Blog post 10: Artist residencies and funding applications

Blog post 10: Artist residencies and funding applications

Professional Practice talk with Miranda Forrester

Miranda gave lists of useful art job websites and Instagram accounts that post opportunities, advice, and connections:

Artist residencies and proposals
Miranda also mentioned how she made a lot of her work for the second solo show at an artist residency.
Being in a new, unfamiliar space, and making work that is possibly based on responding to a new environment is something that sounds appealing to me.
I have looked at some artist residences to get a better understanding of what they are and how the applications work.
Residencies aimed at new graduates:
Usually, to apply for an artist residency you need to provide an artist statement/biography, a CV, proposal, and work samples or visuals. Some include specific questions and require letters of recommendation.
I also looked at The White Pube webpage on advice for writing a successful funding application. Funding applications include proposals, similar to an application for a residency. – I listened to a podcast about funding. One point I found particularly inspiring in this podcast, was that writing a proposal and filling in the certain forms is an opportunity for you to develop your work further and to learn more about what is right for it and where it fits in. – I found this page interesting. There are examples of successful funding applications. I read an individual artist’s funding application to see how much detail you are expected to provide about your work.
This has also been useful, in terms of helping me with my proposal for my major project. I think it is important to get used to writing about your work in great detail and laying everything out very literally.

Blog post 9: Visit to Pheonix Art Space

Blog post 9: Visit to Pheonix Art Space

Visited the Pheonix Art Space, to view the exhibition ‘Are You a Woman in Authority?’.  The Pheonix exhibition coordinator gave us some information about the exhibition and the individual works in it.  Zanele Muholi, Sarah Maple, Sarah Lucas, and Bobby Baker are just a few of the artists/photographers who were shown in the exhibition.

I learnt how certain artworks are secured and the different requirements and rules on how they are exhibited.  Emailing the artist or reaching out to other galleries to hire artwork or equipment is some of the ways the Pheonix Art Space secures different artists’ work.  I also found it interesting that Zanele Muhole’s image needed to be printed specifically in Switzerland with certain printers.  This made me realise just how many elements need to come together and align to create a successful exhibition.

In terms of professional practice one of my main takeaways from my visit to the Pheonix gallery was learning about the exhibition coordinator and how they were offered the role.  They started as a front-of-house invigilator and also volunteered to work for many different galleries.

Links to volunteer jobs in galleries around Brighton and London:,limited%20capacity%20to%20involve%20volunteers.

Links to email address to find out more information about volunteering at Tate.

Although Brighton Fringe are currently not looking for volunteers, I have signed up to the mailing list to keep up to date with any new opportunities.






Blog post 8: Claire Wearn

Blog post 8: Claire Wearn – visiting speaker

Creative Producer

Claire Wearn is a creative producer and festival director for Photo Fringe.

  • The role generally involves working closely with individual artists and teams.
  • Bringing a brief to life.
  • Processing – making the work – exhibiting.
  • Site-specific work.
  • Problem solver.

Archiving the Black Country – Martin Parr, is an example of an extensive project she worked on. Four years archiving and an additional three years with other artists making sure it crossed over to different parts of the community.

Listening to Claire talk about her role, what it involves, and how she landed such a job, led me to want to understand more about certain occupations within the art photography world/industry.  I found a link on The Photographers Gallery website with a podcast that speaks to different industry experts and creatives who give an insight into their roles.

  • Listened to a talk with a creative producer.
  • Fashion-based photography.
  • Someone comes to you with an idea and you have to make it happen.
  • Mentions the work is a mixture of commercial shoots and more art-based shoots.  Some of the work was done for free and for the love of the art of fashion.
  • Talks about how she wasn’t aware of this particular role for a very long time – similar to how Claire Wearn.
  • Interesting to learn that the root into production usually for most people, including Claire Wearn, is generally very random and you find yourself in the role through alternative jobs.  For example, mentioned in this podcast, a ‘prop stylist’.
  • The podcast goes onto explain how being the most helpful person on set, and asking what else you can do to help, can benefit you.
  • This made me think about the opportunities that can arise when you are able to work/volunteer on different art and photography projects.


