Skip to main content
Story

Artquest on choosing opportunities

A hand wearing a futuristic looking white glove hovers between two cubes, one black, one white
  • Written byRachel Segal Hamilton
  • Published date 05 October 2023
A hand wearing a futuristic looking white glove hovers between two cubes, one black, one white
Lianzong Wu, 2023 MA Industrial Design, Central Saint Martins, UAL

Starting out in the creative industries, we’re told to seize every opportunity. Some are open calls, others invitations to take part in a project – but applications can be time consuming so how should you decide which to go for? Artquest’s Senior Programme Coordinator Nick Kaplony, guest curator of our UAL Showcase collection on the theme of money, shares advice...

Building a career as an artist is a little like constructing an intricate mosaic. Opportunities, including commissions, exhibitions, publications, grants, awards or residencies, can be the pieces that combined will help you develop your practice, build a reputation and earn a living.

But not every opportunity has the same value. And writing applications can be laborious and costly. “There are a number of questions, you should ask yourself before applying,” says Nick Kaplony, artist, curator and Senior Programme Coordinator at Artquest, an organisation that uses research to support artists through professional information, advice and projects.

Here’s Nick’s checklist...

Wall displaying blank canvases in gilded frames. A pedestal stands at the centre with a can of Coca-Cola on it.
Gengjun Fan, 2023 MA Fine Art, Chelsea College of Art, UAL

What is the opportunity?

Find out exactly what is being offered to you – and what exactly is asked of you. For open calls, whether that’s for inclusion in an exhibition or to be considered for an award, there’s usually an application process. “Many also ask for application fees,” says Nick. “You need to assess the reward you could get back in relation to that, and the likelihood of achieving it.” Ideally, less funding means a quicker application process. “Though that's not always the case."

“You've got to make a call for yourself in terms of your own circumstances,” adds Nick. Artquest is running a project called Tender, exploring how organisations find artists to work with and whether these processes discriminate against those from less advantaged backgrounds, partly because of the time required to apply.

Is it right for me?

It sounds obvious, but make sure that you meet the eligibility criteria. And, maybe more importantly, reflect on whether the opportunity is a good match for you personally. “If you're applying to a residency, for example, think strategically about whether you're at a suitable point in your practice to articulate the need for an uninterrupted period of time to make your work,” says Nick. Some opportunities feel like they’ve been conceived with you in mind.

Nick cites a residency Artquest ran in Amsterdam. "We selected an artist whose work was about how humanity dominates the landscape and was interested in exploring the way that dam systems in Amsterdam are used to control sea levels. There was a really strong connection between their practice and this specific opportunity. Those are the ones you should jump at.”

A row of seats in a rid-lit room that looks like a waiting room
Yiwei Li, 2023 MA Fine Art, Chelsea College of Arts, UAL

Who’s involved?

Selection panels should be published. Have a look at who will be judging. “If it's someone who you feel would have an interest in the themes and ideas that you're working with, it may be worth applying,” Nick suggests. And, even if you aren’t successful on this occasion, getting your work in front of industry professionals – curators, editors or agents – can be advantageous. Further down the line, when another opportunity arises, they might well think of you.

What does the small print say?

Always read the full terms and conditions. You don’t need to register your copyright, it automatically belongs to you, but in entering competition, say, you might also be licensing your work to the organisation to use for a certain amount of time and in certain ways. Nick’s advice: “Make sure you’re happy with that.”

Will I get paid?

Sometimes an opportunity is presented as though a gallery or magazine is doing you a favour when really they need you as much as you need them. As Nick says: "In some cases, you’re right to think, hang on a minute, your existence is based on the fact that you show artists’ work. Without the artists, you've got no programme!” Of course, there is a difference between a grassroots artist-led space and a major institution or big brand. “Is it someone who can actually afford to pay you?” If so, don’t be afraid to ask if there is budget for this. If not, maybe you can negotiate in kind payment, other benefits such as technical support.

Where might it lead?

“If it's an opportunity that's been run previously, you can research past recipients to make an assessment as to whether you're at a similar stage or making work that is similar to what’s been selected in the past,” says Nick. You can also have a look at what they’ve done since and how much they refer to this accolade, so you can make a call about whether it’s really brought them the professional boost that it promises.

In summary... Do your homework. Be discerning. And good luck!