Hans Hönes (University of Aberdeen).
## **Thursday 30 November**
## **Session 1: Art History as a Profession**
Chair: Martin Myrone (Paul Mellon Centre)
- Hans Hönes (University of Aberdeen), ‘On Not Becoming an Art Historian: Paul Oppé, ca. 1905’
- Sarah Coviello (Warburg Institute), ‘Being an Art Historian in Britain, 1920s–50s: “Pages” from the Collections of Kenneth Clark, Benedict Nicolson and Denis Mahon’
## **Session 2: Oppé’s Artworlds**
Chair: Charlotte Brunskill (Paul Mellon Centre)
- Helen Glaister (Victoria and Albert Museum), ‘“Very Largely Chinese Art but Not Entirely”: Paul Oppé on Chinese Art’
- Martin Myrone (Paul Mellon Centre), ‘Oppé and David Loshak’
## **Session 3: Institutions: Disciplining Art History?**
- Chair: Emilie Oléron-Evans (Queen Mary University of London)
- Matilde Cartolari (Technische Universität Berlin), ‘“Our pleasant aesthetic Scotland Yard”: The Witt Photo Library before the Courtauld’
- Richard Stephens (independent art historian), ‘The First Half Century of The Walpole Society, 1911 to 1960’
## **Friday 1 December**
**Session 4: Careers on the Margins** Chair: Chloë Julius (University of Nottingham)
- Susan Sloman (independent art historian), ‘George Charles Williamson (1858–1942): Historian of British Art’
- Emilie Oléron Evans (University of London), ‘The Rise of the “Picture Researcher”: Women Art Historians and Visual Literacy in Post-war Britain’
- Jeffrey Lieber (Texas State University), ‘A Misdirected Life: On Roger Hinks’ Journals’
## **Session 5: Tour of Drawing Room Display and Introduction to Oppé Archive and Library in the Public Study Room**
- In groups: Tour of Drawing Room
- Display/Introduction to Oppé Archive and Library in the Public Study Room
- Roundtable: ‘What’s Next for British Art Historiography?’
## **7-8 December 2023** _**Resist, Persist: Gender, Climate and Colonialism**_
## **(Hosted at Barbican)**
_A collaboration with the Barbican Centre, this multi-day symposium used the themes of the RE/SISTERS exhibition to explore the bonds between gender and environmental justice. The symposium was convened by Sria Chatterjee (Paul Mellon Centre), Astrida Neimanis (University of British Columbia), and Alona Pardo (Barbican Centre)._
## **Thursday 7 December**
_Gallery Walkthrough and Introduction with Alona Pardo (Barbican Centre)_
**Session 1: Ways of Knowing and Sensing** Chair: Sria Chatterjee (Paul Mellon Centre)
- Greta LaFleur (Yale University), ‘Gender, Colonial and Decolonial’ (online)
- Shelly Rosenblum (University of British Columbia), ‘The Score: Performing, Listening and Decolonization’
- Susanne Winterling (artist), ‘Planetary Sensing as a Deciphering Practice’
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## **Session 2: Resist: Art and Justice**
Chair: Astrida Neimanis (University of British Columbia)
- Syrus Marcus Ware (McMaster University), ‘Irresistible Revolutions: Systems Change, Speculative Fiction and Dreaming into Freer Futures’
- Chrys Papaioannou (critical theorist, activist, and facilitator), ‘Wetlands Know No Genders, Know No Nations: For an Ecofeminism Beyond Borders’
## **Friday 8 December**
## **Session 1 : Gender, Climate and Colonialism: Introductions**
Welcomes: Sria Chatterjee (Paul Mellon Centre) and Astrida Neimanis (University of British Columbia)
Region was “Home”: Bringing Other Worlds into Being in “Cancer Alley”, Louisiana’
## **13 December 2023**
## **Paul Mellon Centre Book Night**
Celebration of a series of prize-winning titles recently published by the Paul Mellon Centre. Short talks about each book and the research behind it, followed by a Q&A.
