BRITISH LIBRARY BOARD Tuesday, 14 May 2019

F.O.I. status: OPEN for release - no redactions Paper No: BLB 19/26

EXHIBITIONS AT THE BRITISH LIBRARY: REVIEW OF 2016-19 CYCLE AND FUTURE STRATEGIC DIRECTION

PRESENTER: Conrad Bodman, Head of Culture Programmes

PURPOSE: a) to review exhibition performance for the 2016/17-2018/19 cycle; and b) to invite comment on the new mission, creative principles, programming methodology, and strategic objectives for temporary and touring exhibitions during the period 2019/20 – 2024/25.

ACTION REQUIRED: For Review (and comment)

INTRODUCTION

Since the publication of Living Knowledge in 2015, the significance of British Library exhibitions to the overall organisational mission has grown considerably. For the first time, Living Knowledge explicitly referenced exhibitions as part of the Library’s core public Purposes, and it set corporate objectives for the programme to increase its range and impact. The launch of Living Knowledge also saw the introduction of the first three-year exhibition cycle that set challenging stretch targets for audience numbers and income (box office, commercial and philanthropic), not on an exhibition-by- exhibition basis as was previously the case but across a three-year cycle that ended in March 2019.

This three-year period saw an exceptional pace of change in expectations and perceptions of museum exhibitions across the cultural sector. Blockbuster temporary exhibitions became prevalent—most notably music and fashion shows at the V&A—and the impact of these increasingly tied to organisations’ overall financial performance. However, more recently attention has shifted to the political-cultural narratives of organisations’ display of their objects, especially their permanent collections. The growing importance of the ‘decolonizing museums’ agenda in Europe, the United States, and Australasia has brought increasing focus on the provenance of historic collections, and the interpretation and curatorial strategies employed to display them. There has also been increasing awareness of the economic structures of large exhibitions, and many of the national museums have been criticised for exhibition sponsorship arrangements, most notably partnerships with oil, pharmaceutical, and arms companies.

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During this first three-year cycle, the British Library staged a number of major exhibitions, including two ‘blockbuster’ shows: ‘Harry Potter: A History of Magic’, the Library’s most successful exhibition ever; and ‘Anglo-Saxon Kingdoms’, an exhibition that attracted 108K visitors and received across- the-board positive reviews. The attraction of our overall exhibitions offer has also grown as a proportion of overall visits to the St Pancras building during this period, with the Culture programme attracting 41% of all visits (and 55% of all unique visitors) in 2017/18.

In addition, during this period a new display space was opened (the Second Floor Gallery); new cases were formalised for temporary displays in the in the Treasures gallery; and a project was completed to transform the gallery experience in the existing building. The Library also created a new UK touring exhibition programme in 2016, and in 2018 opened its first ever international touring exhibition in New York. Following the signing of the Development Agreement with SMBL Developments Ltd to develop the site to the north of the existing building, planning for the additional gallery spaces in the new building will be enhanced, and will be informed by ambition for change during the years leading up to the opening.

Therefore, as we complete our first exhibition cycle, and develop ambitions for the programme over the next three years, in this paper we will: a) review exhibition performance for the 2016/17- 2018/19 cycle; and b) to invite comment on the new mission, creative principles, programming methodology, and strategic objectives for temporary and touring exhibitions during the period 2019/20 – 2024/25. The paper considers both on-site temporary and touring exhibitions, and will influence the development of programming in our new building post-2026. The paper will also inform the evolution of the permanent Treasures Gallery, and an enhanced British Library presence in Leeds; however, specific strategies will emerge from the STP Transformed and BL North Portfolios to develop these projects in greater detail.

STRATEGIC CONTEXT

Culture is one of the six purposes of the British Library as defined in the Living Knowledge strategy published in 2015. The Culture Purpose affirms that ‘we engage everyone with memorable cultural experiences’: a cross-Library responsibility led by the Culture teams.

