BA History of Art

"The course leaders are passionate and helpful, and have so much wonderful knowledge to give."

In their words

Jennifer Smith, BA History of Art with Museum and Gallery Studies

Read It

Article

Chris Dercon, director of Tate Modern, invited some of our 2nd year undergraduates to meet him in London to discuss his plans for the gallery and the future development of its collections. Dercon had previously met the students, who were all studying on our contemporary gallery and museum studies module at the time, in January after giving SIfA's 2015 Robert Sainsbury Lecture at the UEA.

"Being in the Sainsbury Centre for Visual Arts and witnessing first-hand the workings of a gallery has allowed me to better understand the dynamics of such spaces”

In their words

Emily Lunn, BA History of Art Student

This degree course offers you an unusually broad education in the history of art. You will learn about the history of European and North American art and architecture, from classical antiquity, medieval, Renaissance, Baroque and modern periods, right through to contemporary art, whilst also studying aspects of non-Western art, such as the arts of Indian, African, South American and Pacific cultures.

Throughout this course you will be encouraged to engage closely with works of art and architecture in many historical and geographical contexts, and to think creatively about art’s meanings. You will also be encouraged to think about art as a transcultural and trans-historical phenomenon, connecting different periods and places.

You will have many opportunities to study works first-hand, in the world-renowned Sainsbury Centre for Visual Arts.

Overview

This degree course offers you an unusually broad education in the history of art. You will learn about the history of European and North American art and architecture, from classical antiquity, medieval, Renaissance, Baroque and modern periods, right through to contemporary art, whilst also studying aspects of non-Western art, such as the arts of Indian, African, South American and Pacific cultures.

Throughout this course you will be encouraged to engage closely with works of art and architecture in many historical and geographical contexts. You will be able to choose modules from the variety offered within Art History and World Art Studies.

In every module you will be taught to look closely at art and to think creatively and rigorously about its possible meanings. You will also be encouraged to think about art as a transcultural and trans-historical phenomenon, connecting different periods and different places.

You will have many opportunities to study works of art and artefacts first-hand; we are extremely fortunate to have the world-renowned Sainsbury Centre for Visual Arts based on campus.

Course Structure

Your degree programme may contain compulsory or optional modules. Compulsory modules are designed to give you a solid grounding, optional modules allow you to tailor your degree.

The course modules section below lists the current modules by year and you can click on each module for further details. Each module lists its value (in credits) and its module code, a year of study is 120 credits. 

Assessment

Key skills, issues and ideas are introduced in lectures given by all members of faculty, including art historians, anthropologists and archaeologists. More specialist study is undertaken in small group seminars.

Assessment is largely through module coursework (typically essays) and, in some cases, examination results. In your final year, you will write a dissertation on a topic of your choice with the advice of an academic supervisor in the Department. Your final degree result is determined by the marks you receive in years two and three.

Course Modules 2017/8

Students must study the following modules for 120 credits:

Name Code Credits

FORM AND FUNCTION

Most works of art, whether objects, buildings, or performances, are designed to serve a set of purposes. The interrelationship of their forms and their functions may be straightforward and practical, or complex and elusive. Drawing on a range of case studies presented by ART staff, this lecture module examines the connections between the uses, meanings and appearances of art. We will also consider how form and function may change over time, especially in the context of cross-cultural contact.

AMAA4004B

20

INTRODUCTION TO ART HISTORY

This module is an introduction to art history as an academic discipline. It focuses on the writing of art history and as such is a complement to the other introductory modules which deal with materiality (Makers and Making) and the analysis of artefacts (Learning on Site).

AMAA4001A

20

INTRODUCTION TO GALLERY AND MUSEUM STUDIES

This module introduces some of the key concepts and tenets underpinning art galleries and museums. One half of the module considers the ways in which museums engage visitors with their activities and their displays. The other half examines the reverse process, by reviewing the history of museums and considering the impact that society has on their development, structure and objectives. The teaching on this module uses the Castle Museum and Art Gallery and the Sainsbury Centre for Visual Arts as case studies, in addition to considering a range of galleries and museums around the world.

