Archives for posts with tag: internships

Julia

These responses were recorded as part of the panel discussion Who You Know: Building Networks in the Arts at The Museum of Contemporary Art on June 9th 2012 An event in partnership with arts interview and VIVID Sydney.

Original panel discussion chaired and transcribed by Eliza Muldoon

Julia Lenton is a freelance arts, theatre and music publicist and administrator. Julia has run successful arts, theatre and music publicity campaigns for clients such as Carriageworks, Performance Space, PACT centre for emerging artists, Siren Theatre Company, Emma Davis, super FLORENCE jam, Oxford St Design Store and Alaska Projects. Julia also recently worked as Marketing Co ordinator at Queen Street Studios.

As a publicist is it important for you to have strong networks? Perhaps yours need to be stronger than anyone else’s. I’m curious about whether you started as a publicist that honed in on the arts or whether you knew a lot of people in the arts and then became a publicist.

I worked in arts production throughout university, I was studying media and communications, as part of the degree I had to do an internship- that’s how I actually went into this. I thought about what I wanted to do for my internship and my best friend had done her internship at Sydney Festival- she got lots of free tickets to things and went to lots of parties. It seemed like both a lot of hard work and a lot of fun, so I applied for that internship, and I got it.

Prior to the internship I didn’t know much about publicity. We got taught PR, but I knew I didn’t want to do corporate PR, I didn’t want to do PR for grapes (I mean that’s fine- grapes need PR) but I didn’t want to do that.

I had loved Sydney Festival and I got asked to do some publicity after my internship. Soon after I called up Helene Fox, who had been Senior Publicist at Sydney Festival, but by then Helene had moved onto the Opera House, and I said to her ‘I think I’m becoming a publicist, can we have a drink and chat about that?’. When I met Helene she brought with her lots of emails from people that had wanted to hire her recently but she didn’t have time to do all of their work. So she suggested that she mentor me and we work together on the work. I was still at university at the time and felt  way in over my head for a long time.

How important do you think it is for an artist to have a public profile? To make yourself known?

I think it’s incredibly important. As a publicist it is much easier for me to work with someone that already puts themselves out there. I met an artist recently that said ‘I don’t want to be on facebook and I don’t want a twitter account, I don’t want to have any of that’. I respect that but they then can’t expect to have as much of a public profile and they may miss out on opportunities. Some artists are reluctant to do interviews, to engage with media or to have photos taken of themselves and I understand that it might feel like it doesn’t align with what they’re doing in their arts practice, but if they want people to come along and they want people to see the work then they have to give a little.

This week I had an example actually. Getting good artist images that I can give to the press sometimes feels like pulling teeth. I said to the artist that I needed a range of images, I need landscape and portrait and I need high res and he said that I want you to only use this image this way, but those limitations mean that the listing probably won’t run. I have to be a little bit hard-line.

What are the keys to good networking?

I think it’s about having genuine conversations with people. You’re in the wrong industry if you don’t actually want to chat to people about their art or what they’re doing. You might meet someone that you might not immediately want to work with but you take their business card and then maybe one day something will come up that they will be interested in, and when it does you’ll invite them along. You have to also respect people. Just because you may not want to work with them doesn’t mean you should look over their shoulder and go ‘alright, I’ll go and talk to someone else because there is nothing in this for me’. Who knows where they might one day be and what relationships might exist with them in the future. As a publicist I can’t ignore a blogger because one day they might be the editor of the Sydney Morning Herald. Just be nice.

twitter.com/julialenton

anonymous roundtable

This week’s interview is based on a panel of emerging arts practitioners in a round table discussion about their experiences of entering the arts industry. In the arts, there is a preconceived notion that internships only involve stuffing envelopes and coffee runs. This panel serves to break down this stereotype and discuss the value, as well as the positive and negative experiences, and how it can affect your career in the arts industry. Reflecting on past experience they examine ways in which we can provide more support and learning opportunities for emerging art practitioners. To allow openness and honesty in the interview, the participants have remained anonymous.

Interview by Georgina Sandercock

What do you see are the barriers to getting a successful foothold into the arts industry?

Panel Member 1: For me, education has had a huge impact on my career. I feel that in general, the arts management post-graduate degrees available are not providing the necessary practical skill set needed for success in the arts industry. These post-graduate degrees offer a wide variety of theoretical knowledge, but lack the means in which to execute this in a practical setting. Where else can we access valuable resources and networks if not through our education?

Panel Member 2:  In today’s arts climate, almost every person interested in the arts industry attains a relevant post-graduate degree, so each year at least 150 other graduating students with identical resumes will be applying for the same jobs. With these statistics and a lack of practical knowledge, looking for jobs can be daunting and in some cases seem hopeless.

Panel Member 3: I think it is virtually impossible to apply for a job without doing some kind of volunteering or unpaid internships. To other industries it may seem ludicrous to give long periods of our time to a project or organisation for no pay, but in the arts industry it is a necessity that allows you to gain the practical knowledge that we are not receiving through education and develop relationships and networks for the future. Reflecting on my experiences, I would not feel confident going straight into the arts industry without doing an internship. There needs to be more communication that volunteering and internships are essential barriers to overcome in order to gain practical knowledge to successfully enter the arts industry.

How have you found your first jobs or internships? 

Panel Member 1: From my experience as intern, I felt like I was treated as if I had no experience and was a novice to even the most remedial administrative tasks. I was not treated badly, however I felt very underappreciated and undervalued.

Panel Member 2: I actually shocked my organisation with my capability. They said their previous interns were completely incompetent. The organisation had obviously been tainted by this experience. Sadly, the preconceived idea that all interns are treated badly could actually have something to do with the ability of the intern.

If you are lucky enough to be offered a job after your internship, the transition from intern to paid employee is a difficult task. It is hard to balance the previous expectations as an intern with new responsibilities of an employee. You are not expected to do all the remedial tasks that had been assigned to you previously, but in a new role, especially a junior role, there is still an element of lower level tasks you will need to do in order to prove your value and responsibility.

Have your experiences at first jobs, volunteering and internships been valuable?

Panel Member 1: I think you can draw from both negative and positive experiences in first jobs and internships. I always felt valued at my internship which motivated me to work harder and I was fine with that. I think feeling valued really affects the experience you can have as an intern. Alternatively, I see the great value of actually doing an internship. It is essentially free learning and you gain a practical skill set that you can utilise for future roles. I have also developed an understanding of internal politics, which often plays an integral role in the arts industry.

Panel Member 3: Definitely. Without my internship I would not have gotten a job in the arts. I agree whether you have a good or bad experience, both can be beneficial to your future in the arts industry. My internship allowed me to experience a variety of different roles in an organisation and from this I could determine what really interested me and if I could actually do the job.

What could be done better to provide learning and support for new arts practitioners?

Panel Member 1: Communication and more opportunities for networking within and outside of university appear to be the areas that could vastly improve learning and support.  We have come to realise there is virtually no funding, such as grants and scholarships specifically for emerging arts practitioners. How can we fully invest our time in volunteer projects and internships when we can only afford to give one day a week due to other financial commitments?

Panel Member 2: Often you have to search high and low for career advice during and after university as there is nothing to support the transition between university and the arts industry. We need more information and advice and perhaps an organisation solely dedicated to emerging arts practitioners. Many of us have found ourselves lacking direction when faced with the next step in our career and it only dawned on me after the fact the effect my internship experience has had on my career.

Where else can you get information on learning in the arts: