Please note that the former Arts University College at Bournemouth (AUCB) became the Arts University Bournemouth (AUB) on 13th December 2012. All references in this document to AUCB, the University College or the Arts University College should be taken to refer to AUB, the University or the Arts University.

Annual Report 2010 – 2011 Contents

Chairman’s Introduction 2 Principal’s Review 4 Honours and Achievements 6 2011 Honorary Fellows – 6 Past Honorary Fellows – 10 2010/2012 Student Award Winners – 12

Finance 18

This Annual Report provides the AUCB financial accounts for the year 2010-2011 and highlights some of the University College’s key initiatives and achievements during this period. As part of our continued commitment to sustainability, management of resources and focus on providing the highest quality student provision, it is produced on recycled paper and is a summary report only – further details of the AUCB’s activities may be found on our website aucb.ac.uk Chairman’s Introduction

The academic year 2010-11 was challenging for all Higher Education institutions as the government’s planned changes to HE funding were announced and began to be implemented. The headline movement away from grant funding to student fees provided through the Student Loan Company was well signposted, but with all such structural change the devil was in the detail, and there was a great deal of detail, much of it altering as we progressed through the academic year. Sadly the unique position of specialist Nicholas Durbridge institutions often appeared to be considered after the event, as Chairman with the late realisation that recruitment by ‘A’ level results is not a criteria by which we select our students. The University College has always sought talent through interview and portfolio review and is committed to maintaining its high standards and to identifying student talent wherever it is to be found. Therefore a system which allows Universities to recruit unlimited numbers of AAB grade students whilst capping numbers for all others has little application to us or other specialist institutions. As the head of a conservatoire succinctly put it, for them it didn’t matter whether their students had A grades in History, French and Maths but rather what grade piano they had! Fortunately the government listened to the representations of the specialist institutions and allowed us to opt out of the system, but there still remains no clear signpost from government on how specialist institutions such as our own can grow in the future, even where such growth can be self-funded. This is unfortunate as our courses in art, design, media and performance support the nationally important and growing creative industries.

The debate about the level of student fees naturally was a key focus for the governing body. We set our annual fee at £8,600, slightly lower than the top level set by many universities, but at a level which recognises the higher costs involved in studio-based education, especially involving areas of high technology. It will enable us to continue to create annual surpluses that we can re-invest back into our campus, facilities, and students.

All of these changes have been the subject of great discussion at every level of the University College. A lot of hard work by staff members, Heads of School, Deans and the Deputy Principal and Principal has gone into making our institution ready for the introduction of the full fee regime in 2012-2013. I would like to pay tribute to our staff and to all that the University College has achieved in such challenging circumstances. As I write this introduction, student applications for our courses in 2012-2013 have held up well against an overall national decline in applications.

I remain confident therefore in the long term sustainability of The Arts University College at Bournemouth and that it will continue to rise to any future challenges in Higher Education.

2 — 3 Principal’s Review

The academic session 2010-11 was eventful for the HE Sector. We received ‘Students at the Heart of the HE System’, the Government White Paper which incorporates many of the changes proposed in the earlier ‘Review of Funding for Higher Education’ and led by Lord Browne. Taken together these have set in train a shift from direct grant investment in HE institutions to a funding model predicated largely on student fees. In these matters it has been important for the University College to be abreast of national developments and to incorporate the Professor Stuart Bartholomew best analysis of current proposals within our strategic planning for the Principal period ahead. If we consider current Government proposals alongside the HEFCE funding initiatives they comprise a force for change unequalled in higher education since the Robbins’ Report of the early 1960’s.

The moves towards a more market driven system of HE will be challenging for all universities and colleges. Students faced with unprecedented levels of graduate debt will expect more from the institutions in which they study. AUCB has made significant progress over the last year in privileging the student experience and squeezing the maximum from our resources to enhance the teaching and learning environment. We have also continued to build upon an established network of commercial links to provide graduates with opportunities for professional progression to the creative industries. The destination and employment data administered by the Higher Education Statistical Agency recorded a 96.7% progression to employment by AUCB graduates and placing us in the top decile of all higher education institutions for employment success.

