UDD BA Curating and Art History 2018/2019 Programme Design Document

	A	C	F	G	I	K	L	M	N	O	P	Q	R	S	T	U	V	W	X	Y	Z	AA	AB	AC	AD	AE	AF	AG	AH	AI	AJ	AK	AL	AM	AN
1	Programme Information & PLOs
2	Title of the new programme – including any year abroad/ in industry variants
3	BA in Curating & Art History
4	Level of qualification
5	Please select:				Level 6
6	Please indicate if the programme is offered with any year abroad / in industry variants																				Year in Industry Please select Y/N								No
7																					Year Abroad Please select Y/N								Yes
8	Department(s): Where more than one department is involved, indicate the lead department
9	Lead Department		History of Art
10	Other contributing Departments:		N/A
11	Programme Leader
12	Please name the programme leader and any key members of staff responsible for designing, maintaining and overseeing the programme.
13	James Boaden (PL); Jeanne Nuechterlein (Director YAHCs)
14	Purpose and learning outcomes of the programme
15	Statement of purpose for applicants to the programme
16	The BA in Curating & Art History equips you with the ability to analyse images and material objects, and to understand what is at stake when those objects are collected, preserved and displayed in the surroundings of an art museum or gallery. You will study works of art and architecture in their historical and global context—to understand who creates them, who views them, and what they reveal about culture and social relationships—while gaining an insight into the skills, methods and theoretical underpinnings of curatorial practice. We are recognised for our excellence in research-led teaching as well as our friendly, informal atmosphere, so you can select from a wide variety of module choices, and at the same time receive highly personalised attention. We are distinctive for our range and depth in the study of historical and contemporary art, and for our many collaborations with national and regional galleries, museums and historic houses. As one of a small group of Curating & Art History students, you will learn in an interactive and stimulating environment, where you can discuss your ideas with experts and fellow students, and develop your capacity for critical thought and professional, persuasive presentation. Like other subjects in the humanities, Curating & Art History requires you to develop a body of knowledge, formulate complex arguments and communicate ideas effectively to different audiences. Through a combination of lectures and seminars, independent work and first-hand experience, you will develop critical and practical skills that will prepare you for a future in museums, galleries and a wide range of other fields.
17	Programme Learning Outcomes Please provide six to eight statements of what a graduate of the programme can be expected to do. Taken together, these outcomes should capture the distinctive features of the programme. They should also be outcomes for which progressive achievement through the course of the programme can be articulated, and which will therefore be reflected in the design of the whole programme.
18	PLO	On successful completion of the programme, graduates will be able to:
19	1	Deploy a broad knowledge of varied types of art and architecture from diverse periods and places, together with understanding of their historical, cultural and institutional contexts.
20	2	When encountering new visual material either first-hand or in reproduction, apply high-level descriptive and observational skills, develop critical visual analysis drawing upon an appropriate range of methodological approaches, and identify relevant sources for further research.
21	3	Analyse and evaluate how works of art are presented in museums, galleries and other settings, and demonstrate an understanding of how the contexts of collection, preservation and display have helped to shape the history of art.
22	4	Identify and engage with concepts, values and debates that inform contemporary curatorial practice, drawing on first-hand practical experience.
23	5	Communicate complex ideas effectively, both orally and in writing, well supported by visual material where required, at varied lengths and registers appropriate to the context and intended audience.
24	6	Confront and interrogate widely-held assumptions, understand how interpretations of culture and its contexts have changed over time both incrementally and in more radical paradigm shifts, and continue to engage critically with future changes in ways of thinking.
25	7	Carry out an original and independent investigative project from beginning to end: identify and assemble relevant primary material, develop relevant methodologies for interpretation, consult significant source materials and experts, manage time in an appropriate framework, and complete the project to a deadline in the required format.
26	8	Work both independently and as an effective team member in pursuit of an objective, exercising initiative and leadership when appropriate.