Our published priorities for 2015 – 2023 to support our Cultural purpose are to:

 Grow the profile, diversity and creative impact of the Library’s cultural activities, both on- site and online.  Develop an increased programme of loans, touring exhibitions and digital collaborations, with public libraries and others, that open our collections to new audiences across the UK and internationally.

The exhibition programme also supports other Purposes:

 Custodianship: Exhibitions showcase the UK’s national collection of published, written, and digital content, and provide opportunities for new acquisitions and donations to grow these collections.  Research and Engagement: Exhibitions enable curatorial staff to undertake ‘deep research’ into the collection and to engage with key stakeholders allowing us to present new

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information in accessible ways to exhibition audiences, and leverage additional funding for staff support via PHD studentships and other research grants.  Learning: Exhibitions allow us to provide inspiration to learners of all ages, from students to life-long learners and community groups, and provide a pathway to deeper understanding of our collections.  International: Exhibitions allow visitors to engage with our international collections and the connections between them; and our international touring programme offers the opportunity to build new international partnerships and audiences.

GOVERNMENT PRIORITIES

Our exhibition programme has contributed to the delivery of a number of government priorities and forms part of the British Library’s DCMS KPIs. Our audience engagement in London and across the UK contributes to the DCMS’ participation priority and our international touring programme delivers the global priority. Additionally, we have delivered on the priorities of the DCMS-commissioned Mendoza Review of Museums in England, especially around growing and diversifying audiences, place making and working internationally.

SECTION 1: EXHIBITION PROGRAMME THEMATIC REVIEW: 2016/7-2018/19

OUR PROGRAMME

The British Library has delivered a vibrant programme of exhibitions in London, across the UK, and internationally over the last 3 years.

In London we have developed a varied range of exhibitions across the building, including ticketed temporary exhibitions in the Paccar gallery, free temporary exhibitions in the Entrance Hall Gallery, and a free permanent offer in the ‘Sir John Ritblat: Treasures of the British Library’ Gallery (that also includes two areas of rotating small displays). During this period we also opened an additional free, temporary space to showcase works on paper: the Second Floor Gallery. Many of these exhibitions have been curated by British Library staff, often working with external expert advisers; and we have also showcased work by artists responding to Library collections (e.g. Chloe Dewe-Matthews, ‘In Search of Frankenstein’) or learning groups (e.g. ‘Tūhuratanga: Voyage of Discovery’ with Pacific island community groups). See Appendix 1.

Our exhibitions have covered an extensive range of subject matter drawn from our own collections, and enhanced by loans from third party institutions and individuals, as well as newly created work and commissioned films. Paccar programming has included exhibitions exploring British history (e.g. ‘Anglo Saxon Kingdoms’), thematic exhibitions (e.g. ‘Maps and the 20th Century: Drawing the Line’), international country-specific exhibitions (e.g. ‘Russian Revolution: Hope, Tragedy, Myths’), and career focus exhibitions (e.g. ‘Shakespeare in Ten Acts’). ‘Harry Potter: A History of Magic’ was our most successful exhibition ever, and successfully used a major literary phenomenon as a means of exploring the riches of the library’s historical collections. Our free Entrance Hall exhibitions have allowed us to explore a broader range of subject matter, to take more risks, and to respond to

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contemporary events (e.g. ‘Windrush: Songs in a Strange Land’ or ‘Gay UK’). These exhibitions have also showcased lesser-known areas of our collecting (e.g. ‘Listen: 140 Years of Sound’ and ‘Punk: 1976-78’ showcased our sound archive and printed ephemera). These exhibitions have also been the right scale to tour to regional libraries and museums.