AMAA4009B

20

LEARNING ON SITE: THE SAINSBURY CENTRE FOR VISUAL ARTS

This module helps equip students with the skills and knowledge they need to study objects from around the world, from prehistory to the present day. Drawing on the collections of the Sainsbury Centre for Visual Arts and of the Castle Museum and Art Gallery, as well as the architecture of Norwich, we will explore the ways in which materials, contexts and histories affect how objects have been made and used. Through readings, discussions and object handling, we challenge assumptions and preconceptions about different kinds of art. In the process, students develop their abilities in library research, academic writing and referencing, and oral presentations.

AMAA4007A

20

MAKERS AND MAKING

The process of making works of art - from objects to performances, bodies to buildings - involves a range of materials, activities and ideas. Through a series of lectures by members of ART staff, students on this module learn about the physical and technical properties of different materials as well as their social, economic and symbolic significance. We also consider the people involved in designing, crafting and creating such art, including their working methods and social status.

AMAA4002A

20

PORTRAITURE AND IDENTITY

Introducing students to portraiture as it has been practiced by visual artists working in the European tradition between the Middle Ages and the present day, this module considers issues such as 'likeness'; the face; the self-portrait; portraiture as the embodiment of political, social and aesthetic power; the ways in which portraiture has variously reinforced and challenged concepts of class, race and gender; the photographic portrait, and the role of portraiture in contemporary art and culture. We will analyse the works of art alongside histories and concepts of the individual self, perhaps the supreme artefact of all.

AMAA4025B

20

Students must study the following modules for 40 credits:

Name Code Credits

ART IN THE CONTEMPORARY WORLD

This module addresses contemporary issues in the production and display of art. It explores the status of contemporary art in relation to globalisation but also examines the problems confronting critics, curators and scholars today when they engage with the art of different regions and of all periods, from prehistory to the present.

AMAA5090B

20

THE LIVES OF OBJECTS

The main purpose of this module is to develop your critical skills as they pertain to thinking, reading, writing and looking. To deliver this, the module falls into two main sections. The first focuses on one particular methodology - object biographies - used in archaeology, anthropology, museum studies and art history. We shall examine this methodology in detail, breaking it down into its component sections. We shall then consider its strengths and its weaknesses; that is, we will subject it to a thorough critical evaluation. Then, in the second half of the module we shall focus more broadly on what critical thinking is, both in general and within each of the four disciplines taught in the School of World Art Studies. Building on this, the module ends by focusing on how you can apply critical thinking to your own thinking, reading, writing and looking. The module is taught through a combination of two weekly lectures and one discussion seminar. The lectures offer an introduction to the relevant topic, and end with a question for us to discuss/debate in the final 10 minutes of the lecture period. The discussion seminars will consider key issues in the previous week's lectures and the weekly class readings which accompany them.

AMAA5089A

20

Students will select 20 credits from the following modules:

Name Code Credits

ACTION / ABSTRACTION:ART AFTER 1945

This module explores the rich history of art made after 1945, with a particular emphasis upon the problem of the relationship between the idea of art's autonomy and claims for its capacity to engage directly with social and political conditions. The course provides an introduction to key tendencies in art and a wide variety of artistic media made since 1945, with a (non-exclusive) focus upon Europe and North America.

AMAA5101A

20

CONTEMPORARY GALLERY AND MUSEUM STUDIES

This module examines how contemporary artists have explored the way in which contemporary galleries and museums function. Since the 1960s artists have adopted the museum as both subject and medium in their artworks. These seminars will examine how such projects impact on our idea of what galleries and museums are, how they operate, and what role they have in public life today. Throughout, key ideas regarding aesthetics, politics, memory, and audience participation will be approached by way of specific artworks and exhibitions. These sessions will be supplemented by workshops exploring art criticism, as well as a study trip to London.

