This programme provides you with the opportunity to choose from a range of subject areas and historical periods in the History of Art. It is ideal for those who wish to develop a solid foundation in the History of Art, either as preparation for further research or for related careers. You will have the opportunity to develop both academic and professional contacts to support your personal and professional development.
Our students are taught within the Barber Institute of Fine Arts, an internationally renowned art gallery located at the University of Birmingham campus. Students are part of small seminar groups and benefit from furthering their study. Classes are taught not only at the Barber Institute, our ‘house gallery’, but also at the galleries on campus and in town.
The programme offers a range of topics all of which relate to our staff research interests and expertise. Modules, which are all on a rotating schedule, range from ‘Inside Out’, which looks at Parisian interiors in the nineteenth century, to modules covering art up to the present day, such as ‘Postcolonial Readings of Contemporary Art’. Others deal with issues such as queer studies and sexuality, globalisation and migration. We also have strong expertise in exhibition cultures and curatorial studies. Unusual nowadays, we also offer modules on art in the Middle Ages and the Renaissance.
British Art Pathway
Students taking advantage of our British Art Pathway have the opportunity to investigate and query the narratives of British art. This focus offers exciting possibilities to study a field that is seemingly already well established in terms of institutions and journals which concentrate on British art, and movements (such as the Pre-Raphaelites, Vorticism or the yBAs, the Young British Artists), but still constantly evolving (Black and Queer British art; and with Brexit and its potential impact on art and the art market). It also offers the opportunity to investigate how, when and why nation-state identities have been related to art.
The pathway also covers a number of issues arising from a global context of art. With a quarter of the world population belonging to the British Empire at its height, British Art allows you to explore postcolonial theories, mobility and processes of decolonisation.
Delivered in Birmingham, in the heart of England, the pathway will allow students to explore the impact of global influences locally, through an emphasis on the West Midlands and Birmingham as an arts centre and international supplier for art materials, particularly in the nineteenth and twentieth centuries.
Students of this pathway will benefit from the Department’s established network with a wide range of collections in the West Midlands, including close proximity to a world-famous Pre-Raphaelite collection at the Birmingham Museum and Art Gallery, as well as links with institutions and journals concentrating on British Art.
Masters Scholarships available for September 2021 Entry
From £1500 discounts for current students, £1500 scholarships for our very best candidates, to our College of Arts and Law Masters Fees Scholarship, there are lots of funding opportunities available to study with us in September 2021.
Why study this course?
Location – teaching takes place primarily in the Barber Institute of Fine Arts – one of the finest art galleries in the country – surrounded by works from world-renowned artists and sculptors, from Jan Steen to Auguste Rodin. The campus prides itself on sculptures by Barbara Hepworth and Eduardo Paolozzi. The University has also a non-western art collection, particularly strong in African masks and artefacts. We are located at the heart of a thriving city, considered the second city of the UK in terms of population, with excellent public transport and a vibrant portfolio of established and emerging art galleries and art organisations including Ikon, a well-known, internationally acclaimed contemporary art venue and the BMAG, a gallery specialising in the Pre-Raphaelites and a forerunner in being a community-oriented site that collects and exhibits objects from all ethnic groups. Needless to say that we have established contacts with a large number of these art galleries and organisations, explaining also the high employability rate of our students. The Unique of our location is that we are situated in the middle of England, which allows easy access to the north and south, but also east and west.
Join an active and vibrant student community – you will benefit from a lively, supportive and intellectually stimulating postgraduate community, providing an ideal environment in which to study. You will have the opportunity to become active members of both departmental and university-wide research communities and help plan, organise and participate in public lectures, research seminars and the History of Art annual symposia.
Taught by experts renowned in their fields – our staff are active scholars with national and international reputations, regularly winning grants and publishing books and peer-reviewed articles on their specialist fields. They organise and contribute to conferences including the AAH and the CIA (both associations for art historians) and exhibitions at international venues, such as the Royal Academy, London, the Huntington Library in California, the Martin Gropius Bau in Berlin and the Cleveland Museum of Art. The British Art Pathway in particular brings together the departmental expertise in British art from a variety of viewpoints.