During this period we also created a new touring exhibition programme from scratch, which has grown audience engagement out of London and internationally, as well as delivering new income streams (see Appendix 2). UK touring exhibitions have ranged from ‘The Roald Dahl Centenary Portraits’ (Hull, Norwich, Wakefield) to ‘Punk: 1976-78’ (Sunderland, Liverpool), and we also created a new form of wrap-around displays when we simultaneously opened ‘Harry Potter…’ panel exhibitions in 20+ UK libraries to accompany the main exhibition in St Pancras. Special externally- funded collaborative projects allowed us to simultaneously open a major Shakespeare exhibition in Birmingham alongside the London show; and to open a series of exhibitions about English literature across China. From 2018, our UK work was enhanced by a grant from the Helen Hamlyn Foundation to increase touring and Spotlight Loan engagement across the country. Our international touring programme launched in October 2018 with ‘Harry Potter…’ at the New York Historical Society, which will subsequently tour to two cities in Japan.

OUR PERFORMANCE AND OUR BUDGETS/RESOURCING

In 2016, for the first time, we established visitor and income targets across a three-year cycle, setting challenging stretch targets of 385,000 visitors and £2,425,000 box-office income (to be additionally supported by £724,000 fundraised income). Attendances to the end of ‘Anglo-Saxon Kingdoms’ for the cycle show 430,449 visitors (45,499 over target), £3,449,272 box office income (£1,024,272 over target), and fundraised income of £631,361 (see Appendix 2). In addition, exhibition performance drove £793,559 of publishing income and £1,953,114 of retail secondary spend, while 23% of culture visitors use the catering offer. From launch, the Touring programme (see Appendix 3) has driven 475,557 visits to partner venues (plus a conservatively-estimated 750K visitors to the Harry Potter panel displays), and income of £104,000. In 2018, a new cross-Library Ticketing Group was created to drive greater accuracy of forecasting, and maximisation of ticket yield.

In 2017/18, temporary ticketed exhibitions attracted 203,764 visitors, and in 2017/18 the overall exhibitions offer accounted for 41% of all onsite visits (55% unique visitors). By way of comparison, the Library Reading Rooms (that do not have dedicated marketing) attracted 51,980 unique readers, and total Research visits accounted for 23% of all onsite visits. Typically, our temporary ticketed exhibitions attract a majority female, older audience, although ‘Maps…’, for example, attracted a majority male audience. ‘Maps…’ and ‘Harry Potter…’ were the most successful in attracting a UK wide audience (49&52%), and the overall Exhibitions programme attracted on average 41% of visitors from outside London (as compared to an overall Library average of 30%; and 20% academic visitors). ‘Harry Potter…’ was most successful in attracting younger visitors) and families (57%). Attracting diverse audiences is an increasing priority for the Library: Both ‘Windrush…’ and ‘Harry Potter…’ reached greater numbers of BAME audiences, while in 2017-18 we grew our share of this demographic to 8%, our inclusivity rating also grew to 8.4 (out of 10).

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The average production costs, including loans for our exhibitions are low by sector standards ca. £400k per exhibition for design and build as opposed to an average of £500k at the Museum of London and Design Museum and £600k at the Barbican (large V&A shows have multi-million pound budgets). Limited budgets impact the ambition of or our exhibition design, build, and interpretation including AV and digital.

During this period, the Exhibitions team has been in flux, with long-term sickness absence and a range of temporary upgrades and short-term contracts. The current staff complement is low by sector-standards, and some key roles (including our Interpretation Officer), are fixed-term contracts. The need for improved project management to support collaboration with teams across the Library (as trialled during ‘Harry Potter…) was recognised through GIA support for an Exhibitions Project Manager from April 2019, and the previously fixed-term Touring Manager role will also be made permanent, with the role 100% subsidised from touring income (see Appendix 4).

Collections and Curation agreed curatorial input estimated at 2 FTE (over two years) per Paccar exhibition during this period and not cross-charged. Curatorial colleagues have flagged concerns about workload, and have been allocated 2 x 1.0 FTE Assistant Curator posts, on 2-year contracts from April 2019. Further work is needed to align curatorial resourcing for exhibitions to a wider Curatorial Strategy.

