You will study two core modules:
Criticism and Methods in the History of Art and Visual Culture
This module looks at the historiography, methods and theoretical underpinning of contemporary practices of artistic and visual analysis. Based on close reading of key scholarly texts, you will engage with traditional art historical methods as well as more recent approaches to the study of art and visual culture. You will be asked to consider the relevance of these methods to a range of examples, including the potential topics for your final Masters thesis.
Postgraduate Research Training and Methods
This specialised module prepares you for both writing and researching your dissertation. It covers topics such as: referencing systems; writing a research proposal; literature reviews; approaching archives; and oral histories.
You will also choose three Special Subject modules. These could include:
- Art and Revolution in France, 1789-1848
- Fashioning Flesh and Technology: Modernism and the Body in Germany 1918-1933
- Inside Out. Interiors and Interiority in French Art, Design and Visual Culture 1840-1940
- Paris Moderne 1980-1930: Image, Myth, Femininity
- Postcolonial Readings in Contemporary Art
- Prague, Budapest, Cracow 1867 - 1918
- The Destruction of Images: Iconoclasm from the World until Today
- Women and Artistic Culture in the Late Medieval and Early Modern Period
You will also choose one further 20-credit modules from a range which may include:
Aesthetics and the Philosophy of Art
This module consists of a critical examination of topics in aesthetics and the philosophy of art. It considers subjects such as: art and the nature of aesthetic experience; beauty, ugliness and the sublime; symbolism and allegory; the aesthetics of modernism.
Theorising and Historicising Exhibitions
In many ways, exhibitions have been fundamental to art history, perhaps because artists have been influenced by exhibitions or have been ‘periodised’ by exhibitions (for example, Impressionism and Post-Impressionism). Arguably, art history has also been made through exhibitions. Therefore this module explores art history from the perspective of exhibitions. Such a perspective not only offers an intriguing approach that can be applied to any artist or art period (e.g. studying Michelangelo through exhibitions), but an exhibition history constitutes an obligatory part of any exhibition proposal. Therefore, this module supports both curatorial and art-historical studies.
It provides an introduction to a variety of theoretical approaches to the role of exhibitions regarding society and institutional critique (Bourdieu, Foucault, Bhabha) and to aspects that are pertinent to exhibitions, including the relevance of place and (hyper-)space for an exhibition, display, the role of curator, artist and audiences, marketing and sponsoring. Different from ‘Curatorial Practices’, which probes such aspects in order to facilitate a proposal for or the actual mounting of an exhibition, this module explores them in order to analyse past and current shows (and thus will include gallery visits). It thus complements ‘Curatorial Practices’ but can also stand alone, not requiring that students follow them as pre-requisites or co-requisites.
Artists' Film and Video from the 1920s to the Present
This module will offer an in-depth introduction of the field of twentieth century artists’ film. Starting with films by exponents of Dada and Surrealism such as Fernand Léger, Man Ray and Germaine Dulac, it will take in work by American avant-garde artists such as Maya Deren, Stan Brakhage, and Jonas Mekas, and more contemporary artist filmmakers such as Peter Greenaway, Valie Export, David Lynch, Derek Jarman, and Steve McQueen. Appropriate theoretical material on the artistic movements represented and on the field of artists’ film and video will be supplied alongside the films themselves throughout the module.
The Special Subjects and 20-credit module options may vary from year to year.