I thought it might be interesting to look at Claire’s Linkedin page to see her previous roles and the organisations she worked for.

I looked at her organisation ‘Corridor’ that she co founded
I also have emailed Claire saying I enjoyed the talk and to find out if she needs or knows of anyone that needs help in any way, leading up to or during the Photo Fringe.

Blog post 7: Lindsey Smith

Blog post 7: Lindsey Smith – visiting speaker

Freelance Facilitator

I attended a talk led by Lindsey Smith. Her job title is a ‘freelance facilitator’. We learnt about how she makes a living, and all the different aspects that contribute towards her own personal practice achievements, as well as growth in her creative career.

After she graduated from University, she ran workshops in exchange for studio usage, to make her own work. This led to a paid role at the studio.

Running photography workshops – engaging people in creativity.

She described six different ways to engage yourself and others with creativity and making things – ways in which you can get paid and make a living out of it.

  • Artist as catalyst
  • Artist as provider of new skills
  • Artist as facilitator
  • Artist as mentor
  • Artist as mediator
  • Artist as collaborator 

The point that interested me the most was the Artist as Facilitator. 

Lindsey described it as:

  • Enabling to help people to make the work they can’t.
  • To look at Art’s Council listings.
  • You build relationships with individuals.
  • Sometimes this could culminate in a public show.
  • The aim is to widen participation.

Looking deeper into how part of my professional career could include working as a Facilitator of art and researching to gain a better understanding of what it actually means:

  •–facilitator.html – this a photographer who also works as an Artist Facilitator. It is interesting to look at the different workshops and projects she has led. Not only do you work with individuals who want to make work, you also work together with other artists from different mediums. For example, on one project this photographer worked with a performance company and sound artist. This is a great way to broaden your horizons and make connections within the wider art world. This photographer works mainly with children.
  • Looking at the Arts Council listings for funding – this link is for individuals and funds that support your own personal creative practice development, however, it was interesting to look at the requirements and eligibility –
  • Photoworks Photography Club –
  • It is interesting to see the different outcomes of these projects. Lots of them result in some kind of public show, which reiterates and pushes this idea of widening participation in the art world.
  • Photoworks Photography Club –“Photography Club is an exciting offer from Photoworks for 13 – 16 year olds in Brighton.Young people meet on a regular basis to take part in workshops with a photographic artist. These sessions enable participants to develop their camera skills and produce work for an exhibition. Getting out and about is an important part of Photography Club. The programme includes exhibition visits to local galleries and research trips to cultural organisations”.
  • ‘Why Are We Leaving?’ the title of Brightons Photo Biennal 2018 exhibition. The Photoworks Photography Club encouraged young people to make photography in response to the theme ‘ A New Europe’ –
  • ‘A New Europe’ – “Examining the current state of flux as the United Kingdom redefines its role in Europe, the eighth Brighton Photo Biennial draws on one of the most important geopolitical events of our time. The UK’s status within the EU may be changing, but geographically we will remain part of Europe – with a shared history and intertwined future”.
  • What I find most interesting about this particular project is how you can engage young people with current political and social situations – encouraging creative responses and outcomes, working within the community and investing in facilitating cultural life for all people. Enabling people to freely engage in the arts.



Blog post 6: Ola Teper

Blog post 6: Ola Teper – visiting speaker


Ola Teper is a photographic artist who studied their Photography BA(Hons) at the University of Brighton, before moving on to study for their MA Photography, also at UoB.

Ola Teper website link –

It was interesting to see their work from the end of their BA, through to the MA, and where it stands now, at the beginning of the PhD they have been accepted on. Ola spoke about how they became a practitioner of photography, and that was realised specifically through doing the MA. Ola reiterated the importance of community within the course and how taking advantage of feedback from your peers is extremely beneficial when working through your MA and developing your practice further.

