NATIONAL GALLERY OF CANADA · continued its stewardship through successive acts of Parliament. In...

SUMMARY OF THE CORPORATE PLANFOR 2013–14 TO 2017–18 ANDOPERATING AND CAPITAL BUDGETS FOR 2013–14

NATIONAL GALLERY OF CANADA

National Gallery of Canada* 380 Sussex DriveP.O. Box 427, Station AOttawa, Ontario K1N 9N4613.990.1985gallery.ca

*Throughout this document, references to the “National Gallery of Canada”, the “NGC” and “the Gallery” include the Gallery’s affiliate museum, the Canadian Museum of Contemporary Photography.

Cover and page 27Inuk Silis HøeghIluliaq [Iceberg], 2013Site-specific installation, National Gallery of Canada, OttawaPhoto © NGC

CONTENTS

1. INTRODUCTION ................................................................................................................................. 3

2. MANDATE, VISION AND VALUES .......................................................................................................... 5

3. CORPORATE PROFILE ......................................................................................................................... 6

4. ASSESSMENT OF RESULTS ACHIEVED DURING THE 2012-13 FISCAL YEAR .............................................. 9

5. STRATEGIC PRIORITIES FOR THE PLANNING PERIOD ...........................................................................15

6. FINANCIAL INFORMATION ................................................................................................................ 23

SUMMARY OF THE CORPORATE PLANFOR 2013–14 TO 2017–18 ANDOPERATING AND CAPITAL BUDGETS FOR 2013–14

NATIONAL GALLERY OF CANADA

2 SUMMARY OF THE CORPORATE PLAN FOR 2013–14 TO 2017–18

AND OPERATING AND CAPITAL BUDGETS FOR 2013–14

BOARD OF TRusTEEs

ChairMichael J. Tims Calgary, Alberta Nov. 22, 2012 to Nov. 21, 2016

Vice-ChairHarriet E. Walker Toronto, Ontario Apr. 25, 2013 to Apr. 24, 2017 TrusteesPaul R. Baay Calgary, Alberta June 27, 2013 to June 26, 2017Jean-François Béland Gatineau, Quebec Feb. 10, 2010 to Feb. 9, 2014Allan D. Benoit Winnipeg, Manitoba June 6, 2013 to June 5, 2017Guy Bourgeois St-Bruno, Quebec Oct. 4, 2012 to Oct. 3, 2016Linda Hutchison Kentville, Nova Scotia March 1, 2012 to Feb. 29, 2016Nezhat Khorowshahi Vancouver, British Columbia May 16, 2013 to May 15, 2017Howard G. Kroon Calgary, Alberta April 25, 2013 to April 24, 2017Liza Maheu Winnipeg, Manitoba April 25, 2013 to April 24, 2017Marsha Sobey New Glasgow, Nova Scotia Nov. 1, 2012 to Oct. 31, 2016

sENIOR MANAGEMENT

Marc Mayer Director and Chief Executive OfficerJean-François Bilodeau Deputy Director, Advancement & Public EngagementPaul Lang Deputy Director, Collections, Research & Education & Chief Curator Julie Peckham Deputy Director, Administration & Chief Financial OfficerStephen Gritt Director, Conservation & Technical ResearchSylvie Sarault Director, Human Resources Matthew Symonds Director, Corporate Secretariat & Ministerial LiaisonChristine Sadler Acting Director, Exhibitions & OutreachGordon Filewych Acting Director, Exhibitions & OutreachKaren Colby-Stothart CEO, NGC Foundation

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1. INTRODUCTION

This Corporate Plan Summary outlines the National Gallery of Canada’s (NGC) strategic priorities for the 2013-14 to 2017-18 planning period. It also delineates the capital and operating budgets for the 2013-14 fiscal year.

The Gallery was successful in advancing the strategic priorities articulated in last-year’s Corporate Plan. As at March 31, 2013, it Strengthened the Collection by acquiring 377 works of art, of which 145 were gifts. To foster Engagement and Appreciation of Art, the Gallery launched its third NGC@ initia-tive, partnering with the Winnipeg Art Gallery. It also presented the highly-successful exhibition Van Gogh: Up Close, which attracted 230,146 visitors, making it the Gallery’s highest attended exhib-ition in the last 14 years and the fourth most visited in its history. Diversity was promoted through the development of new audio tours and specific initiatives aimed at attracting younger audiences through the use of social media. In terms of Infrastructure, the Gallery undertook a review of the building’s interior to assess compliance with ever-changing building codes. It also completed a major renovation of selected areas in its Curatorial Wing to address indoor air quality issues. Work continued on the implementation of information management architecture. Lastly, key results related to Funding as a strategic priority were exceeded: specifically, the Gallery finished the year with $12.1 million in self-generated revenues, exceeding its established target by 26%.

This Corporate Plan is much more than an updated adaptation of the 2012-13 Plan. It articulates a major shift in the Gallery’s direction over the planning horizon, brought about by the need to reconcile significant changes in its financial situation with the organization’s ability to deliver its mandate with excellence, while annually achieving a balanced-budget. A capital budget shortfall is forecast over the planning horizon. A structural deficit, which is projected for the Gallery’s oper-ating budget for 2013-14 and subsequent years, could not be addressed with surplus revenue gen-erated in 2012-13. Going forward, the Gallery recognizes that its current operating model, which envisions blockbuster exhibitions every three to five years, challenges the institution with respect to regular visitorship during the non-blockbuster periods and the revenue it generates.: the insti-tution recognizes that it needs to diversify its appeal to visitors beyond the blockbuster years. Accordingly, this Corporate Plan lays the foundation for transformational changes to the Gallery’s business model.



In recognition of the challenges ahead, and the fiscal restraint required to address them, the five (5) previously-established strategic priorities have been reconsidered; to a large extent, they are rearticulated into three (3) priorities that are deemed to be ambitious yet achievable given the current environment. The three priorities established by the Gallery’s Board of Trustees for the 2013-14 to 2017-18 planning period are:

Raising the Gallery’s National Profile

Expected outcome in 5 years: The Gallery expanded its brand recognition as an institution of excellence for its outstanding acquisitions, programming, scholarship, and for its ability to engage Canadians across the country with art.

Investing in Infrastructure

Expected outcome in 5 years: The Gallery’s infrastructure – facilities, systems, business tools, partnerships and networks – supports the delivery of programs and services expected by Canadians of a leading national institution.

Diversifying Revenues

Expected outcome in 5 years: An organization-wide, revenue-conscious, entrepreneurial culture is estab-lished, resulting in new and diverse revenue sources that contribute to the institution’s financial sustainability and growth.

Strategies, performance measures, and targets for each priority have been developed and can be found in Section 5 of this document.

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2. MANDATE, VISION AND VALUES

Mandate and Governing Legislation

Pursuant to the Museums Act (1990), the NGC has been mandated to develop, maintain and make known throughout Canada and internationally, a collection of works of art, both historic and contemporary, with special but not exclusive reference to Canada, and to further knowledge, understanding and enjoyment of art in general among all Canadians.

