Beth Rabjohn

Responsible for the seamless operation of a fast-paced architectural design studio, acting as the central point of coordination between directors, architects, designers, and external partners. Providing high-level executive support to the company’s directors, including diary management, travel coordination, meeting preparation, and confidential correspondence. Overseeing the planning and delivery of company events and client entertainment, managing budgets, logistics, and execution from concept to completion to foster a cohesive and positive workplace culture. Directing the day-to-day management of studio operations, including IT systems, procurement, maintenance contracts, and full health and safety compliance. Managing all HR administration and employee experience, overseeing onboarding, staff records, leave management, and wellbeing initiatives. Coordinating financial administration across the business, including invoice processing, expense reconciliation, and supplier payments in collaboration with the Finance team. Supporting the company’s brand and marketing activity, coordinating website updates, content shoots, and press communications.

Supporting the Managing Director with the running of a large and dynamic film studio. My main responsibilities involved ensuring that the site was well maintained, and providing bespoke services for their high profile clients.

Working efficiently within a large team to provide exceptional customer service and a safe environment for guests for the 2024 production of ‘A Christmas Carol’.

As president, I chaired weekly meetings for our diverse 21-member committee with varying skills and experience, assigning relevant tasks to ensure the smooth operation of the society, which boasts over 300 paid members and is open to the entire student body and members of the public. My year as president saw us double our average yearly takings. I oversaw the entirety of the society and dedicated hours each day to the administration involved in running such a large student organisation. This included managing our weekly life drawing classes, which saw a massive increase in popularity with my introduction of live students bands performing during the class. Life drawing was most often at full capacity, with over one hundred student artists a week in attendance. I also continued to oversee our weekly specialist workshops and social events, aiming to provide varied and exciting opportunities for our student artists. Sourcing locations was a consistent challenge in a town without dedicated art-making spaces, but we consistently increased our venue size where possible as our society gained popularity and social media presence. I endeavoured to ensure that the society was accessible to students of all artistic levels across mediums, and I supported my fellow committee members as they gained confidence running their own classes.

As Vice-President, I worked closely with our president and treasurer and the rest of the committee to ensure the smooth running of the ever-growing society. The year was a great success and saw an increase in our social media following and continued financial success for the society. We brought back our annual residential 'creative retreat', which had been on hiatus since Covid. This involved extensive organisation and planning in advance, but was very well received, ensuring its continuation. I assisted with our semesterly exhibitions, and continued to teach and oversee our weekly workshops and events.

As Events Coordinator, I had the responsibility of planning and executing weekly workshops, social events and large exhibitions for the society. It was quite the task to balance the admin involved with my university work, however it was very rewarding to work with an enthusiastic committee and interact with both undergraduate and postgraduate student artists and members of the community. I ensured that events were booked well in advance, and I sourced specialist teachers where necessary to ensure the highest quality technical classes. We collaborated with organisations external to the university to ensure resources were made available to student artists where they were not immediately available in town. I also taught workshops myself, and have received very positive feedback for the quality of the events I have overseen.

I spent the summer months between academic years organising and cataloguing items in the museum's extensive archives. I assisted the Head of Collections in archiving newly acquired items, and re-archiving previous collections on an updated database. Their collection includes architectural, agricultural and domestic pieces from varying time periods, with a primary focus on war time Britain. This involved researching objects with unknown provenance to ascertain their age, function and significance. I also assisted with events held at the museum and the day to day running of the site.

First year: Art History (Art of the Renaissance, Art in Europe from 1600-1800). Classical Studies (Augustan Rome, Ancient Greek Literature and Culture). Film Studies (Key concepts, Global film history and historiography). Second year: Art History (Art from 1789-1900, 1900-now), Classical Studies (The Late Roman Republic, Early Greek Poetry and Philosophy), Film Studies (Film theory, screen cultures). Third year: Art History: Images and Knowledge; Photography 1915-1955. Film Studies: Artist's film and video; Ecocinema. Fourth Year: Art History: Nineteenth-Century French Art; Romanticism. Film Studies: War and Cinema; Detectives on film.