27	Programme Learning Outcome for year in industry (where applicable) For programmes which lead to the title ‘with a Year in Industry’ – typically involving an additional year – please provide either a) amended versions of some (at least one, but not necessarily all) of the standard PLOs listed above, showing how these are changed and enhanced by the additional year in industry b) an additional PLO, if and only if it is not possible to capture a key ability developed by the year in industry by alteration of the standard PLOs.
28	N/A
29	Programme Learning Outcome for year abroad programmes (where applicable) For programmes which lead to the title ‘with a Year Abroad’ – typically involving an additional year – please provide either a) amended versions of some (at least one, but not necessarily all) of the standard PLOs listed above, showing how these are changed and enhanced by the additional year abroad or b) an additional PLO, if and only if it is not possible to capture a key ability developed by the year abroad by alteration of the standard PLOs.
30	A 4-year variant of the degree will also begin in 2017/18. Because we have a range of partner universities, and students will have a great deal of flexibility in what they choose to study, we propose a separate PLO 9: Adapt successfully to unfamiliar contexts and fully appreciate the intellectual and wider benefits of intercultural experiences. By living abroad and studying for an extended period at a different university, students gain the opportunity to expand the scope of their studies, encounter a wider range of artworks, museums and galleries at first hand, meet people, establish new networks and experience alternative forms of teaching and learning. By embracing the academic life of their host institution and the cultural opportunities of the city in which they are living they will be better equipped to adapt to local institutions, social structures and cultures, and navigate daily life using another language. At Stages 2 and 3 at York they will have the opportunity to draw upon their experience, expanded language skills and academic knowledge.
31	Explanation of the choice of Programme Learning Outcomes Please explain your rationale for choosing these PLOs in a statement that can be used for students (such as in a student handbook). Please include brief reference to:
32	i) Why the PLOs are considered ambitious or stretching?
33	The PLOs define the key attributes that will benefit our graduates in employment or further study, with a specific focus on those qualities most valued by the museum and gallery and heritage sectors. The PLOs signal an ambition that our graduates will distinguish themselves in a highly competitive field by their ability to interpret and express complex ideas, and initiate and complete timely, well-researched projects independently and collaboratively.
34	ii) The ways in which these outcomes are distinctive or particularly advantageous to the student:
35	In recent years, curating and curatorship have become established within several postgraduate programmes at other institutions, but there are few comparable opportunities for undergraduate students to combine the study of art history with a thorough grounding in curatorial theory and practice, and none that offer the same level of practical experience as the combination of our Curatorial Internship and Group Exhibition Project at Stage 2. In addition, the range of material and approaches students can learn, the high concentration on small-group learning across all three years, and the substantial curatorial experience of a majority staff members, all contribute to making the BA in Curating & Art History a highly distinctive degree.
36	iii) How the programme learning outcomes develop students’ digital literacy and will make appropriate use of technology-enhanced learning (such as lecture recordings, online resources, simulations, online assessment, ‘flipped classrooms’ etc)?
37	Students in Curating & Art History work extensively with digital material for class presentations/discussion, for their research, and for illustrating written work. All modules use the VLE at a minimum as a means of facilitating information transfer and communications, and some modules may use it for more experimental forms of teaching and learning. As part of the Curatorial Internship and Group Exhibition Project at Stage 2, students will encounter and engage with a range of digital media in situ in museums and galleries.
38	iv) How the PLOs support and enhance the students’ employability (for example, opportunities for students to apply their learning in a real world setting)? The programme's employability objectives should be informed by the University's Employability Strategy:
39	http://www.york.ac.uk/about/departments/support-and-admin/careers/staff/
40	Advanced analytical and communications skills and a capacity for self-directed learning are essential for any graduate-level job for students with humanities degrees. While equipping students for a range of different career paths, Stage 2 of the BA in Curating & Art History has been designed around a commitment to providing first-hand experience of the diverse work of museums, galleries and other related places.