Facilities and resources – The Barber Institute of Fine Arts houses the Barber Institute Gallery, a valuable teaching collection. It is an excellent and representative collection of post-medieval European art, including paintings, engravings and drawings by artists such as Rembrandt, Turner, Van Dyck, Veronese and Vigée-LeBrun. It also has a major collection of works by modern artists such as Degas, Gauguin, Käthe Kollwitz, George Grosz, Manet, Miró, Picasso and Whistler. The libraries offer a rich collection of published books (with open access and partly borrowable), online resources (accessible off and on-campus) and some extraordinary unpublished archival material that provides seemingly endless scope for dissertations and further research. The two major study places are located closely together with a state-of-the-art main library (offering study spaces, bookable group study rooms, laptop loans and an onsite IT support service), and the charming two-room Barber Fine Art Library on the ground floor of the Barber Institute.
Extracurricular activities - The Department is home to the online Journal of Art Historiography, and postgraduate students can apply to become editorial assistants. You also have the opportunity to volunteer at the Barber Institute. Read our official blog, The Golovine, for an insight into life within the Department. After a long day of study, you can stretch and relax at the university’s Munrow Sports Centre on campus (with smaller venues nearby), which has been praised for its outstanding facilities and high-quality equipment that includes a large gym and an Olympic-size swimming pool.
All students 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 practices of art-historical 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 of their own developing ideas for your final thesis.
Postgraduate Research Training and Methods A & B
This module introduces students at the Masters level to a range of research skills needed to write a dissertation on their specific programme, as well as core, generic employability skills. It contains a number of staff-taught sessions on how to write a literature review, use the Internet for research and how to craft a research proposal. The first part of module (A) will be taught in Semester 1, followed by the second part (B) in Semester 2.
Assessment: Written assignment
British Art Pathway Modules
Students wishing to follow the British Art Pathway will study both of these modules.
What is British Art?
What exactly is British art, and how does it relate to national identity? This module provides a broad overview of developments in British art from c.1760 to the present. It questions and unpacks this art historical category, by examining the key debates and writings that have shaped our understanding and definition of British art. It engages with the ways in which the boundaries of British art have been increasingly redrawn in recent years, as art historians integrate Britain’s imperial past and postcolonial present into the study of British art.
The module will consider the ways in which British art has been made, exhibited, experienced, conceptualised and contested. It will examine the breadth of British art, notably painting and sculpture, but also photography, the decorative arts, and more recent conceptual approaches. Students will engage directly with artworks through visits to relevant collections.
The module’s broad chronological sweep encompasses a diverse set of ideas related to British art. Topics might include: What is British Art?; art and empire; British ‘isms’ and movements; ‘English’ or ‘British’? Four nations art history; collecting and exhibiting British art; writing British art; the Royal Academy and the creation of the ‘British school’; researching British Art; judging British art, and queering British art.
This module includes mandatory and optional visits to museums and galleries. The cost of these will be covered by the Department.
Assessment: 4,000-word assignment
Made in Birmingham
Birmingham provides a centre of gravity for exploring and applying key issues and debates in British art through particular case studies. Birmingham played a pivotal role in the industrial revolution and the British empire, and the module will consider those industrial and imperial histories and their continuing legacy in Britain’s second city.
Birmingham, and the Midlands more broadly, hold internationally significant collections of British art, notably the Pre-Raphaelite collection at Birmingham Museum and Art Gallery; 20th-century collections at Wolverhampton Museum and Art Gallery and The Herbert Museum and Art Gallery, Coventry; photographic collections at Birmingham Library and the University of Birmingham.
Using these collections, the module will consider the ways in which the arts were made, exhibited, experienced, conceptualised and contested in Birmingham. Topics might include art and industry; artist’s societies (RBSA); Pre-Raphaelites; Arts and Crafts; Pop Art; Black British art; photography; centre/periphery; local/global; art and empire; art and religion; architecture; and art and urban regeneration.
