Mara Naaman's academic career includes serving as Assistant Professor of Comparative Literature and Arabic at Williams College from 2007 to 2014, and she has held teaching positions at Columbia University, New York University, Hofstra University, and Hunter College.
The scenario of a debut writer receiving a six-figure sum from a major publisher is a common fantasy, but it is based on misconceptions about the writing profession.
Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.
Her practice uses clay to bring people together with the "therapeutic aspects of tactile making". She first came to ceramics during university, where access to the department allowed her to fall in love with the practice. And so, Ciara is deeply cognisant of the importance of supporting those who struggle to access a ceramics studio due to various social factors.
We need someone who has that native fluency, who understands the platforms, who is living and breathing the zeitgeist. But they also have to be someone who can understand the strategy of the business. There's no one on the team right now that we feel like could do this job.
The people who truly flourish at what they do-the ones who can make the incomes that other people only dream about or have the business structure that we all strive toward-they've really dialed in on mindset. They're confident about what they do and how they do it.
A socioeconomic duty on public bodies was included in 2010's Equality Act, but has never been enacted. Now Class Ceiling, a review from Manchester University, co-chaired by the former chief prosecutor Nazir Afzal, is calling for change. It wants class to be made a legally protected characteristic like race and sex (and several others), to address the class crisis in the arts not just in the north-west but across the UK.
One of the first points is uncomfortable but practical: sometimes the fastest way into a new lane is a short, intentional stint working for free. Ranft frames it as an access trade when the door is locked, not a lifestyle, and he's blunt about using discretion so you don't get exploited. The emphasis is on choosing situations where the learning is real, the stakes are real, and the experience creates proof you can show later.
I'm a midweight designer looking to step into another job elsewhere but I keep hearing so many conflicting things about portfolio formats and I don't want to have to recreate three versions all on different platforms just to apply for a job. I can't find any solid advice on what agencies are looking to see regarding format and if sending a PDF makes you look dated.
Search beyond major job engines by using niche job boards, Google X‑ray searches, industry trade directories, company filings, supplier and client lists, local business registers, conference speaker lists, and professional association directories; cross-reference these sources, build a prioritized spreadsheet, and set email or RSS alerts to track when small employers post trainee or entry-level opportunities, and monitor sector-specific hashtags and community Slack/Discord channels for unadvertised roles.
"Working Arts Club was always going to exist outside of London because class issues in the art world are systemic not geographic," founder Meg Molloy, who works in London as a freelance communications consultant for the art world. "The need for what our network can do is widespread and going to Northern England felt like a natural next step in our operations."
After relocating back to my home in the Midlands, I find clients are reluctant to look further afield than their back gardens. As a working-class creative, I understand that regional pride is something to be celebrated, but navel-gazing only contributes to the brain drain down the M1. When working with cultural clients, if I make reference to things from London or abroad, it's met with defensive disdain.