41	vi) How will students who need additional support for academic and transferable skills be identified and supported by the Department?
42	Because of the preponderance of small-group learning in our department, students with difficulties are usually identified by their module tutors and referred to their supervisor and the Chair of the Board of Studies for support. Personal supervisors may also detect recurring patterns of difficulty across modules and refer their supervisees for further support.
43	vii) How is teaching informed and led by research in the department/ centre/ University?
44	Art museums, galleries and historic buildings are where much art-historical research begins and ends, and are essential in disseminating the latest research to a wider public. Thus the degree is by its nature closely interconnected with research in the discipline. Research-led teaching occurs throughout the degree, and it is continually updated through adjustments made year-to-year in module content to reflect new scholarship in the relevant fields. Students’ independent research skills are also essential to the programme, as every module requires students to take significant initiative in developing independent knowledge and understanding in carrying out essays, presentations and other assignments and assessments, culminating in the Group Exhibition Project at Stage 2 and the independent Dissertation at Stage 3.
45	Stage-level progression Please complete the table below, to summarise students’ progressive development towards the achievement of PLOs, in terms of the characteristics that you expect students to demonstrate at the end of each year. This summary may be particularly helpful to students and the programme team where there is a high proportion of option modules. Note: it is not expected that a position statement is written for each PLO, but this can be done if preferred (please add information in the 'individual statement' boxes). For a statement that applies across all PLOs in the stage fill in the 'Global statement' box.
46	Stage 1
47	On progression from the first year (Stage 1), students will be able to:											On progression from the first year (Stage 1), students will be able to recognise and engage with the salient trends and challenges of art history and curatorial practice, and will have a developing familiarity with the conventions of scholarly writing and debate.
48	PLO 1		PLO 2			PLO 3					PLO 4					PLO 5					PLO 6					PLO 7
49	Recognise a range of art and architecture from different periods and places, with an understanding of the importance of historical, cultural and institutional context.		Analyse artworks visually from a variety of perspectives, with an awareness of the context in which the work is encountered.			Recognise how circumstances of collection, preservation and display impact upon the encounter with, and interpretation of, art and architecture.					Recognise key concepts, values and debates that inform contemporary curatorial practice, past and present.					Demonstrate a general facility in communicating arguments on different topics, in person and in writing.					Begin to identify how the approaches of art historians and other writers are inflected by views characteristic of their time, place and social context.					Produce written work to a specific brief, working effectively to a deadline.					Communicate ideas about art and architecture effectively, and with growing confidence, individually and in small groups.
50	Stage 2
51	On progression from the second year (Stage 2), students will be able to:											On progression from the second year (Stage 2), or third year (Stage 3) for the Year Abroad programme, students will be able to engage with more complex ideas, working more independently and critically, and developing a range of knowledge and skills that can be employed in a professional context. They will have experienced at first hand the diverse work of art museums and galleries, and will be able recognise current trends in curatorial practice.
52	PLO 1		PLO 2			PLO 3					PLO 4					PLO 5					PLO 6					PLO 7
53	Engage with works of art and architecture in greater depth, around specific periods, places or themes, and with a growing capacity to relate disparate materials and intellectually demanding ideas.		Analyse artworks from a range of defined geographical, chronological or thematic parameters, and identify the kinds of visual analysis most appropriate to them.			Evaluate, analyse and respond to the collecting and display priorities of various museums and galleries, drawing on first-hand experience.					Identify and engage critically with a range of issues that inform contemporary curatorial practice, and respond creatively to specific live scenarios.					Produce more complex written work to a specific brief, and contribute to seminar discussions, informally and formally, in a variety of contexts.					Demonstrate a critical awareness of the contingent, contested nature of art history, and articulate how their ideas relate to existing scholarship.					Develop a viable project proposal or group activity, drawing on relevant methodologies and independent reading and research, working within an appropriate time frame.					Work with greater confidence and skill in a variety of group dynamics and situations, and provide constructive feedback to others.