As a distinct legal entity, wholly owned by the Crown, the Gallery is subject to the Crown corpora-tion accountability framework established under Part X of the Financial Administration Act. It also complies with other statutes, including the Official Languages Act, the Access to Information Act and the Privacy Act. While it functions at arm’s length from the Government in its daily operations, as a member of the Canadian Heritage Portfolio, the Gallery contributes to the achievement of the Government of Canada outcome of a vibrant Canadian culture and heritage.

Vision

The National Gallery of Canada strives to provide Canadians with a sense of identity and pride in Canada’s rich visual arts heritage. Through its collection, onsite and travelling exhibitions, loans program, educational programs and publications, professional training programs, and outreach in-itiatives, the Gallery aspires to be a model of excellence in furthering knowledge of the visual arts, both at home and abroad. Through collaboration with national and international institutions, the Gallery seeks to make art accessible, meaningful, and vital to diverse audiences of all ages.

Values

• Accessibility: Programs are developed with the public in mind – not only for visitors to the Gallery, but also for those across the country and abroad.

• Excellence and Scholarship: The Gallery builds upon the high standards attained over the years in all its endeavours, from research to acquisitions, exhibitions, publications, public programs, and overall service standards.

• Corporate Citizenship: The Gallery meets its public policy and legal obligations.• Leadership: The Gallery is a recognized leader in the national and international art museum

communities.• Collaboration: The Gallery collaborates with the art museums network across Canada and

abroad, and with its partners in the Government of Canada.• Valued Workforce: The Gallery values its workforce and creates a work environment in which

people can maximize their potential and contribute fully to the success of the organization.



3. CORPORATE PROFILE

History

The National Gallery of Canada was founded in 1880 by the then Governor General the Marquis of Lorne, in concert with the Royal Canadian Academy of Arts. The federal government assumed re-sponsibility for the Gallery with the enactment of the National Gallery of Canada Act in 1913 and has continued its stewardship through successive acts of Parliament. In 1985, the Canadian Museum of Contemporary Photography (CMCP) was created from the former Still Photography Division of the National Film Board and became an affiliate of the Gallery.

On July 1, 1990, the National Gallery of Canada became a Crown corporation with the proclama-tion of the Museums Act, which also confirmed the CMCP as an affiliate of the Gallery.

Governance Structure

Government of CanadaSets public policy objectives

Minister of Canadian Heritage and Official Languages The link between the Gallery and Parliament

Board of Trustees11-member governing body appointed by the Minister,

with the approval of the Governor-in-Council

NGC ManagementCEO – appointed by the Board with the approval of the Governor in Council

and his senior management team are accountable to the Board for advancing the Gallery’s strategic objectives and for its day-to-day operations

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Program Alignment Architecture (PAA)

The Gallery has four programs that are strategically designed to achieve its mandate:

Collection: The Gallery acquires art, conducts research and preserves the collection for future generations through comprehensive conservation initiatives.

Outreach: The Gallery exhibits, educates and communicates the importance of the visual arts among Canadians from all walks of life and in most regions of the country.

Accommodation: The Gallery ensures building operations are carried out efficiently and sound investments are made in capital infrastructure for facilities to be secure, suitable for the preserva-tion and exhibition of the national collection, and safe for visitors and employees.

Internal Services: The Gallery provides for sound governance, effective management of its hu-man and financial resources, and optimization of self-generated external revenues in support of programs and initiatives.

The Gallery’s programs are key to the success of its mandate and consistent with the Government’s priorities for the Heritage Portfolio. Through them, the Gallery makes a significant contribution to the enrichment of the heritage and cultural life of Canadians.



Program Al ignment Architecture (PAA):Over view of Main Programs, strategic Pr ior it ies and Outcomes

Government of Canada Outcome

A vibrant Canadian culture and heritage

Legislated Mandate To develop, maintain and make known, throughout Canada and internationally, a collection of works of art, both historic and contemporary, with special but not exclusive reference to Canada, and to further knowledge, understanding and enjoyment of art in general among all Canadians

Ultimate Strategic Outcome

Interest in, knowledge of and appreciation and respect for visual art through a collection of historic and contemporary works of art, programs and research that reflect a special but not exclusive perspective on Canada

Programs C o l l e c t i o n O u t r e a c h A c c o m m o d a t i o n I n t e r n a l S e r v i c e s

Intermediate Outcomesfor Each Program and Sub-Program(5+ years)

Strong national col-lection representing Canadian and international visual arts for present and future generations

Sub-programs:

AcquisitionsResearchPreservation

Enhanced under-standing and enjoy-ment of art among Canadians through dynamic national and international programming

Sub-programs:

ExhibitionsEducationCommunications

Safe, secure and ac-cessible facilities for the national collection, visitors and staff

Sub-programs:

Building OperationsCapital Expenditures

Effective corporate management practices and controls in place for resources managed ef-ficiently and operations carried out effectively

Sub-programs:

GovernanceAdministrationRevenue Generation

Strategic Priorities for the Planning Period

and

Immediate Outcomes for Each Strategic Priority (1 to 5 years)


The Gallery expanded its brand recognition as an institution of excellence for its outstanding acquisitions, programming, scholarship, and for its ability to engage Canadians across the country with art.


The Gallery’s infrastructure – facilities, systems, business tools, partnerships and networks – supports the delivery of programs and services expected by Canadians of a leading national institution.


An organization-wide, revenue-conscious, entrepreneurial culture is established, resulting in new and diverse revenue sources that contribute to the institution’s financial sustainability and growth.

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National Gallery of Canada Foundation

A registered charitable organization, the National Gallery of Canada Foundation dedicates its ef-forts to ensuring the long-term viability and success of the NGC. The Foundation is focused on providing leadership on Major Gifts, Endowments, Planned Giving, and the Distinguished Patrons initiative. Managed by its own Board of Directors, the Foundation has raised almost $30 million in philanthropic gifts since its inception in 1997, of which nearly $14 million has been dedicated for endowment purposes.

The Board of Directors of the Foundation has ultimate authority over and responsibility for the Foundation’s investments. Investment decisions are delegated to a qualified investment manager retained by the Foundation, assisted by an Investment Committee that regularly reviews the Foundation’s Investment Policy and monitors the portfolio’s performance.

4. ASSESSMENT OF RESULTS ACHIEVED DURING THE 2012-13 FISCAL YEAR

COLLECTION

In 2011, the Gallery made Strengthening the Collection a strategic priority with a focus on the follow-ing key results:

Greater number of donors and increased quantities of donated works of art and archival collections of outstanding significance and national importance.

A strategy is in place to purchase works of art of outstanding significance and national importance.

In 2012-13, the Gallery’s efforts resulted in the following accomplishments related to this strategic priority:

• An Acquisitions Plan, clarifying the Gallery’s vision and priorities for the national collection was developed;

• In close collaboration with the NGC Foundation, concerted efforts were taken to form long-lasting relationships with various collector communities with the aim of securing long-term loans or trusts that could become gifts or bequests in the future; work continues to cultivate these relationships.

• In 2012-13, the Gallery acquired 377 works of art, 145 of which were donated to the Gallery as

gifts.



OUTREACH

In 2012-13, the Gallery adopted two strategic priorities for its OUTREACH program: Engagement and Appreciation of Art and Diversity.