The University College specialises in higher education in arts, design, media and performance. We are justly proud of our record in preparing students for professional lives in the creative industries as we are for the contributions our academic community makes to teaching, learning and scholarship.

Our success in the delivery of the subjects we offer will depend upon our sustainability. The continued development of AUCB in the emerging HE marketplace will demand the application of sound business decisions in support and promotion of our academic offer. AUCB is adopting good practices of institutional performance, monitoring and financial strategy to ensure regular, robust assessments of sustainability. These are informed by relevant strategic Key Performance Indicators (KPIs) that are appropriate to our distinct mission. We are confident that we have the adaptive capacity to respond to the opportunities and threats of the period ahead. In this regard, we are not complacent about our future in the HE sector, but are continuing to plan strategically for effective engagement with it and in the service of arts, design, media and performance.

4 — 5 2010/2011 Honours & Achievements Caryn Franklin

2011 Honorary Fellows Caryn Franklin has worked in fashion for 29 years as a writer, presenter, producer and director. Formally a fashion editor and The University College makes the award of Honorary Fellowship later co-editor of i-D magazine for six years, she is best known to persons who have made a significant contribution to the field for presenting the BBC’s Clothes Show for 12 years and BBC’s of art, design, media or performance in a professional capacity Style Challenge for three years. She has regularly appeared or an educational role. on GMTV, LK Today and This Morning as well as hosting her own programmes: Well Woman and Agony for Granada, The Frock and Roll Years for Carlton and UKTV’s remake of The Bob and Roberta Smith Clothes Show.

Patrick Brill (better known by his pseudonym Bob and Roberta Caryn has produced and presented four documentaries: Smith) is a contemporary British artist. Born in 1963, he graduated Vivienne Westwood, Philip Treacy, Fashion Targets Breast Cancer from the University of Reading and was awarded a scholarship and Matthew Williamson for ITV. She has written for a variety at The British School at Rome whilst still an undergraduate. of magazines including i-D, Time Out, Marie Claire, Sunday Times, He followed this with an MA from Goldsmiths College, London. Elle and Cosmopolitan and has produced four books including ‘Fashion UK’ (Conran Octopus) and ‘The Breast Health Handbook,’ which was a bestseller. She has written for magazines and papers Bob and Roberta Smith’s work involves performance; large like Elle, Independent, Sunday Times, Marie Claire, Cosmopolitan, installations made with personalised signs on scrap materials Grazia and continues to be a broadcast fashion commentator and wall based paintings on wooden panels. His DIY approach contributing to programmes including BBC Breakfast News, appropriates the languages of folk, punk and the alternative protest Radio 4, LBC and many others. movements to personalise political sloganeering. His work cannot be reduced to one genre. Often it takes the shape of hobbies - As well as lecturing and consulting for a variety of fashion music, cooking or DIY - which is then combined with a subversive brands, Caryn has co-chaired the award winning Fashion Targets humour. By such means Bob and Roberta Smith attempts to Breast Cancer campaign with Amanda Wakeley for 15 years and demolish established values and respected authorities and, most recently has co-founded the award winning ‘All Walks like much humour, it is to do with humiliation. Beyond the Catwalk’ with Erin O’Connor to promote a wider spectrum of beauty in fashion imagery through size, age and Smith challenges the orthodoxies we are taught at school and ethnicity. This has resulted in Lynne Featherstone, Government which he believes beats the creativity out of us. He believes in Minister for Equalities, inviting her to consult on the Lib Dem people making their own art, looking at the world around us Body Confidence Campaign. Caryn has also instigated changes which has been made by human beings, and he actively tries to the degree curriculum for students of fashion thorough her to encourage this. He focuses on the process of art which work at All Walks. is so important to him. Caryn Franklin celebrates all bodies, and her work (which In 2009, the Board of Trustees of Tate announced that the Prime includes fashion shows, studio shoots, video production and Minister had appointed Bob and Roberta Smith and University consultancy for clients like Marks and Spencer, BHS, Royal College Alumnus Wolfgang Tillmans as Tate Trustees. In the same Mint, Platinum Guild, Lloyds TSB, Next, Simply Be, Evans and year, a sculpture proposed by Bob and Roberta Smith was shortlisted Debenhams) has at its heart a desire to listen and work with for the fourth plinth in Trafalgar Square, London. In 2010 Bob realistic bodies and ages. This is undertaken by Brilliant and Roberta Smith, alongside Keith Sargent from immprint ltd, Productions, a company she and her partner Jane Galpin was asked to design the 48th Design & Art Direction (former Clothes Show producer) have run since 1999. (D&AD) Annual.