## **Session 1:**
- Finola O’Kane, author of _Landscape Design and Revolution in Ireland and the United States_
- Mark Crinson, author of _Shock City: Image and Architecture in Industrial Manchester_
- Steven Brindle, author of _Architecture in Britain and Ireland 1530–1830_
## **Persist: Land, Body, Art**
_Chair: Lucy Bradnock (Courtauld Institute of Art)_
Katherine Fein (Columbia University), ‘Of Bodies and Land: Continental Allegories Then and Now’
## **Session 2: Ways of Being and Making (Online Session)**
_Chair: Susan Reid (University of Sydney)_ Camila Marambio (curator and writer), ‘Sandcastles: A Queerfemme Proposition on Cancer Ecologies’
## **Session 3: Metabolic and Bodily Processes**
_Chair: Edwin Coomasaru (art historian)_
- Lindsay Kelley (Australian National University), ‘Elemental Art Worlds: From Molecular to Planetary Phosphorus Cycles’
- Taey Iohe (artist), ‘What Leaks Out of our Bodies, Out of the Planet?’
## **Session 4: Intergenerational Flows**
_Chair: Bindi Vora (Autograph)_
- Saba Khan (artist), ‘Illustrated Talk – Water Machines’
- Buhle Francis (Rhodes University), ‘Grandmothers of the Sea: Stories and Lessons from Five Xhosa Ocean Elders’
- Imani Jacqueline Brown (University of London), ‘Our First Name for this
## **Session 2:**
- Tim Clayton, author of _James Gillray: A Revolution in Satire_
- Tom Young, author of _Unmaking the East India Company: British Art and Political Reform in Colonial India, c. 1813–1858_
- Kirsty Sinclair Dootson, author of _The Rainbow’s Gravity: Colour, Materiality and British Modernity_
## **2 November 2023**
## _**Oxford & South-East Oxfordshire Pevsner: Virtual Book Launch – Simon Bradley, Geoffrey Tyack, and James O. Davies**_
Simon Bradley, series editor of the Pevsner Architectural Guides, discussed the latest volume in the series with Geoffrey Tyack of Kellogg College, Oxford. The evening also included a contribution from James O. Davies, who talked about the challenges and rewards of taking photographs of the region’s best buildings for the new volume.
## **9 November 2023**
## **ARIAH-RIHA AGM Roundtable style**
The 25th RIHA General Assembly took place in London from 9 to 11 November 2023. Hosted at the Courtauld Institute of Art and the Paul Mellon Centre.
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## **Spring Research Seminar Series 2024**
## **Spring Research Lunch Series 2024**
## ~~@@~~ **24 January 12 January**
Griselda Pollock (Professor Emerita, University of Leeds), ‘Feminism meets Art History 1944/2024: Helen Rosenau’s monumental Woman in Art, then and now’
Ariel Kline (Princeton University), ‘Fairyland, Sovereignty, and Empire’s Body Politic’
@ **16 February** Sarah Weston (Washington University, St.Louis), Spirals, Orbs, Stars: Blake, Watts, and the Geometry of Creation (Online)
**7 February** St.Louis), Spirals, Orbs, Stars: Blake, Watts, Grace Ali (Florida State University), ‘Frank and the Geometry of Creation (Online) Bowling: The Mother’s House Paintings’ @@ with Ben Bowling (King’s College London) **23 February**
Sarah Gould (Paris 1-Panthéon Sorbonne), Millais, un peintre hors du temps: writing about Victorian art in France’
**28 February** Millais, un peintre hors du temps: writing Alex Bremner (Edinburgh School about Victorian art in France’ of Architecture and Landscape @@ Architecture), ‘Why Edwardian Baroque **8 March** Architecture Matters: Empire, Identity, Lisa Newby (Henry Moore Foundation), and Geo-political Rivalry’ ‘Negotiating the “Eclectic Sources” of
Lisa Newby (Henry Moore Foundation), ‘Negotiating the “Eclectic Sources” of Modern Sculpture at the ICA (1948–53)’
**6 March** @@ Iris Moon (Metropolitan Museum of Art), **22 March** ‘A Body for Stubbs’ Sushma Griffin (University of Brisbane,
Sushma Griffin (University of Brisbane, Queensland), ‘Race, Indian Revolution, and the Colonial Camera: Towards an
@ **20 March** and the Colonial Camera: Towards an Jill Burke (University of Edinburgh), Aesthetics of Absence’ (Online) ‘Cosmetics, Beauty and the Nature of
Renaissance Women’
Material from Telephone Boxes file, Gavin Stamp Archive. Photo by Emile Holba.