Engagement and Appreciation of Art centered on the following results:

Canadians in all regions of the country had access to the NGC collection through meaningful programs and installations, and innovative technology-based tools.

The Gallery is a recognized leader in promoting the importance of the visual arts in Canadian society – “art matters”.

In 2012-13, the Gallery fostered both broad national access and a targeted international presence, while maintaining its existing audience, primarily through:

• The presentation of exhibitions in Ottawa, most notably, Van Gogh: Up Close, Builders: Canadian Biennial 2012, Flora and Fauna, and Margaret Watkins: Domestic Symphonies.

• Art Network, an extensive outreach program, which encompasses the On Tour traveling exhib-itions, the NGC@ partnerships as well as special collaborative projects.

The most significant 2012-13 exhibitions organized via partnerships were: ◆ Icons of Modernism, in partnership with the Art Gallery of Alberta (AGA); ◆ Street View, in partnership with the Museum of Contemporary Canadian Art (MOCCA); and◆ Painting Canada: Tom Thomson and the Group of Seven, a widely-applauded collaboration of

Canadian and European museums, namely the National Museum of Art, Oslo, Norway and the Groninger Museum, Groningen, Netherlands.

Overall, under the Gallery’s travelling exhibitions program for 2012-13, there were 16 On Tour and 11 NGC@ partnership bookings, in addition to 2 European and 1 Canadian presentation of Painting Canada: Tom Thomson and the Group of Seven.

The Gallery continues to be recognized as a leader in the visual arts, notably with regard to its NGC@ partnership program through which the Gallery organizes original exhibitions in dedicated gallery spaces of the partnering institution, using works of art drawn from the national collec-tion. This approach focuses on sharing the collection with wider audiences and expanding its ac-cess to residents in Canada’s metropolitan centres. In April 2012, the Canadian Museums Association recognized the unique collaboration between the Gallery and its NGC@ partners – MOCCA and the AGA – by bestowing its Award of Outstanding Achievement in Management to the Gallery and its partner institutions. Moreover, in 2012, the Gallery added a third institution, the Winnipeg Art Gallery, to its NGC@ partnership program.

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For 2012-13, the Gallery set an attendance target of 625,000 visitors to the permanent collection and exhibitions in Ottawa, NGC@ locations and tour venues. By year end, the Gallery exceeded this target by 38%, reaching 864,477 visitors in Ottawa and all Art Network venues combined.

In addition, Building and Grounds, the Gallery’s first-ever mobile tour, which uses Quick Response codes, was launched in November 2012, highlighting the Gallery’s building, gardens, landscape features and its growing collection of outdoor sculptures. Work continues on the Gallery’s first mobile application, which will facilitate learning by providing Wi-Fi throughout the galleries; launch date is planned for January 2014.

Diversity

Also under its OUTREACH program, the Gallery sought to achieve the following:

The Gallery targeted and reached diverse audiences.

Accomplishments in this regard included the following:

• New expert audio tours were developed, including a new tour in Mandarin;• English and French videos, highlighting works in the collection were produced in collaboration

with TV Ontario; and• A successful collaboration with the Ottawa Chamberfest Festival united music and art in the

galleries for sold-out audiences.

In an effort to engage audiences through social media, the Gallery launched the second iteration of So You Want to Be an Artist, a national teen online art contest that used Facebook Connect as a voting system. To encourage participation, four videos were produced in English and French. The contest website boasted more than 130,000 visits, an increase of 80% over the previous year. Website visits, submissions and votes came from all regions of Canada, underlining the truly na-tional nature of the contest.

Overall, the Gallery’s social media channels have seen a significant growth over the past year. For 2012-13 the Gallery set a conservative target of 9,000 Facebook fans, Twitter followers and YouTube referrals for each media vehicle. By year-end, engagement levels included 14,729 Facebook fans, 17,647 Twitter followers and 153,021 video views on the Gallery’s YouTube channel. These figures represent increases of 75% (Facebook), 81% (Twitter), and 62% (YouTube) compared to the 2011-12 year-end results.



With respect to the visitor experience, the Gallery was favourably mentioned in the latest Annual Report of the Commissioner of Official Languages, which noted the Gallery’s efforts in promoting Canada’s linguistic duality. Specifically, the Report states that “staff at …the National Gallery were all exemplary in terms of the visual active offer and communications with the public” in both offi-cial languages. The report also recognizes that the Gallery “strives to achieve an equal balance be-tween English and French in its exhibitions in Canada and abroad, even though, in some cases, the Gallery has no obligations under the Official Languages Act to do so”.

ACCOMMODATION

Infrastructure

In 2012-13, the Gallery sought to achieve the following under its Infrastructure strategic priority:

Use of existing space was optimized, facilities were building code-compliant and the visitor experience was enhanced in relation to accommodations.

To that end, the following accomplishments were achieved throughout 2012-13:

Noting that opportunities to increase gallery and programming space are limited due to the physical constraints of the main building, to optimize office/workshop space in its Curatorial Wing, the Gallery undertook a re-organization of its Technical Services area in 2012, repurposing space and relocating offices. This renovation project addressed indoor air quality concerns and created a much-needed second woodworking shop for in-house production of wooden picture frames.

To assess compliance with ever-changing building codes, the Gallery engaged the services of a code compliance specialist and completed an initial assessment of the building interior. Recommendations for further investigation have been identified and prioritized on a corporate risk basis.

Energy reduction initiatives are ongoing at the Gallery and, in 2012-13, included lighting retrofits and the installation of energy-saving technology, where applicable.

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INTERNAL SERVICES

In 2012-13, work continued to advance Infrastructure, Diversity and Funding as strategic priorities re-lated to INTERNAL SERVICES. Accomplishments included the following:

Infrastructure

To advance the Infrastructure strategic priority, the following key result was targeted:

Appropriate information management (IM) architecture was implemented.

Since 2010, significant progress has been made to advance IM, including: implementation of the E-Vault email archiving tool; a new storage area network; and the introduction of a disk-based backup system.

In 2012-13, the Gallery’s efforts focused on the development of a digital asset management system that will create a central, electronic visual library for internal storage, sharing and collaborative use of the Gallery’s digital assets. The system enables those assets to be appropriately organized, searched, verified, secured and protected. Additionally, through the introduction of Microsoft SharePoint, an enterprise business collaboration platform was introduced, providing tools and an underlying common technical architecture to allow easier sharing of ideas, improved workflow, better document and version control, and ease of search and retrieval of information. SharePoint also operationalizes the Gallery’s previously-approved document Retention and Disposition Policy.

Diversity

In addition to Diversity as a strategic priority related to outreach, the Gallery also highlighted the need for a diverse workforce, setting the following as a key result:

The Gallery’s workplace was representative of the diversity in Canadian society.

In 2012-13, work continued on the representation of visible minorities and persons with disabilities at the Gallery. The organization’s efforts to address under-representation focused on attracting candidates from diverse backgrounds. By year end, the Gallery was able to increase the number of employees in three designated groups: women, Aboriginal people and persons with disabilities. It also engaged an Employment Equity consultant to help develop an action plan for meeting divers-ity targets for all four designated groups.