INTERPRETATION AND THE EXHIBITION EXPERIENCE

Our BDRC audience research emphasises the importance of generating emotions in order to drive an enjoyable experience within an exhibition. The emotional drivers with the most positive influence on visits differ by exhibition, but consistently include inspiration, belonging, amusement, surprise, empowerment, nostalgia and excitement. ‘Harry Potter…’ was by far the most effective exhibition in recent years in terms of emotional outcomes, and delivered highly on most emotions. At the other end of the emotional spectrum, sadness is usually a low driver of a memorable visitor experience, as seen in the lower visitor ratings for ‘Russian Revolution…’.

In order to deliver positive outcomes for visitors, our research suggests that our exhibitions also need to provide sufficient context, familiarity, physical comfort and a suitable visitor journey. British Library exhibitions often begin with an introductory video; this worked successfully in ‘James Cook…’ by setting the context of the voyages today amongst different communities. Clear physical and intellectual navigation worked well in ‘Shakespeare…’ through a synopsis for each play at the beginning of each section. Surprising and unexpected exhibits (such as escape maps printed on silk in ‘Maps…’ positively engage audiences. Audiences have consistently enjoyed interactive or tactile elements, which we delivered especially successfully in ‘Harry Potter…’

Exhibition design and interpretation are challenging in a library environment: rare books and documents often have very strict display requirements, and (often hard-to-read or in unfamiliar languages) written text also requires additional interpretation. Visitor feedback often focuses on low-level lighting, the gallery temperature, and object presentation: conditions that are often dictated by our lenders or conservation requirements. However, feedback relating to seating, text size, exhibition narrative and layout are very much in our control. New graphic design accessibility

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guidelines have been developed to ensure consistency of text sizes and fonts in line with standard practice at peer national museums and galleries.

LEARNING AND EVENTS PROGRAMMING

The Learning team creates a programme of activity around every Paccar exhibition, and some Entrance Hall exhibitions. ‘Harry Potter…’ had the greatest reach for schools and families and community groups (supported by dedicated gallery access 1.5 days per week, and additional individual sponsorship for expanded programmes), whereas ‘Anglo-Saxon Kingdoms’ had low take- up (despite high overall visitor numbers).

Exhibitions generally work well for schools where there is: a strong curriculum link (e.g. ‘Shakespeare…’ and ‘Magna Carta…’); previous programming on a related theme (e.g. ‘Maps…’ workshops were already a popular part of the core primary programme prior to the opening of the ‘Maps…’ exhibition); or where there are fewer competitors for schools visits (e.g. despite partnering with the Globe, numbers for ‘Shakespeare…’ were lower than expected).

When funding permits, and where there are clear long-term curriculum links, the Learning team develops legacy online exhibitions and resources aimed at teachers and students at Key Stages Four and Five. These provide a long-lasting legacy, and do not always reflect physical exhibition visitor performance (e.g. in 2017/18 ‘Shakespeare…’ received 1.2m unique visitors, against 600K for ‘Magna Carta…’, whereas the ‘Magna Carta…’ physical exhibition out-performed ‘Shakespeare…’ significantly).

Exhibition-related events are a key part of the library’s Cultural Events offer, currently accounting for 40-50% of the annual programme. Typically, a PACCAR exhibition will be accompanied by 18-25 separate events over the duration of the exhibition run, and attracting 3500-5500 people. Event types range from lectures and panels with leading experts, curator talks and performances. We generally present two ‘Lates’ attached to each exhibition. There is a high audience take up for these associated programmes – around 75%-85% of available capacity, and the huge popularity of ‘Anglo Saxon…’ events highlights the desire for deeper engagement.

MARKETING AND MEDIA COVERAGE, AND ONLINE WRAP-AROUND

The campaigns for ‘Harry Potter…’, ‘Anglo-Saxon Kingdoms’, and ‘Windrush…’ were especially successful, attracting core culture audiences and, in the case of ‘Harry Potter…’ and ‘Windrush…’ younger and more demographically diverse visitors. The benefit of broadcast partnerships was demonstrated by the BBC’s ‘Harry Potter…’ documentary, structured around our exhibition. Press coverage is generally positive with particular success around ‘Harry Potter…’ and ‘Anglo Saxon Kingdoms’. Both exhibitions generated much of their own PR but other exhibitions such as ‘Russian Revolution…’ and ‘James Cook…’ were harder to communicate and in future, we need to be more creative and improve our use of social media.