AMAA5102A

20

INDIGENOUS ARTS AND INDIGENOUS PEOPLES

This module begins by analysing what is meant by Indigenous arts and peoples. In particular, we shall consider the link between the anthropology of art and Indigenous identity. The module continues by examining issues related to the interpretation of indigenous arts in wide-ranging geographic and cultural contexts from North America, to India and Australia. It then questions Indigenous peoples' engagement with notions of ethnicity and heritage, as well as the formation of an 'Indigenous media' through film-making. The module aims to foster an inter-disciplinary approach.

AMAA5105A

20

Students will select 20 credits from the following modules:

Name Code Credits

AMERICAN ART AND AMERICAN PHOTOGRAPHY 1900-1950

This module examines the relations between art and photography in the United States in the first half of the 20th century. The central debate in American modernism has concerned the role of the medium and considering photography in relation to the other visual arts permits a reassessment of this debate. Artists and photographers examined include Alfred Stieglitz, Georgia O'Keeffe, Marcel Duchamp, Diego Rivera and Walker Evans.

AMAA5103A

20

ANCIENT EGYPTIAN ART

For centuries, the art of ancient Egypt has been admired and vilified, collected and displayed, and used as a source of inspiration, from The Magic Flute to the Harlem Renaissance to the Arab Spring. In this module, we will explore a number of themes in the history of ancient Egyptian art. These may include the historiography of Egyptian art (where it fits into the study of aesthetics, art history, and archaeology, for instance); the role of artists, materials, and technologies in ancient Egypt; art and religious ritual, including mummification; art and social structure; and the impact of Egyptian art in the European Renaissance, the Enlightenment, the age of colonial and imperial expansion, and up to the present day. Students will have the opportunity to develop a topic that interests them, through independent research, class presentations, and written coursework. As a class, we will consider local collections of Egyptian art and, if resources permit, visit collections outside Norfolk as well.

AMAA5015A

20

MEDIEVAL BODIES

Born, bathed, dressed, worshipped, sexed, cut, bruised, ripped, split, buried. The human body and its changing actions and reactions offer historians a gateway onto understanding the cultures of the past. This course will examine several groups of objects from the visual culture of medieval Europe and the Middle East through this contemporary theoretical lens, building up a body of medieval artistic practice piece by bodily piece, examining how the aesthetics, techniques, and society of the medieval craftsman evoked, idolised, and distorted its forms.

AMAA5086A

20

Students will select 20 credits from the following modules:

Name Code Credits

LOOKING AT PICTURES: PHOTOGRAPHY AND VISUAL CULTURE IN THE USA

This module aims to introduce students to strategies and techniques for analysing photographs and, more specifically, uses the visual record to study and illuminate the history of the USA. Viewed here as sites of historical evidence, photographic portraits, family albums, anthropological illustrations, lynching postcards, advertisements, food packaging, fashion photos are just some of the pictures that will be "read" and evaluated. Students will explore how visual texts can contribute to an understanding of nationhood, class, race, sexuality and identity in the USA, with an emphasis on the nineteenth century. Opening sessions will focus on ways of "reading" visual texts. [No previous experience of working with images is necessary]. Most of the semester will be devoted to analysing how photographic images both reflect and contribute to constructions of American identities and culture.

AMAS5024B

20

RENAISSANCE RECONSIDERED

Fourteenth and fifteenth-century Italy was shaped by the growth of urban centres and the development of new political, social, and sacred institutions. New patrons and uses for artworks prompted a wealth of artistic activity that responded to and also forged contemporary values, beliefs and identities. Bankers, merchants, mercenaries, and religious institutions exploited the power of art and architecture to promote their professional interests, ambitions, and families. Focusing on spaces (palaces, churches, city squares) and bodies (princely, female, sacred, dead). Reconsidering the Renaissance explores evolving forms and functions of painting, sculpture and architecture made by a range of artists. We will also consider exchanges and cultural links between the centres on the Italian peninsula and an expanding image of the world.