Funding

In setting Funding as a strategic priority, the Gallery aimed to achieve two key results, namely:

Sponsorship and donations grew incrementally (as compared to the results of the previous fiscal year)

Self-generated revenues stabilized at $7M per fiscal year.

The following highlights the Gallery’s accomplishments in advancing this strategic priority during 2012-13:

• Sponsorship efforts in 2012-13 proved successful. Corporate sponsorships, totalling $268,000 by March 31, 2013, were secured, including an instalment for two key exhibitions – Van Gogh and Builders. In addition, a major sponsor was identified for the 2013 Venice Biennale, and two major sponsorships were secured for Sakahàn, the international Indigenous art exhibition scheduled for summer 2013.

• A critically important, organization-wide exercise to identify funding priorities for both the Gallery and NGC Foundation was initiated. Completion of this initiative will facilitate the Gallery’s efforts for increased sponsorships and philanthropic contributions.

• The Gallery’s first Naming Policy was approved by the Board of Trustees in June 2012. The Policy will serve as a vehicle for revenue augmentation and diversification. The NGC Foundation will assist with the implementation of the Policy by identifying and soliciting endowment-building donations from major Canadian philanthropists in exchange for naming rights.

Due in large part to several initiatives in conjunction with the highly successful Van Gogh exhib-ition, membership to the Gallery has increased significantly, with sales increasing by 20% com-pared to last fiscal year.

Finally, the recently launched 2013 Venice Biennale fundraising campaign served as a significant opportunity to attract new donors to the Gallery through the Gallery’s Contemporary Art Circle – donors who might not be engaged with or contribute to NGC programs in the absence of the Venice project. A sound stewardship strategy, with attractive and relevant programming is being developed to maintain the Gallery’s engagement with these donors beyond the Biennale.

For 2012-13, the Gallery set a target of $1.6 million for sponsorships and contributions; the Gallery exceeded this target, having generated $2.0 million by March 31, 2013.

Self-generated revenue annual target of $9.6 million was set for 2012-13; this revenue is composed of admission sales, audioguide rentals, parking, memberships, bookstore and publishing sales, the rental of public spaces, and commissions from food services. Due to the strength of the sum-mer exhibition Van Gogh: Up Close, by year-end, the Gallery recorded $12.1 million in self-generated revenues, exceeding its established target by 26%.

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5. STRATEGIC PRIORITIES FOR THE PLANNING PERIOD Overview

At the fall of 2012 planning retreat of the Board of Trustees in Quebec City, it became clear that a mere adaptation of the current corporate plan would not adequately address either the Gallery’s urgent needs, or its ambitions going forward. The Gallery faces a challenging financial climate. The cost of doing business has increased substantially. Simultaneously, increased funding from traditional sources has been limited. Moreover, the Gallery’s revenue-generation potential will be hampered by a major capital project that will limit the Gallery’s earned income for at least a year. It is within this context that the Board and Management decided to undertake a fundamental re-conceptualization of key aspects of the Gallery’s business approach: specifically, to rethink the Gallery’s ability to achieve sustainable sources of revenue, and to diversify the Gallery’s appeal to visitors in a manner that relies less on the peak attendance associated with the traditional, blockbuster exhibitions, towards an approach that focuses on year-round, sustainable levels of visitorship.

It was decided that a new corporate plan, organized around three strategic priorities reduced from five, was necessary; one that will better reflect the Gallery’s institutional culture, address its historical circumstances and act as a more effective instrument for the implementation of those changes so as to foster improved services to Canadians, greater appeal to a much broader public, and a more diverse funding structure for long-term sustainability.

The following are the three strategic priorities approved by the Board for the 2013-14 to 2017-18 planning period:

► Raising the Gallery’s National Profile► Investing in Infrastructure► Diversifying Revenues.

Each of these strategic priorities is discussed in greater detail later in this document.

In considering these priorities, it is important to remember a series of fundamental principles – “non-negotiable” qualities of the Gallery’s mission that cannot be compromised and that consti-tute its robust brand.

Art. The Gallery is a museum dedicated to the visual arts. Although the field of art is broader than the collecting and exhibiting areas covered by the Gallery, if the institution grows, it will be in the direction of art as its definition evolves, rearticulated by succeeding generations.

Excellence. The Gallery is exclusively concerned with the most outstanding examples of the visual arts made by the most exceptional visual artists. The Gallery’s relevance and usefulness is predicated upon its being uncompromising in this regard. The quality of the institution’s work and scholarship is also covered by this fundamental principle.



Creativity. The Gallery believes that art plays a leadership role in the creative economy, not only as a pure manifestation of intellectual and cultural advancement, but as a practical source of ideas, inspiration and example for creative pursuits of all kinds in every field that values in-novation.

Professionalism. The work undertaken by the National Gallery of Canada, the judgments it makes regarding individual objects, and the information it produces on the subject of art, are the responsibility of accredited, experienced and well-trained professionals with expertise in the various fields of art that are covered by our mandate.

Objectivity. The Gallery was established and is maintained by the Government of Canada to provide the Canadian public with access to the finest works of art as these are identified by im-partial and non-partisan professionals who are exclusively concerned with excellence in art and accuracy in scholarship.

Pan-Canadian. Although the National Gallery of Canada is located in Ottawa, it serves the en-tire country and is always looking for new ways to expand and extend its services throughout Canada, while honourably representing the Canadian perspective on art for the world.

Diversity. The Gallery believes that all forms of visual art-making should be represented in both its collection and exhibition program to the limits of its mandate, expertise and capacity. Moreover, the Gallery strives to ensure that the full variety of Canada’s population feels at home and is represented in the Gallery’s collections and displays as the institution makes every effort to be accommodating and inclusive.

Access. The Gallery strives for everyone to have direct access to Canada’s national art collec-tion and to the information about art that the Gallery generates. Without putting Canada’s patrimony at risk, the organization attempts to improve that access at every opportunity.

Knowledge. The Gallery is a center of knowledge and learning, not only about art, but also about every aspect of human culture and history to which art bears witness.

Security. Although the Gallery is committed to provide access and share the collection, the in-stitution will not put Canada’s national treasure at risk of damage or destruction, whether in the galleries, or on loan. Every precaution is taken to ensure that the works in the Gallery’s care will survive in the most ideal state of preservation possible for the pleasure and edification of present and future generations.

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As the Gallery plans, it is important to recognize the unique circumstances within which the insti-tution operates. These conditions can be described by the following realities, seen both as chal-lenges and opportunities:

• More effort is required to build a commonly shared understanding of the usefulness of art, its richness as a source of information and knowledge about the past and the present, its unique role as an investment, its influence as a field of study and its exemplary status within the cre-ative economy as a source of pure and relatively unrestricted creativity.

• Increased advocacy is required to ensure that the basic skills necessary to experience the full-est pleasure from direct contact with art is an integral part of the standard educational cur-riculum in Canada.

• Information about international art is produced primarily by foreign sources, while Canadian sources are often uniquely preoccupied with contemporary Canadian art. This may give a false impression that Canadian art is a separate and/or lesser category within an art history. Moreover, one might erroneously conclude that Canadian expertise on international art does not exist. This situation challenges the Gallery to work towards better recognition of Canadian art and the art expertize Canadians offer within the broader context of art history.