Our rich exhibition digital content, including essays, videos, and podcasts, provides accessible context for UK and international audiences to deepen their learning, and BL Live live-screening of cultural events is also allowing library audiences around the UK to engage with the debate around exhibitions. We have also had successful digital collaborations with other organisations, including Google Arts and Culture for ‘Harry Potter…’, and BBC/British Council for ‘Shakespeare…’.

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Marketing and communication budgets are low compared to sector averages, and our modest budgets inhibit our digital and print advertising, and our ability to promote exhibitions on site. We spend ca. £125K per exhibition in total (including onsite costs and all agency, design, and research fees); in comparison budgets at the Museum of London are £120-200K per exhibition, or £150-£180K at the V&A (excluding onsite, agency costs etc.).

Visual identities for our exhibitions have often been quite safe and traditional, and research demonstrates that more striking identities (e.g. ‘Russian Revolution…’) drive greater likelihood of visits. The Library is developing better creative collaboration across design teams to ensure that there is a strong and coherent visual journey.

In addition to our exhibition evaluation work and Annual Visitor surveys with BDRC, the development of Total Audience View with Arup has given us an enhanced understanding of our current audiences, and we are working towards a Library-wide audience strategy with an agreed audience segmentation methodology.

STAFFING:

Whilst exhibition planning and production is led by the Culture team, it is acknowledged that exhibition development relies on the contribution of many staff around the library. Pressure on staff resources in a number of business areas relating the exhibitions could present a risk. However recently approved business cases for a new Exhibitions Project Manager and two Assistant Curator roles will mitigate this risk. We will continue to work closely with Collections and Curation teams to understand the ways that they balance audience and collections commitments.

SECTION 2: MISSION, CREATIVE PRINCIPLES, PROGRAMMING METHODOLOGY AND STRATEGIC OBJECTIVES: 2019/20 – 24/5

BACKGROUND

We have been working with culture consultants RAA to help shape the vision, mission and interpretation strategies for the next 5-year period, informing our work in the lead up to the new building. Their final report can be found here, and was supported by staff workshops, stakeholder meetings, and external analysis.

MISSION

Exhibitions at the British Library will inspire and engage everyone, and be recognised as distinctive. They will offer unique insights into our world through encounters with original collections, and by creating further opportunities for deeper visitor learning.

OUR CREATIVE PRINCIPLES

1. We illuminate the present by shining light on the past. Whether our subject matter is historical or contemporary, our exhibitions are always topical. They remain relevant to today in explicit and implicit ways, and help shape our understanding of our lives and our world.

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2. We wear rigorous research lightly. Our exhibitions are always founded on new research, evidence and stakeholder engagement. We draw on our deep and infinite knowledge and rich collections to engage visitors, but communicate this knowledge inclusively, in light- touch ways.

3. We are innovative. We are experimental, forward-thinking and dynamic. We position ourselves at the forefront of cultural engagement by inspiring conversation and debate, redefining what ‘expert’ means, and challenging expectations of the Library.

4. Words and ideas are at our core. We reveal the power, poetry and beauty of words, language, writing and reading. We find original ways to bring alive the ideas contained in our manuscripts, books, documents, recordings and music.

5. We showcase breathtaking artefacts. We celebrate our British collections and display them in ways that reveal their national and global significance.

The statements articulated here have grown directly out of conversations with Library staff. They should underpin all future exhibition programming, and act as a barometer to ensure that proposed exhibitions and displays are consistently ‘true to the British Library’. In this way, the statements form a primary set of criteria against which to judge upcoming exhibition proposals. These criteria should complement wider key performance indicators for each exhibition, including projected visitor numbers, budget and income requirements. This will ensure that the Library can build a strong and sustainable cultural identity for itself in the years to come.