54	Programme Structure
55	Module Structure and Summative Assessment Map Please complete the summary table below which shows the module structure and the pattern of summative assessment through the programme. ‘Option module’ can be used in place of a specific named option. If the programme requires students to select option modules from specific lists these lists should be provided in the next section. From the drop-down select 'S' to indicate the start of the module, 'A' to indicate the timing of each distinct summative assessment point (eg. essay submission/ exam), and 'E' to indicate the end of the module (if the end of the module coincides with the summative assessment select 'EA') . It is not expected that each summative task will be listed where an overall module might be assessed cumulatively (for example weekly problem sheets). If summative assessment by exams will be scheduled in the summer Common Assessment period (weeks 5-7) a single ‘A’ can be used within the shaded cells as it is understood that you will not know in which week of the CAP the examination will take place.
56	Stage 1
57	Credits	Module				Autumn Term										Spring Term										Summer Term
58		Code		Title		1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10
59		HOA00005C		The Materials of Art and Architecture		S								E		A
60		HOA00003C		Approaches to Curatorial Practice		S								E	A
61		HOA00004C		Reinventing Antiquity												S								E							A
62		HOA00002C		Theory for Art Historians												S								E	A
63		HOA00007C		Objects in Focus (Curating)																						S			E	A
64		HOA00008C		The Art of Describing		S																		E		A
65	Stage 2
66	Credits	Module				Autumn Term										Spring Term										Summer Term
67		Code		Title		1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10
68		Various		Intermediate Seminar (Option List A)		S								E		A
69		Various		Intermediate Seminar (Option List B)												S								E		A
70		TBC		Curatorial Internship		S																							E			A
71		TBC		Group Exhibition Project		S																							E		A
72	Stage 3
73	Credits	Module				Autumn Term										Spring Term										Summer Term
74		Code		Title		1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10
75		Various		Special Subject (Option List C)		S								E		A
76		Various		Special Subject (Option List D)												S								E							A
77		TBC		Dissertation (Curatorial)		S																							E	A
78	Optional module lists If the programme requires students to select option modules from specific lists these lists should be provided below. If you need more space, use the toggles on the left to reveal ten further hidden rows.
79	Option List A		Option List B			Option List C					Option List D					Option List E					Option List F					Option List G					Option List H
80	Intermediate Seminar (Autumn 2016)		Intermediate Seminar (Spring 2017)			Special Subject (Autumn 2016)					Special Subject (Autumn 2017)					N/A
81	(A) Jerusalem in Western Medieval Art and Architecture		(A) Image and Icon: representing the sacred in the early Medieval world			(B) Materiality, Holiness, Place: Baroque Art and Architecture					(A) Illuminating the Bible					N/A
82	(A) Seeing and Being Seen: English Art in the 14th Century		(B) Critical Approaches to the Baroque			(B/C) Interwoven: Fashion and Clothing Culture in Art History					(A) Stained Glass in the Great Church c.1170-1350					N/A
83	(B) Cut, Bite, Stamp: The Power of Print in Eighteenth-century Britain		(B) The Power of the Real in Seventeenth-Century Spanish Painting and Sculpture			(C) The Modernist Object					(B) Art and Patronage in 15th Century Florence					N/A
84	(C) Casts and Cultures: The Crystal Palace Sydenham		(B) The English Country House 1550-1900			(C) Art Law					(C) Victorian Sculpture					N/A
85	(C) Issues in Contemporary Art		(C) Art in the USA 1945-1975			N/A					(C) Contemporary Art and Digital Culture					N/A
86	(A) = medieval; (B) = Renaissance/early modern; (C) = modern/contemporary. BA Curating & Art History students must cover at least two of the three periods between Stage 2 and Stage 3 options (typically at Stage 2) NB modules choices vary from one year to another.															N/A