6 — 7 2010/2011 Honours & Achievements Chris Britton

Platon Chris Britton founded Forkbeard Fantasy, a multi-media theatre company with his two brothers Simon and Tim in the early 1970s. He saw the creative possibilities of forming a performance group Born in London in 1968, Platon was raised in the Greek Isles by – and he worked hard in order to realise his dream. his English mother, an art historian, and Greek father, an architect, until the age of seven when his family returned to London. He All three brothers shared a delight in bizarre and comical contraptions attended St Martin’s School of Art, and after receiving his BA (Hons) and with available friends they began putting on ad hoc events, Graphic Design, he was then awarded an MA in Photography and living exhibitions and performances in any public place that would Fine Art at the Royal College of Art, where one of his professors let them. Simon was the painter and maker of kinetic mechanical and mentors was the late John Hind, the creative director of British sculptures; Tim was the poet, writer and cartoonist; and Chris, being Vogue. While still a student, he received British Vogue’s best up- fascinated by experimental and physical theatre, devised constructions and-coming Photographer award in 1992, along with the opportunity and gadgetry to perform within their theatre company. Simon, who to contribute both fashion and portrait images to the magazine. is still strongly associated with the company, is now a painter and sculptor in his own right. Today Forkbeard Fantasy consists of Chris Now an Englishman in New York, Platon left London in 1998 and Tim, along with designer and maker Penny Saunders (who after spending a few years working for George, the magazine joined in 1979), performer and sound wizard Ed Jobling (1987), about politics and media culture founded by the late John F. Kennedy, and film-maker and editor Robin Thorburn (on & off since the ‘70s) Jr. Recruited to shoot for its premiere issue, Platon maintained who now make up the central artistic team, and Janice May (1995) a long-term relationship with the magazine and Kennedy, and who manages the company. this significant and incomparable introduction to American culture and politics included one of Platon’s favourite early assignments: Very much out on a limb in the early days, Forkbeard soon found a cross-country trip in order to document the 20 most fascinating that they fitted most comfortably within the new wave of British men in America. Since the early 1990s, Platon has continued to experimental performance and performance art that had been shoot portrait and documentary work for a range of international burgeoning since the 1960s. It was a time of much mixing of publications including The New Yorker, Time Magazine, Rolling media, kinetic and ‘living’ sculptures, performance art, poetry Stone, The New York Times Magazine, Vanity Fair and Esquire. His performance and squeaky-bonky jazz, all elements, art forms and advertising credits include campaigns for Credit Suisse Bank, Exxon media. But with mainstream theatre reluctant to accept any of it, Mobil, Diesel, the Wall Street Journal, Motorola and Nike. In 2007 many of the performances took place in galleries, pubs, music Platon photographed Russian Premier Vladimir Putin for Time venues, festivals and shop windows. Magazine’s Person Of The Year cover. This image was awarded the coveted 1st prize at 2008 World Press Photo Contest. Platon is now Forkbeard continue to produce and present their highly individual a staff photographer at The New Yorker, signing a multi-year contract brand of comic surrealism, creating performances, theatre shows, in 2008. His first two-large scale photo essays for The New Yorker cartoons, automata, sculptures, installations and interactive entitled Service and Portraits of Power both won ASME awards exhibitions across the UK and abroad. They are one of the UK’s in 2009 and 2010 respectively. longest surviving independent performing arts companies and certainly the oldest with the same original members still writing, Platon has strong ties to photography at the Arts University producing and performing in all the shows. The work combines College at Bournemouth, hosting lectures both in New York and theatre with special effects, mechanical sets and contraptions, at the University College, and offering summer internships outsize puppetry and automata, and their particular trademark to our students for the last six years. – an interactive mix of film, animation and cartoon live on stage – a medium in which Forkbeard Fantasy have long been seen as the pioneers.