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## **Spring Conferences 2024**
## **9 February 2024**
## **Space | Time | Life: a gathering**
This event was organised in collaboration by Wysing, Kettle’s Yard and the Paul Mellon Centre for Studies in British Art to coincide with the Making New Worlds: Li Yuan-chia & Friends exhibition. It was open to anyone interested in exploring these themes and ideas. The day involved listening, conversation and participating in workshop activities
- Performance by Aaron Tan, and a screening of selections from Li Yuanchia’s films.
- Communal meal, created by Sean Roy Parker. During lunch, we invite guests to share with their neighbour an object or memory connected to the rural
- Conversation: Space / Time / Life: What the Rural Offers, with The Field, Bella Milroy and Ysanne Holt.
- Choice of workshops:
1. Vessel making with Charwei Tsai, in the ceramics studio
2. A reading by Ama Josephine Budge, in the farmhouse
3. Drawing workshop with Anna Brownsted, in the Open Studio
4. Conversation: Beyond landscape: contemporary reflections on rurality, with Rafał Zajko, Dr Rosemary Shirley and Rosie Cooper (Livestream with closed captions available).
- Closing performance by Aaron Tan
## **1 March 2024**
## **Women, Art and Visual Culture Before the Women’s Liberation Movement’ Workshop w/ Lynda Nead (Birkbeck) and Jo Applin (The Courtauld).**
This invited day workshop will draw on the occasion of and opportunity presented by the Tate Britain exhibition to examine visual culture, cultural history and the women’s movement in 1960s Britain.
## 1 **3-14 March 2024**
## **Extractivism Activism: Art, Activism and Ecological Extraction**
A collaboration between the Climate & Colonialism research project at the Paul Mellon Centre and Autograph ABP. The symposium was convened by Sria Chatterjee (Paul Mellon Centre), Mark Sealy (Autograph/University of the Arts London) and Bindi Vora (Autograph). The two days were framed around three broad themes: Colonial and extractive histories, Reparative and fragile ecologies, Environmental justice and legal rights.
## **13 March**
## **Panel 1: Locating Environmental Justice**
_Chair: Ravi Agarwal (artist, writer, curator and environmental campaigner)_
- Sheelasha Rajbhandari (artist and curator), “Untamable Dankini” (online)
- Hit Man Gurung (artist and curator), “What Do the Spirits of These Lands, Rivers, Forests Whisper in Our Ears?” (online)
- Syowia Kyambi (artist and curator), “Split Bananas and Magical Spaces”
- Sahar Qawasmi (Sakiya)
## **Panel 2: Imaging Extraction**
_Chair: Sria Chatterjee (Paul Mellon Centre)_
- Tobah Aukland-Peck (CUNY Graduate Center), “‘See Britain First on Shell’: Modernism, Imperialism and the British Petroleum Industry”
- Nancy Demerdash (Albion College), “Fuelling Foment: (Counter)colonial Histories of Phosphate Extraction in Tunisia”
- FRAUD, Audrey Samson and Francisco Gallardo (artist duo), “Undergrounding the Critical Mineral”
- Crystal Bennes (visual artist), “Phosphate Mines and Resistance Gardens in Western Sahara”
## **Panel 3: Repair/Reparations**
_Chair: Bindi Vora (Autograph)_
- Gerald Torres (Yale University), Title TBC (online)
- Sasha Huber (visual artist researcher), performative lecture, “Reparative Interventions: Renegotiating Archive,
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Memory and Place”
- Adrian Lahoud (Royal College of Art), “Ngurrara II”
## **Panel 4: Ecology Politics**
_Chair: Mark Sealy (Autograph/University of the Arts London)_
- Wilfred Ukpong (interdisciplinary artist, practice-based researcher – Blazing Century Studios), “Blazing Century 1: Working at the Intersection of Extractive Capitalism/Visual Activism”