PROGRAMMING METHODOLOGY

Library exhibitions should harness a variety of methods to engage their visitors in meaningful ways. A two-tiered model of engagement will incorporate a broad spectrum of communication methods, many of which will differ depending on whether an exhibition is categorised as ‘Core’ or ‘Aspirational’. A range of Library stakeholders were consulted to identify a dual approach to audience engagement, in which Core and Aspirational exhibitions exploit a variety of communication methods in different ways, and to different ends.

CORE SHOW

An exhibition that is true to the Library’s mission, showcases our unique British and International Collections and the connections between them, and delivers on our reputation for high-quality exhibitions for established ‘culture audiences’ whilst remaining accessible for wider target audiences including young people, families and diverse audiences. Key elements would be:

 Collections rich, supported by contemporary commissions and loans  ‘Deep’ knowledge worn lightly  Inclusion of multiple perspectives and diverse voices both contemporary and historical  Opportunities for visitors to comment, respond and engage  Historical subject matter with a contemporary twist.

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ASPIRATIONAL SHOW

An exhibition aimed at pushing the boundaries, creating opportunities for experimentation in both subject matter and interpretive methodologies; will engage core and target audiences, including millennials, families and diverse audiences. Key elements would be:

 Guest curators (high profile experts or community curators)  Interdisciplinary content, exploring relationships with other art forms (art, design, film etc.)  New commissions (working with artists and writers to create inspiring new works).  Exploring new forms of digital practice and engagement (games, VR).  Sometimes uncomfortable contemporary subject matter, with a historical twist.

Whilst this is a sound methodology it is likely that there may be some overlap, ‘Harry Potter …’ had elements of both. We also want to ensure that there is an entry point into aspirational exhibitions for our core audiences and similarly an entry into our core exhibitions for aspirational audiences.

STRATEGIC OBJECTIVES

Our mission, creative principles and our programming methodology set a framework for a series of objectives that we will deliver over the next three years:

1. We will develop a programme that draws attention to the richness and diversity of the British Library’s Collections and partnerships.  Curate exhibitions across Library spaces that showcase the richness of our humanities and science collections across time and geographies. We will explore key historical moments, genre-based exhibitions, thematic exhibitions, celebrations of individual writers and significant cultural anniversaries and partnerships including with the Alan Turing Institute (see Appendix 5).  Integrate our sound and born-digital collections into all of our exhibitions as interpretation and core objects. We will additionally create new ‘Sound Booth’ permanent displays to showcase our audio collections.  Explore new exhibition models including monograph shows, artist commissions, prizes and digital initiatives. We will explore how exhibitions in the Paccar Gallery can occupy public and outdoor spaces.  Work with colleagues from across the library; develop an interpretation plan to re- contextualise our historic collections.

2. We will better understand, grow, and diversify our audiences; and identify and remove barriers to participation:  Collaborate on the Arup ‘Total Audience View’ project to better understand overall visitors to the Library, and work towards an audience strategy for the library.  Ensure diverse voices are present in the planning, development, and delivery of all exhibition projects.  Identify and remove barriers to access and inclusion for all our visitors, including blind and partially sighted people, and people with physical disabilities and other complex needs.

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 Develop at least one exhibition a year that will appeal thematically, and through its design, specifically to family audiences. In the medium term, consider developing a semi- permanent family space.  Research a 16-25s ticket scheme that runs across exhibitions and events.  Work in close collaboration with Marketing and Comms to achieve a joined up brand identity for our exhibitions that works across the gallery, print, and online.  Involve colleagues across the Library—and especially the new Gender Equality, BAME and LGBTQ+ networks —in exhibition development and wider programming to ensure our exhibitions represent multiple perspectives.