AMAA5097B

20

THE ANTHROPOLOGY OF ANDEAN ART AND MUSIC

This module is an anthropological approach to the arts and music of Amazonia and Andean Indigenous peoples. The subjects will be discussed through key Amerindian themes with a special focus on cosmology, shamanism, ritual, animal symbolism, and cultural identity. In many Amerindian societies, ritual itself is a major artwork combining music, dance, body art and artefacts into an integrated oeuvre. We will read anthropological texts and watch ethnographic films to analyse the relationships between ritual and music and its socio-cosmological meanings. Documentary film will also be covered as an important and innovative art among Native South Americans, with a special focus on the Kuikuro Indians of Southeastern Amazonia.

AMAA5106B

20

Students will select 20 credits from the following modules:

Name Code Credits

ART AND ARCHITECTURE IN VENICE

This module examines the development of art and architecture in Venice from the city's foundation to the present day. Positioned at the hub of trade routes which spanned out across the known world, Venice was not only a major commercial and political power during the medieval, renaissance and early modern periods but also one of the most important and influential centres of artistic production. Students will be introduced to the artistic, architectural and urban histories of Venice, which will be situated within their social, cultural, political, economic and religious contexts.

AMAA5093B

20

IMAGE, WORD AND MODERNITY IN BRITAIN, c.1800-1918

In this module, we will examine the interaction between the visual and the verbal in British culture during the nineteenth century, looking at images and/or texts produced by William Blake, the Pre-Raphaelite circle, Algernon Swinburne, Edward Burne-Jones, the English social realists, James McNeill Whistler, Aubrey Beardsley and Oscar Wilde, Walter Sickert, the Bloomsbury group and artists/poets of the First World War. In turn, we will consider the ways in which art historians, poets, novelists, literary critics and theorists have considered the often-vexed relationship between image and word. Thus, while largely chronological in form the course requires students to engage with the theoretical and critical literature on image/word relations, and considers issues such as the title, the calligram, ekphrasis, visual humour and the aesthetics of texts.

AMAA5012B

20

Students must study the following modules for 30 credits:

Name Code Credits

DISSERTATION

ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation.

AMAA6112B

30

Students will select 30 credits from the following modules:

Name Code Credits

PUBLIC ART, PERFORMANCE AND MEMORY

Public art and performances are often staged to commemorate historical events. Monuments and commemorations are meant to make us remember the First World War, the Holocaust, the Slave Trade and Colonialism. This module examines why and how nations and communities commemorate the past and the discussions that has generated about memory, memorials and commemorative art. Central to the module is the question how memorial art makes us remember? And, indeed, whether there are alternative ways of remembering in painting, performance or popular music? The module will consider case studies from across the world.

AMAA6135A

30

THE GOTHIC EYE

The way in which we encounter medieval artworks today is radically different from the time of their creation: an altarpiece is dismembered and hung on a gallery wall, an ivory comb is enclosed within a display case, a manuscript stored in a museum. Even when artworks survive in their original locations, the function and appearance of these buildings has often changed significantly. What affects the ways in which we see these works now, and how were they seen when they were first created hundreds of years ago? This course explores different methods of reconstructing the changing appearance of medieval art and the changing experiences of viewing that art. We will examine the medieval understanding of the physiology of sight, the connection between sight and memory, and the relationship between corporeal and spiritual vision. This is complemented by an analysis of the different methodological approaches used by art historians to reconstruct the experiences of past viewers, from Baxandall's 'period eye' to Kemp's 'implicit beholder'. The final seminars consider new forms of vision, examining the reproduction of medieval artworks through photography, film and digital technologies.