## **14 March**
## **Introductions**
Bindi Vora (Autograph)
## **Panel 5: Forest Rights**
_Chair: Ravi Agarwal (artist, writer, curator and environmental campaigner)_
- Eline Benjaminsen (artist) and Elias Kimaiyo (land rights activist), “Footprints in the Valley”
- Rahul Ranjan (University of Edinburgh), “Forests of Memory: Rights of Indigenous Peoples and Claim Making in India”
## **Panel 6: Ancestral Futures**
writer and activist) “Legal Imaginaries Beyond Extraction: Court for Intergenerational Climate Crimes”
- Marie Smith (visual artist/Kingston University), “The Wanderer” (performance)
## **Panel 8: Data Ecologies**
_Chair: Stephanie Hankey (Curator and Co-founder, Tactical Tech)_
- Mónica Alcázar-Duarte (artist), film screening of “U K’ux Kaj / Heart of Sky, Mayan God of Storms”
- Respondent: Julian Posada (Yale University)
- Mónica Alcázar-Duarte and Julian Posada in conversation
- Self-led visit to Autograph to view _Wilfred Ukpong: Future-Cosmos/ Niger-Delta_ and _Mónica AlcázarDuarte: Digital Clouds Don’t Carry Rain_ . There will be a fifteen-minute introduction to the exhibition by Autograph staff at 6.30pm
## **24 April 2024**
## **Turner Society and Pantzer Lecture 2024**
Malcolm Andrews, ‘The City “Anchored in the Deep Ocean” Dickens, Turner and Venice’
_Chair: Nina Kolowratnik (Ghent University)_
- Ignacio Acosta (Royal College of Art / Uppsala University), film screening and discussion of “From Mars to Venus: Activism of the Future”
- Godofredo Pereira (Royal College of Art), “The Puna Is Not a Triangle: Militant Research and Antiextractivism”
- Gabriela Saenger Silva (Liverpool John Moores University), “Art As Catalyst: Exploring the Fragility and Activism Through ‘We Live Like Trees Inside the Footsteps of our Ancestors’”
## **25 April 2024**
## **British Empire Exhibition workshop**
## **12 June 2024**
## **Ben Nicolson workshop**
_A workshop bringing together invited art historians, historians, archivists and curators to explore the potential of the Benedict Nicolson Archive to illuminate the entanglements of class, sexuality, art history and politics in the mid-twentieth century._
## **17 June 2024**
## **Panel 7: Litigation / Climate Crimes**
_Chair: Jelena Sofronijevic (producer, writer and researcher)_
- Marie Petersmann (London School of Economics), “Black Ecofeminism in Court: Litigating for Climate Justice and Reparations”
## **Deanna Petherbridge workshop and celebration**
_A closed exploration and celebration of the legacies of Deanna Petherbridge’s multi-layered career._
- Radha D’Souza (lawyer, academic,
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## **Summer Research Seminar Series 2024: Out to Sea**
## **Summer Research Lunch Series 2024**
~~@~~ **1 May** ~~t)~~ **3 May**
Ann Elias (University of Sydney), ‘Deep Sea Divers Below the City: The Case of Sydney Harbour’. Respondent: Morgan Daniels (Arcadia University, The College of Global Studies, London Center)
## @ **22 May**
Faye Hammill (University of Glasgow), ‘2nd Research Seminar – Faye Hammill, Ocean liners in interwar London: art and performance’. Respondent Bruce Peter (The Glasgow School of Art)
Nick Webber (Birmingham City University), ‘Britishness, history and video games’
t) **17 May**
Rosalind Hayes (University of Exeter), ‘Animal Prints: Lithography and Leather in Victorian Britain’
## **31 May**
Pita Arreola (V&A), ‘Hubs, Nodes and Networks: a new history of British digital art’
## @ **5 June**
Louis Nelson (University of Virginia), ‘Global Houses of the Efik’. Respondent: Shaheen Alikhan (PhD student, University of Virginia School of Architecture)