Assessment: one research portfolio focused on an object produced in the Midlands, comprising a 2,000-word essay, annotated bibliography, and a selection of annotated visual and contextual sources.
Students taking the general route through the programme will then choose three Special Subjects and one optional module. Those taking the British Art pathway will take two optional modules/specialist subjects.
Optional modules typically include:
Exhibition Cultures (formerly 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 ‘periodized 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, but an exhibition history constitutes part of an 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, culture and institutional critique (Bourdieu, Foucault, Bhabha) and to aspects that are pertinent to exhibitions, including the relevance of place and space for an exhibition, display, the role of curator, artist and audiences, marketing and sponsoring.
Assessment: 4,000-word essay
Turning the Pages. Manuscript and Print, Past and Present
Today, books are available in multiple copies, either printed or in digital format; authors’ names appear prominently on the front cover; we scoff at those who dare to doodle in the margins or highlight the text in indelible ink. ‘Old’ books are now the preserve of libraries and special collections and are handled with gloves. However, things were very different in the past: in the middle ages, no two books were exactly the same; manuscripts were frequently left unfinished, annotated, rebound, passed on, dismembered and recycled; the author, let alone the scribe or the illuminator, was often anonymous; images in manuscripts and early printed books were kissed and touched for their miraculous powers. With the rise of print in the late fifteenth century, books became ‘mass-produced’ and helped to spread new ideas, like religious reform; illuminators had to keep up with the new medium, turning their hand to woodcuts and engraving. This module explores medieval and early modern books from the perspectives of art history, political and socio-cultural history, conservation and digital humanities. The module will draw closely on the collections in the Cadbury Research Library and encourage students to engage with the numerous online archives available through institutions such as the British Library, John Rylands Library, and the Bibliothèque Nationale. Students will therefore not only gain familiarity with pre-modern sources but will also be encouraged to engage critically with questions relating to changing notions of use, conservation, research and access.
Assessment: 4,000-word essay
Sound and Vision: Word, Music, Image 1860-Now
Painting, music and poetry regularly intertwine in the visual arts, from the poem-paintings of the Pre-Raphaelite Dante Gabrielle Rossetti; to the collaborations between Robert Rauschenberg and composer John Cage; to Keith Haring’s involvement with hip-hop culture in 1980s New York; and more recently, the audio/verbal/image works of contemporary artists like Mona Hatoum and Maud Sulter.
Taking key examples ranging from 19th-century painting to contemporary media art, this module investigates the ways in which the inclusion or association of word and music affect meaning and experience in the visual arts, and whether we should see these various modes of communication as competing or complementary.
Assessment: 4,000-word essay
Queer British Art Since 1945
This module explores the subjects, provocations, and histories of queer British art since 1945.
Building on the now established narrative for queer history in Britain, this module asks how artists and artworks might have reflected on these changes and might contribute to an understanding of them for viewers today.
At the same time, this module explores how art is a sphere that illuminates the international influences on queer experiences across this period, taking in queer entanglements with colonial histories and decolonising states, as well as the (frequently disavowed) presence of migrations, race, and racism in queer British histories.
This module will focus largely on artists and artworks, though we will also refer, where relevant, to film, literature, and popular culture to reflect the way in which queer art and culture of this period worked across cultural boundaries. Alongside queer art historians, we will consider scholarly texts in queer history, queer literary studies, and queer of colour critique.
Assessment: 4,000-word essay
Further modules called 'Special Subjects'
The range of Special Subjects is updated annually in line with staff research interests. The following are indicative of the range of subjects we teach:
Berlin 1890-1939: Symphony of a (Great?) City
Contemporary Art and Masculinity
Contemporary Global Art
Fashioning Flesh and Technology: Modernism and the Body in Germany 1918–1933
Inside Out: Interior and Interiority in French Art, Design and Visual Culture 1850–1940
Paris Moderne 1850–1930: Image, Myth, Femininity
Prague, Budapest, Cracow 1867–1918
Pre-Raphaelites: Contexts, Approaches and Reputations
Women and Artistic Culture 1400–1600
In addition to your taught modules, you will conduct a piece of independent research on a topic of your choice within History of Art with the support of a supervisor, culminating in a 15,000-word dissertation.