AMAA6134A

30

TURNER: ART, THE ARTIST AND THE ART WORLD IN BRITAIN, 1800-1850

This module will consider the range of artworks produced by Joseph Mallord William Turner, within the context of the world in which he worked. It has long been recognised that those artworks amount to one of the crowning achievements (Turner would probably have preferred 'the crowning achievement') in the history of British art. Some of his contemporaries would see Turner's work in similar terms, describing him as an 'Old Master' even within his own lifetime, in a process of apotheosis which Turner fuelled by buying back his own paintings and then loudly leaving them to the nation. For much of the period since his death in 1851, this has remained the dominant vision of Turner: an isolated and untouchable 'genius' whose works transcend history and full interpretation. Recently however, art historians have started to think again about Turner and the real character of his achievement, situating both within the emergent modern art world of early nineteenth-century Britain. . This module will introduce students to this body of scholarship through a close analysis of Turner's own works - paintings, drawings and prints; landscapes, seascapes and historical/mythological images - read alongside set texts (including both primary sources and recent secondary literature), and within their artistic and historical contexts. We will look closely at a wide range of Turner's output and consider its interpretation, not only by ourselves but also by contemporary commentators including John Ruskin.

AMAA6133A

30

Students will select 30 credits from the following modules:

Name Code Credits

ALTERNATIVE MODERNISMS

This module is about the role of modern art in the making of India's national identity. It addresses probing questions, notably 'When was Modernism in Indian Art?' Since the beginning of the 20th century, artists and other cultural producers in India, such as film-makers, educationalists and anthropologists, sought to dismantle the colonial concepts that once framed their histories and identities. The module explores how artists such as Nandalal Bose, Ramkinkar Baij and Rabindranath Tagore established cultural exchanges with diverse national and international communities in the early- to mid-twentieth century. It considers the many new artistic and cultural formations that emerged via the Bengal School and related movements, raising important questions concerning the meaning of the relationships between the local and the national, the future and the past, and the visual and the spatial. Including debates on issues as diverse as identity/difference, visual display, internationalism, cultural heritage, and the politics of representation, the module is of potential interests to students in HUM (notably ART) including those with a specific interest in art history, anthropology and museum studies.

AMAA6131A

30

MODERNISM AND GENDER: FRANCE AND GERMANY 1900-1939

This module addresses modernism in the first part of the twentieth century. It explores the work of male and female artists and also considers how gender structures representation and art practice. The module provides an opportunity to reconsider key works by Henri Matisse, Pablo Picasso, Paula Modersohn-Becker, Suzanne Valadon, Hannah Hoch and Claude Cahun, amongst others.

AMAA6128A

30

THE PREMODERN CARTOGRAPHIC IMAGINATION

Maps help us to conceive of abstract concepts in tangible visual form. Be it geographical notions of the globe and the heavens, or more complex outlines of the body, the mind, time, even history, a map helps to bound and give features to otherwise inexplicable space and knowledge. This course uses these cartographic ideas as a starting point for understanding the visual, intellectual, and imaginative cultures of premodern Europe and the Middle East.

AMAA6121A

30

Students will select 30 credits from the following modules:

Name Code Credits

GALLERIES AND MUSEUMS PRACTICE

This module explores a variety of practical and conceptual considerations in Gallery and Museum Studies by focusing on specific aspects of these institutional structures: from building and housing collections, to curating shows, producing exhibition texts, and writing art criticism. We will make use of the extraordinary resource of the Sainsbury Centre for Visual Art, exploring its operational structure, permanent collection and new temporary exhibitions. We then develop our engagement with the practice of conceiving, designing and mounting exhibitions themselves, exploring both the conceptual demands of putting on a successful show as well as practical considerations in doing so: from meeting artists in the studio, to transporting works, to making funding applications. Finally we consider the role of education and interpretation in galleries and museums practice, thinking also about how texts of various sorts operate in exhibitions and collections displays, and about the practice of art criticism. Along the way we will also be hearing from members of the Sainsbury Centre staff, and the module involves a study trip to London.