## @ **12 June**
Matt Lodder (University of Essex), ‘Not Just for Sailors Any More: Maritime Tattooing in Context’. Respondent: Gemma Angel (Interdisciplinary Scholar) **19 June** Katherine Gazzard (Royal Museums Greenwich), ‘Naval Gazing: Portraiture and the Royal Navy’. Respondent: Sara Caputo (University of Cambridge)
## **21 June**
Steven Brindle (English Heritage), ‘Roads, Bridges, Canals and Landscapes: how the Georgians’ gradual transport revolution changed their society, landscape and architecture’
## **28 June**
Sarah Hutcheson (PhD candidate, Harvard University), ‘Restoration and Representation: architecture and the body of Charles II’
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## **Summer Conferences 2024**
## **7 June 2024**
## **Angelica Kauffman Symposium (Hosted at Royal Academy of Arts)**
_As part of the Royal Academy of Arts’ retrospective of the work of Angelica Kauffman, this symposium will provide an in-depth look at the work of one of the RA’s founding members._
## **Welcome and opening remarks**
Rebecca Lyons (Director of Collections and Learning, Royal Academy of Arts)
## **Session 1: Angelica Kauffman and the Royal Academy of Arts**
_Chair: Rebecca Lyons_
- Annette Wickham (Royal Academy of Arts), ‘Angelica Kauffman at the Royal Academy: from a face on the wall to painting the walls’
- Jane Simpkiss (Compton Verney), ‘An Artist Among Equals: A comparative analysis of Angelica Kauffman’s selfportraits with those of her male contemporaries’
## **Session 2: Performance and Self-**
## **Fashioning in 18th Century London**
_Chair: Marie Tavinor (Royal Academy of Arts)_
- Chi-chi Nwanoku (Musician and Found of Chineke! Foundation), ‘18th-century musical prodigies’
- Rebecca Cypess (Mason Gross School of the Arts, Rutgers University), ‘Music and the Self-fashioning of Angelica Kauffman’
- Emma Barker (Open University), ‘Figuring the Sibyl: Angelica Kauffman and the Image of Female Genius’
- Rosalind Polly Blakesley (University of Cambridge), ‘Kauffman in the Reign of Catherine the Great’
- Wendy Wassyng Roworth (University of Rhode Island), ‘An Enterprising Artist: Angelica Kauffman and the Business of Art’
- Artist Talk/In-Conversation: Griselda Pollock (Professor Emerita, University of Leeds) and Sutapa Biswas (Interdisciplinary Artist)
- Climate & Colonialism Research Project Events
## **5 October 2023**
## **When Latitudes Become Form: Art History and Environmental Determinism w/Nick Robbins (UCL) & Sria Chatterjee**
Reading Groups:
_The Climate and Colonialism interdisciplinary reading group aims to provide space for discussion and reflection about the role of the arts and visual cultures in discourses around climate and colonialism._
**27 September 2023** Thinking with Meat
**5 December 2023** Thinking with Climate Coloniality
## **27 February 2024**
Thinking with Extractivism
## **23 April 2024**
Thinking with ‘The Nutmeg’s Curse’
**25 June 2024** Thinking with Oil and the Graphic Novel
## **Session 3: The International Business of Art**
_Chair: Sarah Victoria Turner (Paul Mellon Centre)_
- Yuriko Jackall (Detroit Institute of Arts) and Ellen Hanspach-Bernal (Detroit Institute of Arts), ‘The connections between style, reputation and business acumen’
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## **Learning Programme**
July 2023 – June 2024
## **Yale in London**
## **Graduate Summer Programme**
## **Spring 2024**
**16 January–23 April 2024** Number of students: 7
## **15–28 July 2024**
Number of participants: 12 Theme: Are we Postcolonial?