Forkbeard Fantasy have strong ties to the School of Performance at the AUCB, giving creative workshops for our students. Chris will be accepting the Honorary Fellowship on behalf of the whole

Photograph by Norman Jean Roy Norman Jean by Photograph Forkbeard Team.

8 — 9 Past Honorary Fellows

1998 2003 Nick Knight, Photographer Basil Beattie, Artist Suri Krishnamma, Filmmaker Chris Briscoe, Creative Director John Millward, Governor, Arts Bruno Gaumetou, Animator Institute at Bournemouth Carol Lingwood, Costume Designer Flavia Swann, Design Historian 1999 Alison Wilding, Sculptor

Gary Cook, Illustrator 2004 Jean Hunnisett, Costume Designer Ken Morse, Film Cameraman Huw Penallt Jones, Film Producer Daphne Teague, Fashion Designer Cherrill Scheer, Furniture Designer and Governor, Arts Institute Karl Weschke, Artist at Bournemouth 2005 2000 Grenville Davey, Artist and Sculptor David Bradley, Governor, Lesley Morris, Designer and Academic Arts Institute at Bournemouth Andy Earl, Photographer 2006 and Governor, Arts Institute at Bournemouth Frank Bowling, Artist Professor Simon Olding, Lewis Gilbert OBE, Museum Curator and Director Film Producer and Director Alan Plater, Scriptwriter Mary Mullin, Design Specialist Chris Windsor, Modelmaker Nigel Trow, Photographer, Author and Governor, 2001 Arts Institute at Bournemouth Michael Harvey, 2007 Typographer and Governor, Arts Institute at Bournemouth Jacques Azagury, Fashion Designer Ossie Morris OBE, Cinematographer John Makepeace OBE, Cabinetmaker Wolfgang Tillmans, and Designer Artist and Photographer 2008 2002 Nigel Beale, Chairman of Governors Clive Juster, Animation Professor Sir Peter Cook, Architect Production and Governor, Stuart Craig, Production Designer Arts Institute at Bournemouth Ian McKeever, Artist 2009 Martyn Rowlands, Designer Roger Dean, Artist and Designer Paul Watson, Filmmaker Linda Mattock, Costume Designer and Governor, Arts Institute at Bournemouth Philip Townsend, Photographer

2010 Neill Gorton, Prosthetics Artist Professor Gunther Kress, Professor of Semiotics Greta Scacchi, Actress Michaël Dudok de Wit, Animator and Illustrator 10 — 11 Student Award Winners 2010-2012

Students, alumni and tutors from the University College are Students from the 3rd year of the Film Production course the recipients of many awards and accolades each year. Here won seven accolades at the Kodak Student Commercial are just a selection of this year’s winners. Awards, including 1st and 2nd place in the Overall Winners Category for their short films Black and White; and Friends. James Norman won Best Game and Gameplay at the GAME British Academy Video Games Awards 2010 for his work on Alison Beard won an Emmy award for her costume work Batman: Arkham Asylum. on BBC1’s Return to Cranford.

Animated film Train of Thought, by Leo Bridle and Ben Paul Gorman won the London Photographic Association Thomas, was shortlisted for both a British Animation Award (LPA) Landscape Competition. and a Royal Television Society (RTS) Award in 2010. It also won first prize in the Experimental Animation category at the Nina Johnson Hove won 3rd place in SHOTS Magazine’s Animex International Awards, first prize in the Super-Short Young Photographer’s Competition. category at the Skepto International Film Festival and ‘Best 19 – 25 Animation’ at the BFI Future Film Festival, London. Johanna Wulff was shortlisted to appear on ITV daytime show ‘This Morning’ for the ‘This Morning Viewer’s Award’ Animated film Lullaby, by Nick White and Emma Neesham, at London Graduate Fashion Week. One of her designs was won a RTS Student Television Award in both the regional and selected to appear live on the ITV programme in a feature national categories. that highlighted the best of what is on offer at this event.