• Broadening access to art, particularly in smaller and rural regions of Canada, remains a chal-lenge. As major art museums in Canada are clustered in large metropolitan centres, direct ac-cess to art in other areas of the country is often limited and inconsistent. In addition, access to Canadian art online is still relatively new and is frequently restrained by copyright and other legislation peculiar to Canada; and general interest books on various aspects of Canadian art addressed to a broad audience are relatively rare.

• Because of Canada’s geographic size and its modest population, its cultural institutions are often challenged in their ability to access wealth and earned income to the same extent as their foreign (notably American) counterparts. Research indicates that, because of Ottawa’s moderately-sized population, national cultural institutions situated therein must temper their expectations with respect to visitorship and the revenue it can generate.

• While federal appropriations to the institution have remained relatively stable, given the rising cost of doing business, in real dollars, the Gallery’s spending power is declining; finding reliable, long-term alternative sources of revenue is vital to the institution’s stability and growth.

Given these fundamental principles and the circumstances in which the institution operates, the organization will concentrate on three, closely-interrelated, strategic priorities that it believes will help stabilize its revenue and grow its services in the long term, while correcting some of Canada’s disadvantages with respect to the full exploitation of art as a rich national resource.



Strategic Priorities and Expected Outcomes

The following section highlights the three strategic priorities and their expected outcomes for 2013-14 through to 2017-18:


Expected outcome in 5 years: The Gallery expanded its brand recognition as an institution of excellence for its outstanding acquisi-tions, programming, scholarship, and for its ability to engage Canadians across the country with art.

The Gallery’s mandate centres on the extent to which the population it serves is familiar with its collection and its services. The institution needs to ensure that every Canadian is aware of the Gallery and what it does, and that its primary purpose is to serve Canada’s many artistic needs. Through its strategic communications, website, publications and broadcasting initiatives, the Gallery will improve access to knowledge and information about art for Canadians and will en-gage key Canadian stakeholder communities of all kinds. The Gallery will emphasize its role in raising the profile of art in Canada, celebrating its pleasures and demonstrating its usefulness to Canadians. It will also take steps to ensure that its main facility in Ottawa offers a visitor experi-ence of the highest quality, as expected of a world-class, national institution.


Expected outcome in 5 years: The Gallery’s infrastructure – facilities, systems, business tools, partnerships and networks – supports the delivery of programs and services expected by Canadians of a leading national institution.

Traditionally, the word “infrastructure” describes a physical plant and equipment but the infra-structure at the Gallery’s disposal extends beyond the building. The Gallery has yet to fully exploit the valuable networks of Canadian and international museum partners, donors and sponsors as part of its “soft infrastructure”; doing so has the potential to raise the Gallery’s profile, enhance the visitor experience, extend the reach of its services and diversify its revenue sources. Notwithstanding the Gallery’s need to improve its physical plant through major capital undertak-ings such as the Great Hall window and roof replacement project, attention to this expanded con-cept of infrastructure requires the organization’s focus over the next five years.

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Expected outcome in 5 years: An organization-wide, revenue-conscious, entrepreneurial culture is established, resulting in new and diverse revenue sources that contribute to the institution’s financial sustainability and growth.

The Gallery needs to develop in the areas of philanthropy, sponsorship and commercial activities. It has yet to test the limits of these traditional revenue sources. The Gallery will also be more fo-cused on seeking multi-year sponsorships for all of its activities, including exhibitions, education, public programs and communications. Strategic relationships with key sponsors, such as major banks and communications companies, will continue to be established in an effort to encourage increased and long-term support that can cross over into product and service development.

Finally, where permissible and with due regard for the Gallery’s status as a Crown corporation, partnerships focussing on brand exploitation will be explored, including licensing, product de-velopment, food and beverage services, etc.; all of these may provide potential avenues to gener-ate new sources of revenue. They may also assist in raising the Gallery’s profile among discerning consumers and attracting increased attendance to its facility.

Strategies, Performance Measures and Targets

The following tables describe the strategies for each strategic priority for the 2013-14 to 2017-18 planning period. In addition, performance measures, as well as targets (where possible) are out-lined for each priority.




Expected Outcome in 5 years

The Gallery expanded its brand recognition as an institution of excellence for its outstanding acquisitions, programming, scholarship, and for its ability to engage Canadians across the country with art.

PAA COLLECTION OUTREACH ACCOMMODATION INTERNAL SERVICES


Strategy 1: Through strategic com-munications, establish the Gallery as the widely-recognized number 1 art collecting institution in Canada

Accountable: Deputy Director, Collections, Research & Education and Chief Curator

Performance measures:Number of significant works of art (with the score of 3 and 4) acquired by the Gallery

Scale 1-4 for Acquisitions

4 Outstanding work of art – highest significance and importance (absolutely “must have” in the national collection)

3 Excellent work of art – Very significant for the national collection (fills the gap within a strength of the collection)

2 Significant work of art (enriches a strength of the collection)

1 Desirable work of art due to its scholarly and docu-mentary value

Strategy 2: Expand and leverage partner-ships with key art commu-nity stakeholders (museums, universities, agencies, artists, collectors and media) to raise the Gallery’s profile while advancing its mandate

Accountable: Director, Exhibitions & Outreach

Performance measures: The framework and strategy for collaborative partnerships is developed by March 2015

Combined number and significance of all external partnerships across all Gallery departments: • Target for 2013-14 is 10• Cumulative target to reach

by 2017-18 is 30

Attendance levels in Ottawa, NGC@, travelling exhibitions and special partnership loca-tions: • Combined attendance target

for 2013-14: 280,000 visitors• Cumulative target to reach

by 2017-18 is 2,608,000 visi-tors

Strategy 3: Manage Canada’s participa-tion in the 2013, 2015 and 2017 Venice Biennale on an interim basis, consistent with the international outreach element of the Gallery’s mandate

Accountable: Director, Exhibitions & Outreach, assisted by the Deputy Director, Advancement and Public Engagement

Performance measures:A national fundraising cam-paign is launched to generate the necessary resources.

An exhibition is staged in 2013, 2015 and 2017, on time and within the established budget.

Strategy 4: Improve overall visitor expe-rience onsite and online by responding to visitor surveys

Accountable: Deputy Director, Advancement and Public Engagement

Performance measures:Survey content is developed by March 2014

Comprehensive survey is tested and implemented starting April 2014

Data from the first survey is analyzed and reported on by September 2015

Strategy 5: Introduce the concepts of Talent Management (TM) and Employee Value Proposition to ensure that the Gallery recruits, trains and retains the best human resources

Accountable: Director, HR

Performance measures:Key TM strategies are devel-oped by Q2 of 2013-14

Competencies and compe-tency-based interviewing are introduced by March 2014

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The Gallery’s infrastructure – facilities, systems, business tools, partnerships and networks – supports the delivery of programs and services expected by Canadians of a leading national institution.



