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page 68 REVIEW / AUTUMN201029STEPHEN DEUCHARin more money and to spend thatmoney more effectively will impact everyoperational area, from volunteernetworks, marketing, museumpresence, PR initiatives and campaigns,he explains. To control running costs, aprocess of internal reorganisation iscurrently under way. "Our aim is tomaximise income and expenditure andspend as little as possible in the processof transferring the money from coming into going out."There will be greater scrutiny too. "Weneed to get better at evaluating theimpact of the grants we give. There hasbeen a tradition of handing money to themuseum and that's the end of it,whereas I think charities in general todayare keen to ensure that the money theyspend meets all the objectives, not justfor the organisation but, moreimportantly, for the recipients."However, Deuchar is keen to reassuremembers (many of whom also belong toNADFAS) that changes will not impacton member benefits such as the ArtFund's highly regarded magazine ArtQuarterlyand the varied programme ofevents organised by the charity, insistingthat the Art Fund remains "verycommitted" to both.As for the Art Fund's campaigningremit, under Deuchar - who at TateBritain was, of course, on the receivingside of funding - the focus remains assharp as ever. He concedes that thenew government has made all the rightnoises about the value of Britain's artsand heritage sector, the importance ofmaintaining free admission to nationalmuseums and galleries, and therequirement for tax breaks forphilanthropic donations, but the proof ofthe pudding will be in the eating."We are in close touch with the newAbove:BirdmanbyElisabeth Frinkwas gifted toLeeds ArtGallery via theArt FundRight:Scabbardboss from theStaffordshireHoardmuseums in the West Midlands wherethe stash was found. Britain took the Hoard to its heart,helping to raise the £3.3 million neededto keep it in the West Midlands, andwas a perfect example, insists Deuchar,of how, with the right cause and theright campaign management, economichardship need not necessarily translateinto a reluctance by the public to reachinto its pockets. "The StaffordshireHoard appeal was the mostextraordinary demonstration that if youare involved in something people reallybelieve in you can be successful almostregardless of economic difficulties."It was an auspicious start to his tenureat the charity - with a further boostcoming this summer when his nameappeared on the Queen's BirthdayHonours List awarding him a CBE forservices to art. But the hard work, hesays, starts here. And that means anincreased focus on what he describesas the "end product" - the Art Fund'scharitable programme. A drive to bringImages © Simon Rawles; The Frink Estate/Beaux Arts