AMAA6134B

30

MAKERS' MYTHS: THE PERSONA OF THE ARTIST AFTER 1945

The figure of the artist has for centuries been the object of celebration, curiosity and myth-making. Since World War II powerful narratives have developed around some of the most prominent artists: Francis Bacon's dark world of intensity, anxiety and sado-masochism; the blank stare of Andy Warhol's commercial indifference; Joseph Beuys's redemptive shamanism; Louise Bourgeois the child abused using her art to resolve inner conflicts; and Ai Weiwei the great political dissident of contemporary China. This module explores the construction of such "makers' myths" and asks: How is an artist's public persona constructed and what bearing does it have on the interpretation of specific artworks? What idea of art's social role do different personae imply? How do these roles relate to our idea of what art can or should contribute to the contemporary world?

AMAA6127B

30

Disclaimer

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. In some cases optional modules can have limited places available and so you may be asked to make additional module choices in the event you do not gain a place on your first choice. Where this is the case, the University will endeavour to inform students.

Further Reading

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    Since 2011, researchers from UEA’s Sainsbury Research Unit have been conducting yearly archaeological field trips to the banks of the Niger River in northern Benin, West Africa, as part of the Crossroads of Empires research project.

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  • Medieval Parish Churches of Norwich

    Fifty-eight parish churches are known to have stood within the walls of medieval Norwich. Despite damage and loss, thirty-one remain today, which is the largest concentration of urban medieval churches north of the Alps.

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  • Spirits of Clay

    Dogu – the enigmatic, beautifully-sculpted clay figurines found abundantly throughout Japan – have fascinated archaeologists for over a century.

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  • Sainsbury Centre for Visual Arts

    The Sainsbury Centre is one of the most prominent university art galleries in Britain, and a major national centre for the study and presentation of art.

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  • The Mummy: what our obsession with ancient Egypt reveals

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  • #ASKUEA

    Your University questions, answered

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  • UEA Award

    Develop your skills, build a strong CV and focus your extra-curricular activities while studying with our employer-valued UEA award.

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Entry Requirements

  • A Level AAB
  • International Baccalaureate 33 points
  • Scottish Advanced Highers AAB
  • Irish Leaving Certificate AAAABB or 4 subjects at H1, 2 at H2
  • Access Course An ARTS/Humanities/Social Science pathway preferred. Pass with Distinction in 36 credits at Level 3 and Merit in 9 credits at Level 3
  • BTEC DDD
  • European Baccalaureate 80%

Entry Requirement

You are required to have Mathematics and English Language at a minimum of Grade C or Grade 4 or above at GCSE.

UEA recognises that some students take a mixture of International Baccalaureate IB or International Baccalaureate Career-related Programme IBCP study rather than the full diploma, taking Higher levels in addition to A levels and/or BTEC qualifications. At UEA we do consider a combination of qualifications for entry, provided a minimum of three qualifications are taken at a higher Level. In addition some degree programmes require specific subjects at a higher level.

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including writing, speaking, listening and reading):

  • IELTS: 6.5 overall (with no less than 6.0 in any component)

We also accept a number of other English language tests. Please click here to see our full list.

INTO University of East Anglia

If you do not meet the academic and or English requirements for direct entry our partner, INTO University of East Anglia offers guaranteed progression on to this undergraduate degree upon successful completion of a preparation programme. Depending on your interests, and your qualifications you can take a variety of routes to this degree:

International Foundation in Business and Economics
International Foundation in Humanities and Law

Interviews

The majority of candidates will not be called for an interview and a decision will be made via UCAS Track. However, for some students an interview will be requested. You may be called for an interview to help the School of Study, and you, understand if the course is the right choice for you.  The interview will cover topics such as your current studies, reasons for choosing the course and your personal interests and extra-curricular activities.  Where an interview is required the Admissions Service will contact you directly to arrange a convenient time.