They also described how community can be born through practice and collaboration, especially through sharing resources and workspaces. Having communication with fellow students helps to contextualise your work and push you further forward into your practice. This in turn will stand you in good stead for the future, where community and feedback may not be as accessible.


Listening to Ola speak about her decision to follow on to the MA course prompted me to do some research on the UoB MA course, and postgraduate study in general –

I also looked at another MA course available, to see how similar they be – – this video is for the MA course at LCC (London College of Communication).

Blog post 5: Selling prints and getting paid

Blog post 5: Selling prints and getting paid

Research and thoughts on pricing my work:

When I think about selling my work, my first thought is that I would be scared I am putting the price too high and that the print itself is not worth that amount. However, it is important to bear in mind that the price is also including all the work, research, decisions, and time that has led you to this one or more final print.

Miranda Forrester, the Uob graduate and painter/artist, also advised to take into consideration all the work that went into the final piece, when pricing your work.

In order to gain a clearer understanding of how to price work, I have looked at different sites that have information on pricing and selling artwork.

Attending art fairs is a great way to see the real-life market. – The 7th to the 10th of March at the Truman Brewery is the next art fair based in London. -“With 160,228 limited edition and open edition prints to choose from, Saatchi Art offers high-quality photography perfectly suited for your space”. This site showcases photographic prints that range in price from £500 to £5,000. On this website, you can filter the search option to work that is priced under £500. I am able to further refine my research by choosing the size, medium, and material.

It is useful to look at the artist’s work, their previous exhibitions, and education to gauge an understanding of what point in their career they are at. : Francesca Genovese informs us – you can always go up in price as your career progresses.


Having a two-tier system for the prices of your work, decide on two sizes and price accordingly.


Blog post 4: Understanding print editions

Blog post 4: Understanding print editions
When learning the key terms about print editions, it is clear that the reason for editioning your work is to increase the desirability and value of the work. Although technically you can make your edition 5 to 100, it is advised that going above 30 can be detrimental to your career. Editioning your work goes alongside pricing your work and understanding the worth of you and your work.
In this video, it is reiterated that once you set an edition, you need to stick to that number, this is to keep the industry and yourself reputable. This is also similar advice from Debra Klomp of New York’s Klompching Gallery who said “I will stop working with a photographer if they’d been making extra prints, issuing a further edition after the event is “career suicide”. It is very important to keep track of your editions and who you have sold to, keep all this information together and organised.
Key terms:
Print Edition:
This is the total number of prints made from the original. This should be limited and be a fixed number. The artist can determine this.
Numbered Print/limited edition:
This is shown through a fraction, for example if it is the second print out of five, it would be marked as 2/5. It is also important to write this with pencil to reduce the risk of fraud. They are also signed by the artist.
AP- Artists Proof:
This is a print that is not part of an edition. An Artist Proof is the same as any editioned work, however there is fewer AP’s within an edition so it is something that would be worth more money.
PP – Printers Proof:
This is a print given to the printer to thank them for their work.
Looking specifically at one photographer’s work for sale on this website, showing an example of the difference in price between AP and numbered print.
This one is the Artist Proof print
This one is image 15/20
This video explains how editions are a group of prints that are meant to be as identical to each other as possible. Printing in edition can be a difficult process, but with photography it is fairly easy, due to its reproductive nature.
This video explains how some artists like to have open edition prints, which means there is no cap on the number of prints they will make from one piece. This in turn makes your work more accessible. This is a good way to hopefully sell lots of work, but at a lower price.

Blog post 2 : Graduates in Creative Practice Talk

Blog post 2: Graduates in Creative Practice Talk

I attended a creative practice talk at Grand Parade. Two artists, Rosie Penny and Miranda Forrester spoke about how they started their careers after graduating from their courses at Uob. They gave lots of inside advice on working in the professional art world.