3. Develop our design, interpretation, and physical gallery spaces to deliver high-quality and innovative exhibitions that enhance the visitor experience:  Create an additional new temporary gallery by dividing the current Paccar gallery.  Renew the entrance foyer to create a more welcoming visitor experience to the total Library exhibitions offer, including improved navigation between Paccar and the Treasures Gallery.  Review the gallery graphic design strategy to ensure better text legibility.  Renew lighting in Paccar galleries to provide better visitor experience.  Increase the use of AV, sound, digital, and immersive experiences in the gallery in order to develop richer, more emotionally engaging experiences.  Develop strategies to allow visitors to contribute to exhibitions by allowing opportunities to feedback and co-curate exhibition content.

4. Extend our reach across the UK, and develop international audiences, though touring, digital, and broadcast initiatives supporting the recommendations of the Mendoza Review:  Develop our UK touring exhibitions and a Spotlight loan programme allowing increased access to our physical collections across the UK.  Work with the Living Knowledge Network to ensure exhibitions reach audiences in libraries across the UK through an annual Paccar panel display as well as BL Live broadcasts.  Expand our international touring exhibitions offer, including collaborative partnership exhibitions with other UK Nationals.  Develop a funding model to commission high quality digital content for each exhibition to grow UK and international reach and legacy.

5. Deliver an integrated programme of activity across the Library’s services to amplify exhibitions and ensure legacy:  Develop an engaging programme of Cultural and Learning events and digital content to accompany each exhibition, and provide an onward journey for visitors.  Develop learning resources to support touring exhibitions.  Make explicit links in-gallery to deeper learning opportunities through the Library’s Reading Rooms and online resources.  Explore ways to engage younger audiences online by developing new interactive interfaces and providing the options for users to submit user generated content.  Work with colleagues across the library to ensure that major projects and partnerships have an appropriate legacy.

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6. Develop a sustainable exhibition programme that meets our financial targets over a 3-year period, and is staffed appropriately.  Ensure that the programme meets box-office and touring income targets, and supports associated retail and publishing targets.  Develop business cases to fund the required number of posts in the Exhibitions team, as well as supporting cases in other teams, to deliver the programme, reducing the reliance on short-term posts for a long-term programme.  Support the curatorial team and other colleagues with improved long-term planning and project management delivered through a new Project Manager post.  Explore new commercial models and fundraising opportunities including co-production to reduce costs and deliver income.

7. Develop our spaces and evolve our temporary and permanent gallery model in the lead-up to the development of our new St Pancras building  Develop a permanent exhibition that celebrates the King’s Library.  Lead the redevelopment and eventual expansion of Treasures, including: reviewing the current offer, developing and agreeing a new narrative and project managing the development process.  Lead the long-term planning of the programme for the new St Pancras building agreeing the frequency and scale and type of exhibitions, understanding staff requirements, and developing new programming methodologies.  Develop a cultural vision for our public spaces that creates stronger synergies with the exhibition programme, and a more coherent visitor experience.  Explore business cases for investments in capital projects including upgrading/replacing showcases.

SECTION 3: THREE YEAR TARGETS: 19/20-21/22

We are currently in the process of developing the budget for the next 3 years, and are in dialogue with colleagues from Marketing and Communications, Development and Commercial about income and expenditure targets. A full draft of the budget will be developed following feedback on the new Strategy from the British Library Board, and subsequent discussion around future business cases to resource the sustainable and ambitious programme that this document proposes.

