Graduate Diploma World Art Studies

"The interdisciplinary nature of the graduate preogramme in the School is unparalleled"

In their words

Lisa Binder, Associate Curator, Museum for African Art, New York

Key facts

(Times Higher Education REF2014 rankings)

Overview

If you have a degree but little experience in the study of art history, archaeology, and anthropology, this programme will prepare you for postgraduate study in the field. Students choose from the full range of undergraduate modules offered in the School to build a unique programme tailored to their interests.

Candidates for whom English is not their first language are expected to provide evidence of proficiency in written and spoken English. A minimum IELTS overall band score of 6.5 is required with a minimum of 6 in each section.

This course is also available on a part time basis.

Course Start Date: 25 September 2017
Course End Date: 30 June 2018

 

Course Modules

Students will select 120 credits from the following modules:

Students will select 120 credits of level 1, level 2 and level 3 modules subject to the approval by the Course Director. You may select no more than 20 credits at level 1 over the two years. Level 1 modules start with the code AMAA4*. Level 2 modules start with the code AMAA5*. Level 3 modules start with the code AMAA6*.

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

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

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

ARCHAEOLOGIES OF THE MEDITERRANEAN WORLD

Using case studies from around the Mediterranean world, this module provides a grounding in the archaeology of the Mediterranean World. Case studies range from Palaeolithic Europe, to the Neolithic of the Aegean, Cyprus, The Near East, or North Africa, depending on the expertise of the module convener. Themes include early artistic endeavour (Palaeolithic Europe), the transition from hunting to farming (Crete, the Aegean, Cyprus the Near East), the emergence of urban societies (Egypt, the Near East), climate and society (the Mediterranean).

AMAA5098B

20

ART AND ARCHITECTURE IN VENICE

This examines the development of the art and architecture of Venice over a period from the city's foundation until the 18th century. This is a preparation for a fieldtrip to the city. Students on this module will be able to apply to the Emma Jonathan Fund for support in meeting the costs of the trip.

AMAA5093B

20

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

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

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

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

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

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

INTRODUCTION TO ANTHROPOLOGY

This module presents an overview of some key anthropological theories and their connections with history and archaeology through the works of classical and contemporary authors. It will examine various anthropological approaches to topics such as nature, human ecology, material culture, art, ritual, religion, globalization and socio-political complexity. This module is compulsory for V0L0 students.

AMAA4024B

20

INTRODUCTION TO ARCHAEOLOGY

This module is intended as a general introduction to archaeology. Seminars will examine the concepts behind the study of archaeology, the way that archaeologists gather and record data and the way in which they interpret those data. The first session is an introduction in which you will be given the tools you need to complete the module. The next eight sessions will focus on how archaeologists collect and analyse data, that is, the practice of archaeology. The following three sessions will introduce some of the major theoretical issues of the last 30 years that have challenged the way in which we interpret the archaeological record.

AMAA4023A

20

INTRODUCTION TO ART HISTORY

This module provides an introduction to the academic study of art history by looking at how writers primarily in the European tradition have sought to analyse, record and evaluate works of art. We will examine texts from ancient Rome to the 20th century, and consider how accounts of artists' lives, descriptions of art works and attempts to trace a historical development of art have all informed the way that art historians think about their subject. In this seminar, we will also consider the problems of relating texts to visual art and ask what themes are relevant to art historians today.

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

JIHAD AND ICONOCLASM: ERASING ART AND CULTURE

In the last seven years, more art, archaeology and heritage has been lost to the actions of jihadist groups than ever recorded in modern history. This is principally because of the systematic looting of archaeological sites and museums and the purposeful destruction of ancient cities and monuments. ISIS evoke the unholy worship of false gods as their justification for the destruction of the famous statuary and carved relief panels from the palaces and temples of Neo-Assyrian cities, such as Nineveh and Nimrud. In this module we will examine iconoclasm in the context of#jihad (literally, the struggle against unbelievers)#and consider what role iconoclasm in the context of jihad has played in the systematic destruction of art and culture.

AMAA6130B

30

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

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

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

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

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

MATERIAL WORLDS

Recent research in archaeology and anthropology has begun to reframe questions posed by the study of material culture and art. This module introduces some contemporary archaeological and anthropological perspectives on the study of material culture. Case studies are drawn from around the world.

AMAA5009A

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 special option 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. Each week a different element of the medieval body - heart, head, bone, skin, hands, mouth, ears, nose, feet, eyes, tears, blood, masculine, feminine, Other, and monster - will serve as a gateway into the ways in which the aesthetics, techniques, and society of the medieval craftsman evoked, idolised, and distorted its forms. Engaging with recent readings of medieval art as a craft designed to deliberately manipulate the emotions and senses of the viewer, the course will examine the medieval body as both a subject and object of art, from medical diagrams in illuminated manuscripts to saintly bones clothed in golden reliquaries. Framed through different bodily conceptions, medieval art objects can be bound tightly together into a fascinating corpus, encompassing contemporary attitudes to life, death, beauty, and pain.

AMAA5086A

20

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

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

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

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 AMAZONIAN AND ANDEAN ARTS 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

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

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

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. Introducing and interrogating visual and theoretical cartographic practices from across the Classical, Medieval, and Renaissance periods, each week of the course we will move chronologically to consider a different realm of this premodern world through its maps and diagrams: the earth and the stars, the city and the body, the past and the present, the other and the self. And in so doing, we can begin to pick through the subtle veneers of time and place in premodern maps to expose exciting and complex conceptions of the world at the time of their creation.

AMAA6121A

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

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. Where this is the case, the University will endeavour to inform students.

Entry Requirements

  • Degree Subject Humanities or Social Sciences
  • Degree Classification UK BA (Hons) 2.1 or equivalent

Students for whom English is a Foreign language

We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:

  • IELTS: 6.5 (minimum 6.0 in all components)
  • PTE (Pearson): 62 (minimum 55 in all components)

Test dates should be within two years of the course start date.

Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university. The full list of accepted tests can be found here: Accepted English Language Tests

INTO UEA also run pre-sessional courses which can be taken prior to the start of your course. For further information and to see if you qualify please contact intopre-sessional@uea.ac.uk

 

Alternative Qualifications

If you have alternative qualifications that have not been mentioned above then please contact the university directly for further information.

Assessment

All applications for postgraduate study are processed through the Admissions Office and then forwarded to the relevant School of Study for consideration. If you are currently completing your first degree or have not yet taken a required English language test, any offer of a place will be conditional upon you achieving this before you arrive.

Fees and Funding

Tuition fees for the academic year 2017/18 are:

  • UK/EU Students: £7,300 (full time)
  • International Students: £14,800 (full time)

If you choose to study part-time, the fee per annum will be half the annual fee for that year, or a pro-rata fee for the module credit you are taking (only available for Home/EU students).

We estimate living expenses at £1,015 per month.

Scholarships and Awards:

There are a variety of scholarships, studentships and other awards available to those applying for places on our taught postgraduate degrees.

Click on the link below to see what is currently available.

Funding for Masters Degrees and Diplomas

How to Apply

Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University.

You can apply online, or by downloading the application form.

Further Information

To request further information & to be kept up to date with news & events please use our online enquiry form.

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

Postgraduate Admissions Office
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

International candidates are also encouraged to access the International Students 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