Strategy 6: Establish a vibrant community of private collectors / potential donors by cultivating relationships through a constant dialogue and a robust donor recognition program

Accountable: Deputy Director, Collections, Research & Education and Chief Curator, and Director, NGC Foundation

Performance measuresNumber of donors in the Gallery’s community

Number of significant art donations (with a score of 3 and 4) per collecting area and combined number of donations

Scale 1-4 for Acquisitions

4 Outstanding work of art – highest significance and importance (absolutely “must have” in the national collection)

3 Excellent work of art – Very significant for the national collection (fills the gap within a strength of the collection)

2 Significant work of art (enriches a strength of the collection)

1 Desirable work of art due to its scholarly and docu-mentary value

Donor Recognition Plan is developed by March 2014

Robust Donor Recognition Program is implemented according to the Plan by March 2015.

Strategy 7: Expand the Gallery’s network of social media users to broaden its audience base


Performance measures: Number of followers in social media where the Gallery is present: combined number of Facebook, Twitter and YouTube referrals to the NGC website:

Target for 2013-14 is 45,000 engaged followers

Target to reach by 2017-18 is 110,000

Strategy 8: Identify and address building code deficiencies on a corporate risk basis

Accountable: Deputy Director, Administration & CFO

Performance measures:Investigation of deficiencies identified in the 1st phase of code compliance review is conducted by March 2015

Entire facilities are reviewed for building code compliance and, where warranted, deficiencies are addressed by March 2018

Strategy 9: Implement key foundational pieces of the IM strategic plan, including IT systems and software, to enable efficient and effective management of information

Accountable: Deputy Director, Administration & CFO, Director, Corporate Secretariat & Ministerial Liaison, and Director, Conservation and Technical Research

Performance measures:Financial and Digital Asset Management systems are imple-mented by September 2013

SharePoint with a document management system is fully functional and in use by April 2014

Retention and Disposition Schedule is in use by April 2014

Boardbooks system is in use by April 2014

Vital Records initiative is imple-mented by April 2016

IM Policy is fully enacted by March 2016.

4,000 digital images of the Gallery’s works of art are added to the Digital Asset Management system each fiscal year

Strategy 10: Using new technology and industry best practices, transform HR service delivery in the areas of infrastructure, transactional excellence, and talent management.

Accountable: Director, HR

Performance measures:Key HR processes are mapped and industry best practices are applied by December 2013

Use of on-demand, self-serve technology is increased by March 2014

A business intelligence dashboard on the Gallery’s workforce is developed by March 2014





An organization-wide, revenue-conscious, entrepreneurial culture is established, resulting in new and diverse revenue sources that contribute to the institution’s financial sustainability and growth.



Strategy 11: Leverage intellectual capital of the NGC Curatorial, Library and Conservation divisions as a means to increase gener-ated revenue and donations of works of art

Accountable: Deputy Director, Collections, Research and Education and Chief Curator, and Director, Conservation and Technical Research

Performance measures:Fee schedule for curatorial, library and conservation expertise/services (where applicable) is developed by March 2014

Fee guide is implemented starting April 2014

Strategy 12: Transform the travelling exhibitions and NGC@ programs into a cost-neutral model for the Gallery

Accountable: Director, Exhibitions & Outreach

Performance measures:Cost-neutrality for the Gallery is defined and a plan for transition to a cost-neutral model is developed in 2013-14

Cost neutrality model is implemented in 2014-15

Strategy 13: Explore options to increase revenues generated by ShopNGC website

Accountable: Deputy Director, Administration and CFO

Performance measures:Review of ShopNGC operations, traffic study and available options for increasing salesis completed in 2013-14

Increase in percentage of Shop NGC bookstore e-commerce sales compared to the previous fiscal year

Bookstore e-commerce target for 2013-14 is 5% increase over the 2012-13 sales of $28,800

Strategy 14: Develop a stewardship strategy with attractive and relevant programming, as a means of leveraging the Venice fundraising campaign to attract new donors to the Gallery.


Performance measures:A stewardship strategy is developed in 2014-15.

Strategy 15: Introduce a new business model for space rentals focusing on high-profile, revenue-optimizing corporate events

Accountable: Deputy Director, Administration & CFO, assisted by Deputy Director, Advancement and Public Engagement

Performance measures:A new, profit-oriented business plan for space rentals is developed by March 2014

The Plan is implemented starting April 2014

Number and significance of corporate events held at the Gallery and achieved profits.

Strategy 16: Study options to increase and harmonize commercial activities at the Gallery, with a focus on making a profit to fund core programs and services of the Gallery.

Accountable: Deputy Director, Administration & CFO, assisted by Deputy Director, Advancement and Public Engagement

Performance measures:Concept of operations is developed in 2013-14

Where warranted, comprehensive harmoniza-tion of commercial activities is completed by March 2015

Strategy 17: Develop and implement strategies to diversify the Gallery’s revenue-genera-tion options, with the aim of less reliance on exhibitions- and programming-related revenue.


Performance measures:A suite of revenue generation strategies are developed in 2013-14.Key strategies are implemented by March 2015

In 2013-14, established target of $5,054,000 is met for self-generated revenues.

In 2013-14, established target of $450,000 is met for sponsorships.

In 2013-14, established target of $1,200,000 is met for contributed revenue (excluding funds donated specifically to the Venice fundraising campaign).

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6. FINANCIAL INFORMATION

Overview of Resources

Financial Resources

The Gallery receives annual appropriations from the Government of Canada, which it supple-ments through revenue-generating activities. It also receives contributions from the National Gallery of Canada Foundation, other foundations, corporations and individuals in support of pro-jects, acquisitions, and programming.

For 2013-14 and future years, the Gallery’s parliamentary appropriations are expected to remain constant at $43.426 million. This amount is inclusive of $8.0 million for the acquisition of objects for the collection and other costs attributable to this activity. Permanent capital appropriations will revert to a base annual level of $1 million as of April 1, 2013, while appropriations for operating expenses will stabilize at $34.426 million.

Depending on many factors, including public response to the summer exhibition, self-generated gross revenues and contributions range between 15 and 20% of the total resource base. The Gallery has taken a conservative approach in estimating generated-revenue (commercial oper-ations, memberships, sponsorships, contributions and donations in cash) at 16% combined for 2013-14.

In 2013-14, the Gallery anticipates self-generated revenues and contributions of $7.967 million, which, if achieved, will represent a decrease of $5.1 million when compared to the self-generated revenues and contributions of $13.107 million that were forecast in 2012-13. Lower attendance pro-jections, the Great Hall renovation project, and anticipated construction on Sussex Drive, are all expected to negatively impact revenues.

Figure 2 illustrates the Gallery’s resource base for the fiscal year 2013-14 for operations and art ac-quisitions.

10 %

15 %

6 %

69 %

Resource Base for Operations and Art Acquisitions, 2013–14

■ Appropriations for Operating and Capital■ Appropriations for Art Acquisitions ■ Self-Generated Revenue ■ Contributions

SUMMARY OF THE CORPORATE PLAN FOR 2013–14 TO 2017–18


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One of the Gallery’s ongoing priorities is to increase long-term philanthropic support for its key operational priorities through its Annual Giving Program and the NGC Foundation, a not-for-profit registered charity dedicated to achieving sustained private financial support for the Gallery. The Foundation is focused on providing leadership with regard to transformational- and leadership-level gifts, endowment building, planned giving, and the Distinguished Patrons initiative. Under an annual Memorandum of Understanding with the Gallery, the Foundation works to support priorities that are established by the Gallery.