Courses:
- Queen Victoria and Royal Representations, taught by Margaret Homans (Yale)
- Virginia Woolf’s London, taught by Margaret Homans (Yale)
- Power, Empire, and Colonialism in London’s Museums, taught by Amanda Sciampacone (UK)
- British Race Relations and History in the 20th and 21st Centuries, taught by Catherine Bateson (UK)
## **Summer 2024, Session 1**
## **3 June–12 July 2024**
Number of students: 7
Courses:
- Rooms of Their Own: British Writers’ and Artists’ Houses, taught by Langdon Hammer (Yale)
- The British Country House: Collecting and Display, taught by Martin Postle and Rebecca Tropp (UK)
## **Summer 2024, Session 2**
## **1 July–9 August 2024**
Number of students: 11 Courses:
- The View from the Island: The Reception of Classical Antiquity, taught by Christina Kraus (Yale)
- Collecting Postwar London: The City in the Archive, taught by Matt Harle (UK)
## **Public Event Series**
## **Autumn 2023**
## **Series: Printmaking for Change**
Convenor: Rachel Prosser, Esme Boggis, and Martin Postle (PMC)
Dates: 2–12 October 2023 Events:
- Introductory Session: Printmaking for Change – Ben Thomas and Marcelle Hanselaar
- Collections Visit: Printmaking and Politics – Esther Chadwick and Richard Taws at the British Museum
- Risograph Workshop: Printmaking and Protest – PageMasters
- Collections Visit: Printmaking and Health – Jack Hartnell and Katie Birkwood at the Royal College of Physicians
- Mezzotint Engraving and the Making of Race – Jennifer Chuong and Mechtild Fend
- Printmaking and LGBTQIA+ Communities – Zorian Clayton
## **Spring 2023**
## **Series: Gender and Cloth**
Convenor: Jess Bailey (UCL) Dates: 1–11 March 2024 Events:
- The Quilting Bee: Working Class Women’s Art History – Jess Bailey, Deb McGuire, and Ferren Gipson
- The Museum of Transology: Collecting and Curating Clothing – Jess Bailey and E-J. Scott
- Weaving as Archive: Looms, Diaspora and Gendered Threads – Jess Bailey and Raisa Kabir
- Rage Embroidery: Stitching Art Histories of Disability and Incarceration – Jess Bailey and Isabella Rosner
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## **Art Teachers Connect**
## **Write on Art**
Art Teachers Connect (formerly known as Plan, Prepare, Provide) was developed by the University of Leeds School of Fine Art, History of Art and Cultural Studies, in partnership with the Association for Art History. It has been generously supported by the Paul Mellon Centre since 2021. It offers unique subject-specific opportunities and a network of support to secondary school art teachers and their schools. This offer includes a residential programme, CPD sessions, and a targeted Postgraduate Certificate in ‘Developing Teachers’ Research and Practice’. This year the programme included three online CPD workshops and a two-and-ahalf-day in-person teachers residential programme at the University of Leeds.
Number of teachers who attended CPD 1 .................... 22
Number of teachers who attended CPD 2 .................... 12
Judges: Sally Shaw MBE (Director of Firstsite) and Enuma Okoro (Financial Times Journalist)
The winners of the 23/24 cycle were:
## **Younger Category**
First place:
Azzurra Mitchell on Woman with Dead Child by Käthe Kollwitz
Second place: Nancy Edwards on The Artist in Her Studio by Paula Rego
Third place: Eve Williams on Hong Kong Harbour by Olive Edis
## **Older Category**
First place: Amelie Roscoe on Pauline Bunny by Sarah Lucas
Second place: Flora Dodd on Triptych by Paula Rego Third place: Evie Wildish on We Are Making a New World by Paul Nash
Number of teachers who attended CPD 3 .................... 13
Number of teachers who attended the Teachers Residential Programme .......................... 28
Combined average weekly student reach
of teachers who participated in ATC 23/24 ........... 19,468
Left to right: Art Teachers Connect workshop, 2024. Image courtesy of the Paul Mellon Centre / Photo by Andy Lord; Graduate Summer Programme, 2024. Image courtesy of the Paul Mellon Centre / Photo by Greta Zabulyte; Yale in London Study Abroad students visiting the Royal Botanic Gardens, Kew, July 2023. Image courtesy of the Paul Mellon Centre / Photo by Dani Tagen.