Please note that the optional module information listed on the website for this programme is intended to be indicative, and the availability of optional modules may vary from year to year. Where a module is no longer available we will let you know as soon as we can and help you to make other choices.
The deadline for international students (including EU) to apply is Thursday 1 July 2021. The deadline for UK students is Thursday 9 September 2021.
Our Standard Requirements
You will need an Honours degree in History of Art or a cognate Humanities subject, of an upper second-class standard or higher (or its academic equivalent). Candidates holding degrees in other disciplines (e.g. broader Arts subjects) will only be considered if they can demonstrate interest and experience in History of Art, e.g. through studying relevant modules and/or undertaking related work experience.
Personal statement: You should use your personal statement to explain why you wish to study this programme, and your suitability for the programme, with reference to any past and present experience you have in this subject.
References: We ask that you provide at least one academic reference unless you have been out of education for a number of years, in which case professional references will be considered. Your references should be submitted promptly, and they should address your track record in detail, citing specific examples of past work and reasons why you are suited to the demands of an MA course.
Academic requirements: We accept a range of qualifications from different countries - use our handy guide below to see what qualifications we accept from your country.
English language requirements: standard language requirements apply for this course - IELTS 6.5 with no less than 6.0 in any band. If you are made an offer of a place to study and you do not meet the language requirement, you have the option to enrol on our English for Academic Purposes Presessional course - if you successfully complete the course, you will be able to fulfil the language requirement without retaking a language qualification.
IELTS 6.5 with no less than 6.0 in any band is equivalent to:
TOEFL: 88 overall with no less than 21 in Reading, 21 Listening, 22 Speaking and 21 in Writing
Pearson Test of English (PTE): Academic 59 in all four skills
Cambridge English (exams taken from 2015): Advanced - Minimum overall score of 176, with no less than 169 in any component
Your degree will provide excellent preparation for your future career, but this can also be enhanced by a range of employability support services offered by the University and the College of Arts and Law.
The University's Careers Network provides expert guidance and activities especially for postgraduates, which will help you achieve your career goals. The College of Arts and Law also has a dedicated careers and employability team that offer tailored advice and a programme of College-specific careers events.
You will be encouraged to make the most of your postgraduate experience and will have the opportunity to:
Receive one-to-one careers advice, including guidance on your job applications, writing your CV and improving your interview technique, whether you are looking for a career inside or outside of academia
Meet employers face-to-face at on-campus recruitment fairs and employer presentations
Attend an annual programme of careers fairs, skills workshops and conferences, including bespoke events for postgraduates in the College of Arts and Law
Take part in a range of activities to demonstrate your knowledge and skills to potential employers and enhance your CV
What’s more, you will be able to access our full range of careers support for up to 2 years after graduation.
Postgraduate employability: History of Art
Birmingham's History of Art graduates develops a broad range of transferable skills, including familiarity with research methods; the ability to manage large quantities of information from diverse sources; the ability to organise information in a logical and coherent manner; the expertise to write clearly and concisely and to tight deadlines; critical and analytical ability; the capacity for argument, debate and speculation; and the ability to base conclusions on detailed research.
Our History of Art postgraduates also have the advantage of gaining hands-on experience at the Barber Institute of Fine Arts: the university's on-campus art gallery which is home to the Department of Art History, Curating and Visual Studies.
Over the past five years, over 98% of History of Art postgraduates were in work and/or further study six months after graduation. Many graduates enter occupations relating to gallery and museum management and curatorship; others pursue careers in academia. Employers that our graduates have gone on to work for include: Barber Institute of Fine Arts; Birmingham Museums Trust; National Trust; National Portrait Gallery; Royal Birmingham Society of Artists; University of Birmingham; and the Ironbridge Gorge Museums Trust.