The Gallery’s non-discretionary costs for its facilities, including amortization, payments in lieu of taxes and security, require 41% of its operating budget. These non-discretionary fixed costs are not indexed against inflation.

Internal services include administration and costs to generate revenue, and require 17% of the Gallery’s budget. The remainder of the Gallery’s resources is used to support core activities relat-ed to Outreach (29%), and the Collection, excluding the cost to acquire objects for the Collection (13%). Figure 3 below illustrates the program alignment of the Gallery’s resource base for the fiscal year 2013-14.

29 %

13 %

17 %

41 %

Expenses by Program, 2013–14 Excluding Art Purchases

■ Accommodation■ Internal services■ Collection■ Outreach

Human Resources

The Gallery employs approximately 212 full-time equivalents, 81% of whom are unionized. This number includes a reduction in staff levels that was announced on February 28, 2013, which will be fully implemented in 2013-14.

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Capital Budget

As of April 1, 2013, after the sunsetting of topped-up funding, capital appropriations are reduced to a base annual level of $1 million for 2013-14 and future years. In 2013-14, this is a reduction of $3.874 million due to the sunsetting of appropriated capital funds assigned through Budget 2008. Capital resources will be allocated on a risk-basis to address emerging issues associated with an aging building, and to remain compliant with occupational health and safety regulations.

The Gallery is also updating its Long-Term Capital Plan with revised cost estimates. While this comprehensive analysis has not been completed, the Gallery expects the cumulative cost of pro-jects that are deemed urgent and non-discretionary to exceed available capital funding. In this case, the Gallery will utilize all avenues available to it to secure the necessary funding.

Operating Budget

As identified in previous years, the Gallery continues to face escalating non-discretionary costs associated with operating and maintaining its facilities and ensuring the protection of the collection. The source of these pressures relates to price increases for utilities and major service providers. Likewise, mounting costs for transportation, insurance, and exhibitions further strain the resource base.

For 2013-14 and future years, management will focus on optimizing its operations through key in-vestments in technology enablers to increase productivity and to harvest consequential savings wherever possible. All resource allocations will be closely scrutinized and costs and investment opportunities will be prioritized to achieve stated outcomes. In addition, the Gallery will strive to grow external revenues, sponsorships and contributions. Additional resources will be made available to fund these efforts through internal re-allocation.

Major Capital Projects

The Great Hall Skylight and Roof Replacement Project

After 25 years at 380 Sussex Drive facility, due to observed leaks, the Gallery is proceeding with the life cycle replacement of approximately 1,400 insulated glass units enclosing the Great Hall. The project will also include the reconstruction of thirteen (13) lead-coated copper roofs. Estimated to cost $10 million, this project is the most significant and costly undertaking since the construction of the main facility. The work will render the Great Hall – a popular special events venue – unavailable for rental, further impacting generated revenue. The work will require exter-ior and interior scaffolding and hoarding to provide access for various contractors, NGC staff and general public. The project started in February 2013 and has a scheduled completion date set for March 2014.

Other Capital Projects Planned for Fiscal Year 2013-14

The Sussex Drive facility is in the midst of a significant capital infrastructure renewal program. The Gallery has developed a capital action plan to address the most urgent health and safety, and program integrity issues, with implementation having commenced in April 2008 and expected to continue through to 2014-15.

In addition to the Great Hall skylight replacement project, budget permitting, the following cap-ital projects are planned for 2013-14:

• Upgrade of the freight elevator; and• Upgrade of exterior plaza lighting.

Key Assumptions in Corporation’s Forecast

Parliamentary appropriations include only amounts approved as of January 2013. Revenue projec-tions are presented in a conservative manner based on the planned exhibitions for the respective years and also reflect the possible negative effects of major capital projects.

The expenditures are forecast by program, and allocate resources to achieve the stated priorities and the strategies outlined above. This approach also considers historical spending, and the Gallery’s commitment to balance its budget each year of the planning period.

Public Sector Accounting Standards (PSAS)

Generally accepted accounting principles ceased to exist for all Canadian publicly accountable en-terprises in 2011. Consequently, the Gallery – classified as a Government not-for-profit organiza-tion (GNFPO) – transitioned to new accounting standards in 2011-12.

The financial statements accompanying this Corporate Plan have been prepared in accordance with the Canadian public sector accounting standards for GNFPO organizations. The Gallery has prepared these financial statements under Section 4200 series of PSAS in effect for the year end-ing March 31, 2013. The Gallery applies the deferral method of accounting for contributions for not-for-profit organizations.

SUMMARY OF THE CORPORATE PLAN FOR 2013–14 TO 2017–18


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FINANCIAL STATEMENTS



sTATEMENT OF FINANCIAL POsITION as at March 31 11–12 12–13 13–14 14–15 15–16 16–17 17–18 (in thousands of dollars) Actual Forecast Planned Planned Planned Planned Planned

Assets Current: Cash and cash equivalents $ 8,648 $ 8,877 $ 8,767 $ 8,664 $ 8,568 $ 8,477 $ 8,393 Restricted cash and cash equivalents 13,631 11,680 5,284 4,316 4,316 4,316 4,316 Accounts receivable 2,058 2,099 2,141 2,184 2,228 2,272 2,318 Inventory 1,056 1,077 1,099 1,121 1,143 1,166 1,189 Prepaid expenses 1,412 1,440 1,469 1,498 1,528 1,559 1,590

26,805 25,174 18,760 17,783 17,783 17,790 17,806 Collection 1 1 1 1 1 1 1 Capital assets 88,350 90,112 90,910 85,778 79,678 73,428 67,178

$ 115,156 $ 115,287 $ 109,671 $ 103,562 $ 97,462 $ 91,219 $ 84,985

LIABILITIES AND NET ASSETS Liabilities Current liabilities: Accounts payable and accrued liabilities 5,610 5,722 5,837 5,953 6,072 6,194 6,318 Deferred contributions for the purchase of objects for the Collection 2,466 2,500 2,500 2,500 2,500 2,500 2,500 Deferred contributions for the purchase of capital assets 9,550 7,564 1,168 200 200 200 200 Other deferred contributions 1,499 1,500 1,500 1,500 1,500 1,500 1,500

19,125 17,286 11,005 10,153 10,272 10,394 10,518

Employee future benefits 2,792 2,652 2,520 2,394 2,274 2,160 2,052 Deferred contributions for the amortization of capital assets 87,727 89,490 90,288 85,156 79,056 72,806 66,556

109,644 109,429 103,812 97,703 91,603 85,360 79,126

Net Assets Unrestricted 4,774 5,121 5,121 5,121 5,121 5,121 5,121 Investment in Land 622 622 622 622 622 622 622 Permanently endowed 116 116 116 116 116 116 116

Total net assets 5,512 5,859 5,859 5,859 5,859 5,859 5,859

$ 115,156 $ 115,287 $ 109,671 $ 103,562 $ 97,462 $ 91,219 $ 84,985

The figures in the above table are represented on an accrual basis.