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## **Networks Programme**
July 2023 – June 2024
## **DRN Programme**
_Convened by Lucy Shaw and Jenny Warren_
## **1 November 2023**
_Archival Research into Exhibition-Making after a PhD_ Paul Mellon Centre
## **24 November 2023**
_Visit to the Turner Prize, Towner Eastbourne_
## **23 February 2024**
_Writing Conditions: A Workshop with Lizzie Homersham_ Paul Mellon Centre and online
## **7 March 2024**
_Climate Advocacy in Art and Museum Work_ (online)
## **7 June 2024**
_Responding to Difficult Questions Confidently_ Paul Mellon Centre
## **ECRN Programme**
_Convened by Roz Hayes and Chloe Asker_
## **25 October 2023**
_ECRN introduction and work-in-progress session_ (online)
## **5 April 2024**
_Curator’s Tour of the UK Parliament’s Heritage Collections_ Palace of Westminster, London
## **10 April 2024**
_Early Career Publishing Workshop: Monographs, Exhibitions, and Podcasts_ Paul Mellon Centre
## **31 May 2024**
_Curator’s Tour and Curatorial Workshop: Kim Lim: Space, Rhythm & Light_ The Hepworth Wakefield
## **Joint DRN and ECRN Event 1 July 2024**
_Summer Symposium: Precarity in Art History_ IKON Gallery, Birmingham
## **British Art Network**
BAN provided bursary support for a range of workshops, seminars, and networking events led by members, through individual Seminar Support and ongoing support for Research Groups. Selected events listed below. Full details about events and Research Groups are available on the BAN website (britishartnetwork.org.uk)
## **9 September 2023**
## **1 December 2023**
_Moving Shame in Early Career Researchers’ Experience_ The Phoenix Garden, London
_~ a very heavenly social ~ archiving the artist-led_ ~
Ninewells Community Garden, Dundee Convened by Laura McSorley and Saoirse Amira Anis
## **13 December 2023**
Work-in-progress session (online)
## **8 March 2024**
Away Day: _Impact and Engagement in Research_ Kaleider Studios, Exeter
## **15 September 2023**
_Experimental Noise Artists Seminar_ Scope Renfrewshire – Piazza Shopping Centre, Paisley. Convened by Chris Duddy and Moritz Cheung
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## **19 September 2023**
_Public Sculpture, Gender, and Sustainability_ (online) Convened by Pangaea Sculptors’ Centre
## **14 December 2023**
_Collecting and Managing Spontaneous Memorials_ Manchester Art Gallery Convened by Dr Kostas Arvanitis
## **7 October 2023**
_‘Hope as a practice’, sharing practices of support, collaboration and interdependence_ Centre for Contemporary Art DerryLondonderry. Convened by Rachel Botha
## **24 October 2023**
_Quality Dis/Abled_ (online) Convened by Amanda Lynch
## **13 November 2023**
_The Artist and the Other_ Leeds Art Gallery Convened by Sarah Francis
## **18 November 2023**
_Looking North Presents: Exploring PostGrowth and Sufficiency in Art & Exhibition Practices in Scotland_ Glasgow Women’s Library Convened by Anne Daffertshofer
## **24 November 2023**
_Why Look Back? Contemporary Art & Institutional Memory_ Nottingham Contemporary. Convened by Isobel Whitelegg and Ben Cranfield
## **BAN Annual Conference 2023**
## **24–25 November 2023**
_British Art after Britain_
Kelvin Hall, Glasgow Convened by Marcus Jack, with a keynote in three acts delivered by Professor Maria Fusco and a public screening of History of the Present, a film co-directed by Maria Fusco and Margaret Salmon, and a roundtable discussion with Sepake Angiama (Iniva), Beth Bate (Dundee Contemporary Arts), and Nigel Prince (Artes Mundi), chaired by Dr Kirsteen MacDonald.
