Left to right: Bruce Heiser, Megan Cope, Megan Williams. Works behind are shortlisted entries from the 2010 National Photographic Portrait Prize. Photograph by Alastair Craig.For a graduate with artistic aspirations, the transition from sheltered student to professional artist is a daunting and frankly terrifying one. Support organisation Artworkers knows this all too well, and has launched a series of free public forums entitled Life After Uni to help newcomers take that step.

Dealing with Galleries was the first of seven such evenings, and a very promising start to the series. While I have little personal background in the visual arts, I found a good deal of the advice given could easily translate into any creative field. It was an hour of very practical career guidance from those in the best position to provide it.

The three speakers represented the full scope of art galleries: public, artist-run and commercial.

Megan Williams

Megan is Public Programs Curator at the QUT Art Museum, and spoke from the public gallery perspective.

Her advice to those hoping for a foot in the door? "Keep us informed of what you're doing." The Museum's programs are decided two years in advance, and it's important that they are familiar with your work. Stay active, and stay known.

"Part of our jobs", she said, "is to know what's going on out there". A good gallery will be familiar with local art scene and its up-and-coming talent. That said, it can't hurt to keep them informed, invite them to your exhibitions, and maintain a regularly updated website.

Megan emphasised that all collections and curatorial policies vary from gallery to gallery. "Before jumping into bed with somebody, do your research".

For QUT students, her talk offered some extra hope. The Museum likes to support students, staff and alumni with sections dedicated to their work. Of course, high quality standards still apply, as do the usual obstacles of heavy competition and long waiting lists. While a solo exhibition requires as established career, their group exhibitions are likelier to take on emerging artists.

Megan Cope

The forum's second Megan represented artist-run initiatives. Her story presents an interesting and very viable alternative to emerging artists: if existing galleries won't show your work, why not start your own?

After finishing university in 2006, Megan and fellow graduate Mariam Arcilla had difficulty starting their artistic careers. They founded the Gold Coast space "tinygold" to network with those who had similar issues getting off the ground.

She described the support from both the arts and non-arts communities as "overwhelming". Tinygold was self-funded from "every bit of spare money" from day jobs, with friends providing maintenance and local and businesses donating printing, alcohol and other services. "It was very grass roots."

While the venture was not a financially profitable one, she says it helped her as an artist, and offered a chance to learn how the "other side" operates.

Would she do it all again? "Yeah! (Pause) Uh..." Cue laughter from the audience.

While creating an artist-run space can be a fantastic way to start as a serious artist, long-term sustainability can be a challenge. In time, reality kicks in, bills must be paid, and future prospects explored.

Megan suggests that continue the succcess would be to pass it on to a new creative team straight out of uni, with the passion and drive required to keep it running. (Sydney's Firstdraft Gallery has survived for 25 years under this principle, appointing a new group of practicing artists as directors every two years.)

Megan now works at Juggler's Art Space, another artist-run, newcomer-focussed initiative which has seen similar success. Tinygold continues under new management, but is currently "resting" for a year. It's a demanding project - but also, it seems, a potentially very rewarding one.

Bruce Heiser

Bruce is Director of the Heiser Gallery, part of the incredibly competitive commercial art sector. ("Commercially, it's a tough business... like having a newborn babe, it doesn't let go.") This is perhaps the most difficult field for a new artist to enter, and as such, his advice was of particular practical value.

His single most important piece of advice: get your foot in the door. When visiting galleries, connect with the floor staff. Get to know them. Be recognised.

"Be tenacious" was his catchphrase for the evening. "Don't take no for an answer," he stressed, citing an examples of artists who continued to show their work long after the first rejection.

One common mistake to avoid: emailing galleries. Emails are simply too easy to be dismissed and sink to the bottom of the pile. "We're all busy. We all have the best of intentions, but..."

While every gallery and individual will have different preferences, Bruce prefers a good old-fashioned phone call. Introduce yourself, express your interest in the gallery, and offer to post some samples.

Once again, the importance of research was emphasised. Know what a gallery has to offer before contacting them. "A good gallery will be mother, father (and) everything else to you... A good gallery will push your work between shows."

If a gallery informs you their calendar is booked out until 2016, don't give up. Offer artwork for their stock room, or as a reserve in case of cancellations. Think outside the box, and stay persistent. "Be tenacious".

Advice:

• This is a gradual process, and rejections are inevitable. (Bruce: "It's not a sprint, it's a marathon.")

• Do not cold call. (Megan Williams: "It's just not professional".) Visit galleries and be sure to know what fits with you work. All three speakers often hear from artists who obviously haven't looked at the style and standard on display, or even browsed the gallery's website. Always research.

• While it remains competitive with commercial galleries, there are currently 17 artist-run initiatives currently active in Brisbane, with plenty of room for more.

• Artworkers provide information and advice on starting your own space and finding funding, alongside general nurturing and support. (For more information, visit www.artworkers.org.)

• Entering competitions always helps, but as with choosing a gallery, be selective. Don't apply for every art prize, and once more, "be tenacious" - rejections are inevitable.

• If at university, utilise their resources. Find out what your institution offers you, because that resource is gone once you graduate.

• Funding bodies are likely to reject your first application. If you are opening your own space, it's good to take a DIY approach, and show them you're capable.

• Push the foundations and try something different. With so many exhibitions happening, and not enough galleries, originality and boldness will only work in your favour.

• If you do get into an exhibition, be sure to think about financial and insurance matters. Commercial gallery support will range from all-inclusive to surprisingly stingy, so be sure to know what you're getting into.

• Once again, stay active and stay known. If you're holding an exhibition, they're likely to know about it. However, it can't hurt to send an invitation to gallery staff. Always network.

• Megan Williams: "And nurture the networks you have, because you never know where people might end up.".

I left the talk with a shameless skip in my step. Starting in the creative industries is frequently difficult, but as the evening reaffirmed, it's far from impossible.

If this is the standard for the remainder of the Life After Uni program, emerging artists should consider attendance essential.

(If not, the sponsors provided free movie tickets. So it's win-win, really.)

Write-up by Alastair Craig