Conrad Bodman

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APPENDICES:

APPENDIX 1: EXHIBITION AND EDUCATION ATTENDANCE 16/17-18/19

PACCAR Exhibition Title Dates Visitor Figures Schools Anglo-Saxon Kingdoms: Art, Word, War 19/10/18 - 19/02/19 100,000 James Cook: The Voyages 27/04/18 - 28/08/18 35,087 1508 Harry Potter: History of Magic 23/10/17 - 28/02/18 156,451 10395 Russian Revolution: Hope, Tragedy, Myth 28/04/17 - 29/08/17 47,345 1859 Maps and the 20th Century: Drawing the Line 04/11/16 - 01/03/17 54,162 5043 Shakespeare in 10 Acts 15/04/16 - 06/09/16 28,394 4677

ENTRANCE HALL Exhibition Title Dates Visitor Figures Schools Cats on the Page 23/11/18 - 17/03/19 126,000 (to date) Windrush: Songs in a Strange Land 01/06/18 - 21/10/18 154,813 2444 Listen: 140 Years of Recorded Sound 06/10/17 - 13/05/18 232,906 not offered Gay UK: Love, Law and Liberty 02/06/17 - 19/10/17 86,800 not offered Victorian Entertainments: There Will Be Fun 14/10/16 - 12/03/17 105,112 not offered Punk 1976-78 13/05/16 - 02/10/16 117,531 not offered

SECOND FLOOR GALLERY Visitor numbers Exhibition Title Dates not recorded A Line, A Word, An Image: Harold Pinter 11/1/19 - 17/3/19 Beyond Timbuktu: Preserving the Manuscripts of Djenne, Mali 28/10/18 - 06/01/19 Tuhurutanga: Voyage of Discovery 06/07/18 - 21/10/18 In Search of Frankenstein: Photographs by Chloe Dewe Mathews 13/04/18 - 01/07/18 The Eccles Centre for American Studies: a 25th Anniversary in Portraits 15/10/17 - 08/04/18 Canada Through the Lens 26/05/17 - 10/10/17 Quentin Blake: The Roald Dahl Centenary Portraits 02/12/16 - 21/05/17

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TREASURES Exhibition Title Dates PG Wodehouse: The Man and His Work 27/11/18 - 24/02/19 Michael Palin: Writer, Actor, Comedian 07/08/18 - 25/11/18 Karl and Eleanor Marx 01/05/18 - 05/08/18 African Scribes: Manuscript Culture of Ethiopia 06/02/18 - 29/04/18 Martin Luther 31/10/17 - 04/02/18 Comics and Cartoon Art from the Arabic World 13/06/17 - 29/10/17 Stefan Zweig: The Magic of Manuscripts 21/02/17 - 11/06/17 Jane Austen Among Family and Friends 10/01/17 - 19/02/17 Wide Sargasso Sea: Jean Rhys, Jane Eyre and the Making of an Author 20/10/16 - 08/01/17 Visions of Utopia 24/05/16 - 16/10/16 Cervantes 19/01/16 - 22/05/16

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APPENDIX 2: EXHIBITIONS 3 YEAR FINANCIALS: 2016/17-2018/19

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APPENDIX 3: TOURING EXHIBITIONS

Dates Exhibition Venue Attendance

20 June 2015 - 27 September 2015 Picture This: Children's The Laing Art Gallery, Newcastle 8523 Illustrated Classics

14 May 2016 - 2 October 2016 Alice in Wonderland The Laing Art Gallery 10296

24 June 2016 - 25 September 2016 Picture This: Children's River and Rowing Museum 10035 Illustrated Classics

12 November 2016 - 14 January Alice in Wonderland Willis Museum 2861 2017

3 December 2016 - 26 February 2017 Punk: 1976-78 Sunderland Museum & Winter 9390 Gardens

01 July 2017 - 13 September 2017 Quentin Blake Hull City Library (LKN) 6500

5 March 2018 - 4 June 2018 (TBC) Quentin Blake Norfolk and Norwich 235,676 Millennium Library

14 July 2018 – 5 January 2019 Quentin Blake Wakefield One 21139

05 October 2018 - 27 January 2019 Harry Potter: A History of New York Historical Society 145680 Magic

2 November 2018 – 3 March 2019 Punk: 1976-787 Liverpool Central Library Anticipated 10,000

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APPENDIX 4: EXHIBITION STAFF STRUCTURE

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APPENDIX 5: EXHIBITION PROGRAMME: 19/20-21/22

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