## **30 November 2023**
## **2 February 2024**
_Decolonisation of Ceramics Practice_ Roundtable Discussion (online) Chaired by Basil Olton, June Yuen Ting and Yas Lime
## **9 March 2024**
_For Tish: A Screening and Flash Residency-in-Response_ Stroud Valleys Artspace, Stroud Convened by Hatty Bell, Alice Butler, Anna Gormley, and Kelly O’Brien
## **22 March 2024**
_STATE OF PRINT: Contested Land-SpacePlanet-Title_ Generator Projects, Dundee Convened by Miriam Mallalieu
## **20 April 2024**
_The Future of Curatorship_ Pan-Pan, Birmingham. Convened by Marta Marsicka and Jazz Swali
## **22 April 2024**
_What about Historical Acquisitions? Opportunities and Challenges_ Paul Mellon Centre and Government Art Collection, London Convened by Laura Popoviciu
## **24–25 April 2024**
_Visual Cultures of Colonial India: A Historical Perspective_ Motilal Nehru College, University of Delhi and online Convened by Sonal Singh
## **11 May 2024**
_Art & Poetry: Ekphrastic Ethics in the Gallery Space_ Ulster Museum, Belfast Convened by Eva Isherwood-Wallace
_Installation Art Now_
Northern Gallery for Contemporary Art, Sunderland. Convened by Jonathan Weston
## **1 June 2024**
_Creative Organising Today: Resourcing and Co-operation_
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Bridgehouse Gardens, London Convened by Beth Bramich and Sophie Chapman
## **11 June 2024**
_Expert Panel: Curating Colonialism and Silenced Histories (_ online) Convened by Surya Bowyer
## **25 June 2024**
_Curating Craft to Engage Audiences_ Crafts Study Centre, University for the Creative Arts, Farnham Convened by Stephen Knott
## **27 June 2024**
_Reframing Migration_ Stroud Valleys Artspace, Stroud Convened by Anna Gormley
## **Art Trade Forum 1–4 July 2024**
A programme of talks and presentations at the Paul Mellon Centre, social networking, and visits including: Thaddaeus Ropac Hauser & Wirth Wasserspeier and Angels Philip Mould & Company Lowell Libson & Jonny Yarker Ltd Christie’s Sotheby’s Treasure House Fair, Royal Hospital Grounds, Kate MacGarry, contemporary art gallery Rana Begum, artist’s studio visit Ben Elwes Fine Art Government Art Collection
## **British Art in Motion**
26–28 June and 28–30 June 2023 Training programme, in two groups, with technical training in essential video production skills from Learning on Screen and sessions on copyright and creative reuse and an introduction to film mentor Jon Law. Paul Mellon Centre, London
## **31 January 2024**
Film Festival: Screening and Award Giving Ceremony Regent Street Cinema, London
Runners-up
- Georgia Dougherty, _Strawberry Hill Revisited_
- Laura Connell, _The Pamela Colman Smith Tarot Deck_
- Youxi Chen, _Souvent Me Souvient_
- Iris Campbell-Lange, _Welcome to Paradise_
- Will Dupere, _Angela_
- Zach Taylor, _Searching for Home_
Commended
- Ania Kaczynska, _Tessa Boffin’s Angelic Rebels_
Winner
- Kate Russell, _Shifting Sands_
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Paul Mellon Centre for Studies in British Art 16 Bedford Square, London, WC1B 3JA
www.paul-mellon-centrel.ac. uk
Company registered in England 983028 Registered Charity 313838