Animated film Pure Funk, by Marc Adamson, Simon Andy Richmond, Oli Soden, Ben Cranel, Wen Wang, Claire Ashbery, Hozen Britto and Noriko Umemura was shortlisted Hughes and Callum Jefferies have had their projects selected for the RTS Student Television Awards 2011. for the ‘in-book’ prize at the D&AD Awards. In addition, Sophia Taglialavore, Sam Halpin and Richard Moody’s Sarah Brimley received the Judges Choice for Fashion Series project has also gone forward to the final ‘Yellow Pencil’ at the Association of Photographers (AOP) Student Awards, nomination stage. for her graduation project.

Faith Mason’s images were chosen to front a major advertising campaign for Criminal, a House of Fraser clothing concession.

Tutor Paul Wenham-Clarke won one of the Association of Photographers’ (AOP) Gold Awards for Commissioned Documentary photography.

12 — 13 Landscape by Design by Paul Gorman Johanna Wulff

Criminal Clothing James Norman by Faith Mason

14 — 15 A still from Friends Lullaby, by Nick White and Emma Neesham

Big Issue Alison Beard photograph by Paul Wenham-Clarke

16 — 17 Finance

Introduction

The Consolidated Income and Expenditure Account together In addition we have a duty to enhance and safeguard our with the Balance Sheet continue to describe a robust financial funding so that we maximise resources for the student position for The Arts University College at Bournemouth in experience. Our Finance Strategy will achieve this through: the financial year 2010-11. – Operating surpluses in all years sufficient to meet loan The Corporation is committed to the sustainability of the capital repayments; Institution and has adopted the following financial objectives – Continued efficient delivery in schools, support and to guide and regulate its strategic planning: overhead areas; – Investment of cash reserves accumulated over previous – Achieve minimum operating surpluses on a historic cost basis years, with cash balances being maintained at a comfortable of at least 4% of turnover; level but not by means of borrowing additional funds; – To maintain staff costs as a percentage of total costs at 55% – Use of loan funding for major estates developments; or below; – Maintaining investment in infrastructure and resources, – Maintain quick assets at 30% of total long term borrowings including the estate to ensure efficient utilisation and fitness including bank overdraft facility; for purpose in all areas; and – To generate positive cash flow from operating activities – Development of commercial income streams, mainly of at least c£1m in each year before capital investment; through the Enterprise Pavilion. – Optimise levels of debt and other long-term financial commitments – with debt finance not to exceed 40% of income; The accounts were audited by KPMG LLP who concluded that – To generate surpluses on the income and expenditure account in their opinion: at least equal to the repayment of loan capital; – To ensure that annualised debt servicing costs do not exceed 4% – Give a true and fair view of the state of the affairs of the Group of income unless required by a capital investment programme; and University College as at 31 July 2011 and of the Group’s – To increase commercial income and identify new income streams; income and expenditure, recognised gains and losses and cash – To claim in full, all capital grants that are available to support flows for the year then ended; the investment in our estates infrastructure; and – To ensure that all major capital developments are delivered – Have been properly prepared in accordance with United within budget. Kingdom Generally Accepted Accounting Practice;

– Have been prepared in accordance with the Statement of Recommended Practice – Accounting for Further and Higher Education.

– Funds from whatever source administered by the University College for specific purposes have been properly applied to those purposes

– Income has been applied in accordance with the University College’s Statutes; and

– Funds provided by HEFCE have been applied in accordance with the Financial Memorandum and any other terms and conditions attached to them.