Rosie Penny was the first graduate to speak about her creative practice.

  • Studied illustration.
  • A writer, but also still works very visually. For example Art on a Postcard
  • “Research can be a practice in itself”.
  • She highlighted how applying for ‘open calls’ is a great way to meet people and get your work seen.

The second artist was Miranda Forrester.

  • Studied on the painting course.
  • She is now an artist/painter.
  • Had a solo show last year with the work she made at an artist residency.
  • Made a textile design for Brighton Soho house and a mural for Meta offices.
  • One of her key points of advice was to learn how to photograph your work well to use it for your website.
  • She advised to look at a favourite artist CV, what residences or what galleries they have worked with, and take notes from it.
  • Similarly to Rosie Penny, she advised that applying for ‘open calls’ is the best way to get your work seen, especially when initially graduating from University.

Both artists have been very successful since graduating and the main point that they reiterated is important to do is apply for ‘open calls’.

Research on Open Calls

Photography specific, a wide range of current opportunities – some of which do not have a deadline:

A link with a number of different calls, from around the world. When clicking ‘submit’ you are also asked to ‘say something about your work’, so it is important to have a succinct artist statement:\

A link to a specific open call with PHMuseum, however this one has an entry fee:

For female and non-binary photographers only, they state you have the opportunity to sell prints at the museum as well, indicating that being a part of these exhibitions is great coverage for your work:

Including both artists and photographers, the call states the production budget and also awards a commission fee of 500 pounds to help develop work further:


Researching the many open calls that are available for me to apply to has encouraged me to start thinking about the kind of work that I could enter and how this could be beneficial to increasing my works’ visibility within the art world.



Blog post 1: beepurple

Blog post 1: beepurple

Guest speaker from the university entrepreneurship support service ‘beepurple’ – to help with a business or social enterprise, start-up idea or freelance plan.

After I graduate from my course I may decide to start some kind of business that is related to my practice. This business would help towards making a living and paying towards my personal practice.

I can access the support as a student but also after I have graduated. Practical workshops, one to one supports that can help with discussing ideas, grant funding and opportunities to access funding.

I decided to research the different services and workshops beepurple offer.

  • Startup course in the summer – learn skills intensely in 5 days, to learn how to work self employed – research this and plan on doing on, apply for it “During this insightful and interactive course, you will learn about ideation and ideas validation, communicating your ideas, finding your customers, marketing, selling online, managing your finances and keeping it legal”. I have booked a place on this course, as it states, even if you do not necessarily have a solid idea for a business, but are thinking about working self employed, this course is beneficial.
  • – Link for The Business Model Canvas (BMC) – to help get all and any ideas you have in your head onto paper.

I have signed up to the newsletter for this service.

“The Business Model Canvas is a strategic management and entrepreneurial tool. It allows you to describe, design, challenge, invent, and pivot your business model”.

  • This can work for start-ups and existing business.


Although at this moment in time I do not have any ideas for my own business, I would like to have some more information on being self employed. I have created an account with beepurple so I am able to book a one to one appointment and take full advantage of their services after I finish my course in May.

We were shown an example of an artist who has taken advantage of beepurple’s services to start their own business.

Kickstarter is an online platform that helps to bring a creative project to life. People who are interested fund and support your creative project, in return for unique creative packages that are part of their project.

Advice was given on beginning to work as a freelancer.

  • Start building up a portfolio of your best work now whilst you are a student.
  •   Create a 60-second reel of your best work.
  •   Update your CV.
  •   Write a list of potential clients, and reach out to them via LinkedIn, email, social media or phone.
  •   Think about your pricing strategy. How much will you charge your clients?
    A link to help with this:

I feel this is something I can easily do whilst I am still studying and will stand me in good stead for after I graduate – keeping on top of my work and thinking about how I present myself to others.