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sTATEMENT OF OPERATIONs For the year ended March 31 11–12 12–13 13–14 14–15 15–16 16–17 17–18 (in thousands of dollars) Actual Forecast Planned Planned Planned Planned Planned

Parliamentary appropriations For operating and capital expenditures $ 41,586 40,667 $ 35,426 $ 35,426 $ 35,426 $ 35,426 $ 35,426 Appropriations deferred for the purchase of capital assets (5,180) (6,074) (1,000) (1,000) (1,000) (1,000) (1,000) Amortization of deferred funding for capital assets 5,938 6,348 6,598 7,100 7,100 7,250 7,250

42,344 40,941 41,024 41,526 41,526 41,676 41,676

For the purchase of objects for the collection 8,000 8,000 8,000 8,000 8,000 8,000 8,000 Appropriations recognized from prior periods 1,607 2,466 2,500 2,500 2,500 2,500 2,500 Apprpriations deferred to future periods (2,466) (2,500) (2,500) (2,500) (2,500) (2,500) (2,500)

7,141 7,966 8,000 8,000 8,000 8,000 8,000

Total Parliamentary appropriations 49,485 48,907 49,024 49,526 49,526 49,676 49,676 Operating revenue and contributions 9,621 13,106 7,967 8,121 9,850 9,050 11,365

59,106 62,013 56,991 57,647 59,376 58,726 61,041

Expenses by activity Collection Operations 6,982 6,852 6,276 6,384 6,498 6,615 6,734 Art acquisitions 6,788 7,569 7,400 7,400 7,400 7,400 7,400

Total Collections 13,770 14,421 13,676 13,784 13,898 14,015 14,134 Outreach 15,861 15,784 14,272 13,509 15,068 14,030 15,696 Accommodation 19,217 20,102 20,273 21,074 21,395 21,866 22,188 Internal Services 8,620 11,359 8,770 9,279 9,014 8,815 9,024

Total expenses 57,468 61,666 56,991 57,647 59,376 58,726 61,041

Excess of revenue over expenses for the period $ 1,638 $ 347 $ 0 $ 0 $ 0 $ 0 $ 0




sTATEMENT OF CAsH FLOWs For the year ended March 31 11–12 12–13 13–14 14–15 15–16 16–17 17–18 (in thousands of dollars) Actual Forecast Planned Planned Planned Planned Planned

Operating activities

Cash received from clients $ 9,277 $ 13,147 $ 8,009 $ 8,164 $ 9,894 $ 9,095 $ 11,410 Parliamentary appropriations received 43,806 42,593 42,426 42,426 42,426 42,426 42,426 Cash paid to employees and suppliers (55,083) (57,448) (53,633) (52,893) (55,916) (54,312) (57,921) Interest received 360 264 175 100 100 100 100

Total cash flow in operations (1,640) (1,444) (3,023) (2,203) (3,496) (2,691) (3,984)

Capital activities Acquisition of capital assets (2,938) (8,110) (7,396) (1,968) (1,000) (1,000) (1,000)

Total cash flow from capital activities (2,938) (8,110) (7,396) (1,968) (1,000) (1,000) (1,000)

Investing activities Increase in restricted cash and cash equivalents (2,894) 1,951 6,396 968 0 0 0

Total cash flow from investing activities (2,894) 1,951 6,396 968 0 0 0

Financing activities Funding for the acquisition of capital assets 5,180 6,124 1,000 1,000 1,000 1,000 1,000 Restricted contributions and related investment income 1,669 1,709 2,914 2,100 3,400 2,600 3,900

Total cash flows from financing activities 6,849 7,833 3,914 3,100 4,400 3,600 4,900

Total cash flow (623) 229 (110) (103) (96) (91) (84)

Cash, beginning of the year 9,271 8,648 8,877 8,767 8,664 8,568 8,477 Cash, end of the year $ 8,648 $ 8,877 $ 8,767 $ 8,664 $ 8,568 $ 8,477 $ 8,393


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sCHEDuLE OF OPERATING REVENuE AND CONTRIBuTIONs For the year ended March 31 11–12 12–13 13–14 14–15 15–16 16–17 17–18 (in thousands of dollars) Actual Forecast Planned Planned Planned Planned Planned

Bookstore and publishing $ 2,478 $ 3,675 $ 1,845 $ 1,970 $ 2,075 $ 2,075 $ 2,075 Admissions 1,678 4,255 968 1,546 1,685 1,685 2,500 Parking 926 1,082 854 1,000 1,000 1,000 1,100 Memberships 458 465 365 400 450 450 465 Rental of public spaces 607 610 300 300 300 300 300 Educational services 100 77 87 100 100 100 100 Art loans-recovery of expenses 102 130 150 150 150 150 150 Traveling exhibitions 276 391 215 215 350 350 350 Audio guides 166 362 25 150 150 150 225 Food services 65 77 40 60 60 60 70 Interest 360 264 175 100 100 100 100 Other 48 10 30 30 30 30 30

7,264 11,398 5,054 6,021 6,450 6,450 7,465

sponsorship and contributions Sponsorship 481 370 450 700 700 700 700 Contributions from the Foundation 445 717 1,200 1,200 1,200 1,700 1,700 Contributions from others 1,431 622 1,264 200 1,500 200 1,500

2,357 1,709 2,914 2,100 3,400 2,600 3,900

$ 9,621 $ 13,106 $ 7,967 $ 8,121 $ 9,850 $ 9,050 $ 11,365




CAPITAL BuDGET as at March 31 11–12 12–13 13–14 14–15 15–16 16–17 17–18 (in thousands of dollars) Actual Forecast Planned Planned Planned Planned Planned

Deferred appropriations for the purchase of capital assets at beginning of year $ 7,187 $ 9,550 $ 7,564 $ 1,168 $ 200 $ 200 $ 200 Parliamentary appropriations 5,180 6,074 1,000 1,000 1,000 1,000 1,000 Contributions for the purchase of capital 121 50 0 0 0 0 0

Total Available 12,488 15,674 8,564 2,168 1,200 1,200 1,200 Acquisition of capital assets 2,938 8,110 7,396 1,968 1,000 1,000 1,000

Deferred appropriations for the purchase of capital assets at end of year $ 9,550 $ 7,564 $ 1,168 $ 200 $ 200 $ 200 $ 200

Capital assets Net book value at beginning of year $ 91,350 $ 88,350 $ 90,112 $ 90,910 $ 85,778 $ 79,678 $ 73,428 Capital additions 2,938 8,110 7,396 1,968 1,000 1,000 1,000

94,288 96,460 97,508 92,878 86,778 80,678 74,428

Less amortization: Amortization of building 3,898 3,898 3,898 3,898 3,898 3,898 3,898 Amortization other 2,040 2,450 2,700 3,202 3,202 3,352 3,352

5,938 6,348 6,598 7,100 7,100 7,250 7,250

Net book value at end of year $ 88,350 $ 90,112 $ 90,910 $ 85,778 $ 79,678 $ 73,428 $ 67,178


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