18 — 19 Consolidated Income and Expenditure Account

For the year ended 31 July 2011

2010 – 2011 2009 – 2010 £’000 £’000

Income Funding council grants 13,155 13,555 Tuition fees and education contracts 9,991 8,432 Other income 2,252 2,283 Endowment and investment income 20 9

Total income 25,418 24,279

Expenditure Staff costs 12,068 12,077 Other operating expenses 8,992 8,751 Depreciation 1,657 1,583 Interest payable 279 381

Total expenditure 22,996 22,792

Surplus on continuing activities after 2,422 1,487 depreciation of assets at valuation and before tax

Taxation (0) (21)

Transfer from accumulated income 1 9 within endowments

Surplus on continuing activities for 2,423 1,475 the year retained within income and expenditure account

Difference between historical cost 93 93 depreciation change and actual

Historical cost surplus after tax 2,515 1,559

The income and expenditure account is in 20 — 21 respect of continuing activities. Consolidated Balance Sheet These financial statements were approved by the Board of Governors on 25th November 2011 and were signed on its behalf by: Nicholas Durbridge, Chairman; Stuart Bartholomew, Principal and Chief Executive; and Mary O’Sullivan, Director of Finance & Planning.

As at 31 July 2011 2011 2010 £’000 Income Sources (%) £’000 £’000 £’000 £’000 HEFCE 9,589 Fixed Assets Fees Tangible assets 27,690 25,955 7,945

Further Education Endowment Asset 392 344 2,765

Other Income & Interest Current Assets 878 Debtors 350 354 Overseas Fees Cash at bank and in hand 4,030 2,336 2,046 4,380 2,690 Catering & Residences 917

Creditors: amounts falling due within one year (4,612) (5,300) Trading Activities 425

Net Current Liabilities (232) (2,610) Grant Income 853 Total Assets Less Current Liabilities 27,850 23,689

Creditors: amounts falling due after more than one year (6,035) (5,585) 0 1,000 2,000 3,000 4,000 5,000 6,000 7,000 8,000 9,000 10,000

Provisions for liabilities and charges - -

Net Assets Excluding Pension Liability 21,815 18,104

£’000 How Resources are Spent (%) Net Pensions Liability (3,931) (4,441) Academic Staffing 8,089 Total Assets Less Liabilities 17,884 13,663 Academic Resources 3,594

Deferred Capital Grants 3,571 2,644 IT 768

Endowments 392 344 Estates 2,991

Reserves Depreciation 1,657 Income and expenditure account excluding pension reserve 12,979 10,150 Pension reserve (3,931) (4,441) Interest Payable 279 Income and expenditure account including pension reserve 9,048 5,709 Administration 4,487 Revaluation Reserve 4,873 4,966 Other 1,131 Total Reserves 13,921 10,675

Total Funds 17,884 13,663 0 1,000 2,000 3,000 4,000 5,000 6,000 7,000 8,000 9,000 10,000

22 — 23 The Arts University College at Bournemouth is committed to the provision of a working and learning environment founded on dignity, respect and equity where unfair discrimination of any kind is treated with the upmost seriousness. It has developed and implemented a Single Equalities Scheme (SES) to guide its work in this area. All the University College’s policies and practices are designed to meet the principles of dignity, respect and fairness, and take account of the commitments set out in the SES.

A campus for the creative industries

We believe in doing one thing, brilliantly. We’re creative through and through, undiluted by any other disciplines. We create passionate, knowledgeable graduates with the imagination and expertise the creative industries crave.

We believe in the power of practical. We revel in the practical application of creative skills. Nothing excites us more than a living, breathing creative project from the real world. Our students do hands-on from the outset.

We believe creativity thrives in the right space. A single campus fosters our sense of being creative specialists. Every subject has dedicated studios to nurture the unique skills students need.

We believe in having the best tools for the job. We send our students out in to the world with experience of the latest technology and facilities – the self same tools they’ll use on their first day at work.

We believe we’re stronger when we’re connected. Film needs make up. Fashion needs photography. Designers need illustrators. The connections we encourage on campus serve our students well 24 in the creative industries they aspire to. The Arts University College at Bournemouth, Wallisdown, Poole, Dorset, BH12 5HH, UK www.aucb.ac.uk