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.  We believe that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and to contact admissions@uea.ac.uk directly to discuss this further.

Intakes

The School's annual intake is in September of each year.

  • A Level AAB
  • International Baccalaureate 33 points overall. If no GCSE equivalent is held, offer will include Mathematics and English requirements.
  • Scottish Highers Only accepted in combination with Scottish Advanced Highers.
  • Scottish Advanced Highers AAB. A combination of Advanced Highers and Highers may be acceptable
  • Irish Leaving Certificate 4 subjects at H2, and 2 subjects at H3
  • Access Course Distinction in 36 credits at Level 3 and Merit in 9 credits at Level 3. Humanities or Social Sciences pathway preferred. Other pathways are acceptable, please contact the University directly for further information.
  • BTEC DDD. BTEC Public Services is not accepted

Entry Requirement

UEA recognises that some students take a mixture of International Baccalaureate IB or International Baccalaureate Career-related Programme IBCP study rather than the full diploma, taking Higher levels in addition to A levels and/or BTEC qualifications. At UEA we do consider a combination of qualifications for entry, provided a minimum of three qualifications are taken at a higher Level. In addition some degree programmes require specific subjects at a higher level.

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including speaking, listening, reading and writing) at the following level:

  • IELTS: 6.5 overall (minimum 6.0 in any component)

We will also accept a number of other English language qualifications. Please click here for further information.

INTO University of East Anglia

If you do not meet the academic and/or English language requirements for this course, our partner INTO UEA offers guaranteed progression on to this undergraduate degree upon successful completion of a foundation programme. Depending on your interests and your qualifications you can take a variety of routes to this degree:

INTO UEA also offer a variety of English language programmes which are designed to help you develop the English skills necessary for successful undergraduate study:

 

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.

We also welcome applications for deferred entry, believing that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and may wish to contact the appropriate Admissions Office directly to discuss this further.

Intakes

This course's annual intake is in September of each year.

Alternative Qualifications

We welcome a wide range of qualifications - for further information please email admissions@uea.ac.uk

GCSE Offer

GCSE Requirements:  GCSE English Language grade 4 and GCSE Mathematics grade 4 or GCSE English Language grade C and GCSE Mathematics grade C.

Fees and Funding

Undergraduate University Fees and Financial Support

Tuition Fees

Information on tuition fees can be found here:

UK students

EU Students

Overseas Students

Scholarships and Bursaries

We are committed to ensuring that costs do not act as a barrier to those aspiring to come to a world leading university and have developed a funding package to reward those with excellent qualifications and assist those from lower income backgrounds. 

The University of East Anglia offers a range of Scholarships; please click the link for eligibility, details of how to apply and closing dates.

How to Apply

Applications need to be made via the Universities Colleges and Admissions Services (UCAS), using the UCAS Apply option.

UCAS Apply is a secure online application system that allows you to apply for full-time Undergraduate courses at universities and colleges in the United Kingdom. It is made up of different sections that you need to complete. Your application does not have to be completed all at once. The system allows you to leave a section partially completed so you can return to it later and add to or edit any information you have entered. Once your application is complete, it must be sent to UCAS so that they can process it and send it to your chosen universities and colleges.

The UCAS code name and number for the University of East Anglia is EANGL E14.

Further Information

If you would like to discuss your individual circumstances with the Admissions Office prior to applying please do contact us:

Undergraduate Admissions Office (Art History and World Art Studies)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details online via our Online Enquiry Form.

International candidates are also actively encouraged to access the University's International section of our website.

    Next Steps

    We can’t wait to hear from you. Just pop any questions about this course into the form below and our enquiries team will answer as soon as they can.

    Admissions enquiries:
    admissions@uea.ac.uk or
    telephone +44 (0)1603 591515