Amy West Photography

Looking back to our Leadworks exhibition, I feel that I managed and made beneficial decisions that effected the show as a whole. Although the set up phase was extremely stressful and quite nerves racking, I think that myself and the class pulled it together by making fast thinking decisions and working together to install each other’s work. On reflection, the process of installing our work allowed us to have three full days which worked in our favour and gave us time to adjust to any changes. A small issue that I had installing my own exhibition was that I had originally brought the right nails to set up on my original space (wooden wall), but then the spaces got rearranged and I found myself on the stone walls. Fortunate for me, the technicians brought all the supplies we needed for backup and provided me with the right tools to hang my work.

Final Exhibition Installation

Click permalink for better quality. 

Here is the finalised outcome for our exhibition. I helped out in the making of this show by:

Painting wood black for over hanging lights.

Helping out with other exhibition set ups.

Making sure my work was perfectly measured and stable.

Unloading the van.

Loading the van back up at the end.

Sweeping / Hoovering up the floors to make sure its presentable.

Promoting the opening of the exhibition through my social medias (as pictured above)

Being networker and conversating with guests / visitors.

Exhibition Set Up Day.

Magnum Learn Online,

How does it work?

How you use the hour is up to you and based on your requirements. We will brief the photographer on this in advance so they are well prepared. You will be sent a Zoom link and directions on how to join. You will then be able to share your screen to show your work; the photographer will also be able to share their screen if they have any comments on your editing and sequencing.

World Photography Organisation.

Led by the World Photography Organisation, these 20-minute online portfolio reviews are available to any photographer who wishes to get support for their work. The applications are currently closed but you can still register your interest by filling the form below which will automatically make you eligible for any future portfolio review. 

Every photographer can read our blog post about the different questions they may have when you reflect on their own portfolio. To support photographers passionate to create individual and imaginative work, we'll be running free, online portfolio reviews. The 20-minute reviews will be led by the World Photography Organisation team and credible voices in the photographic community.

TPG Portfolio Reviews

In addition to free Folio Friday group sessions, TPG staff are hosting monthly online portfolio reviews for emerging through to established photographers. These 20-minute, one-to-one sessions are an opportunity to share practice and receive feedback on a specific project or a wider body of work. Each session reviewer will be allocated on a rotation basis, we are sorry not to be able to offer reviewers on request.

Portfolio Review part 2.

Portfolio Review Part 1.

All Images viewable by clicking the permalink at the bottom of the post.

Moving Image / Artist Video.

Avant-garde filmmaker and poet Jonas Mekas (b. 1922 in Lithuania) got his first still camera the very same week that the Russian tanks began rolling in, and his first picture was thus of Russian tanks – until a lieutenant took his camera and smashed it. Swiss video artist Pipilotti Rist (b. 1962) really just wanted to get hold of a free ticket for a film festival when she submitted her video ‘I’m Not The Girl Who Misses Much’ (1986), which she now considers “the only good work I ever did.” American visual artist George Condo (b. 1957) reflects on his first set of oil paints, while it was the gift of paper and pastels on his 22nd birthday, that made German artist Jonathan Meese (b.1970) realize his true calling. British painter Cecily Brown (b. 1969) nurtured an early fascination of “scary” art: “I had sneak looks at it, like you might look at Playboy”, just as German painter Gerhard Richter (b. 1932) was attracted by art’s capacity for uncertainty, perplexity – and coincidence. American writer Paul Auster (b. 1947) tells the story of how striking out on an autograph from a legendary baseball player led him to become a writer.

“Try to do something on the right scale – something that you can do yourself.” From the beginning, American multimedia artist Laurie Anderson (b. 1947) wanted to keep things simple, which has allowed her to try out different things. At the age of 14, performance artist Marina Abramović (b. 1946 in Belgrade) received her first painting lesson: the teacher created an explosion by setting fire to the painting, and this experience is at the root of her understanding of performance art as being about the process, not the result. South African artist William Kentridge (b. 1955) failed at painting, acting and filmmaking, but rediscovered everything again at the age of 30, when he accepted that he was indeed an artist with all that he wanted to include in that term. Finally, Syrian poet Adonis (b. 1930) shares how he presented the president with a poem he had written in his honour, and how this poem made such an impression on the president that he granted him a wish – that of going to school: ”That’s how I got to go to school with a poem. And that’s why I feel that I was born for poetry.”