2021-22 History of Art 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 History of Art
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 AbroadPlease 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:
11	Programme Leader
12	Richard McClary
13	Purpose and learning outcomes of the programme
14	Statement of purpose for applicants to the programme
15	The BA in History of Art equips you with the ability to analyse images and material objects, skills which are of increasing importance in today’s visual world. Art historians study works of art and architecture in their historical contexts to understand who creates and who views them, how and why they are used, and what they reveal about culture and social relationships. History of Art is an international discipline which encourages you to think about art and architecture in local, national and global contexts. 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. You will learn in an interactive and stimulating environment, where you can discuss your ideas in small groups with experts and fellow students, and develop your capacity for critical thought and professional, persuasive presentation. Like other subjects in the humanities, History of Art requires you to develop a body of knowledge, formulate complex arguments and communicate ideas effectively, and you also gain expertise in visual analysis and working with images, which will prepare you for a wide range of possible careers.
16	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.
17	PLO	On successful completion of the programme, graduates will be able to:
18	1	Deploy a broad knowledge of varied types of art and architecture from diverse periods and places, together with understanding of their historical and cultural contexts, with in-depth critical understanding of more than one subfield.
19	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.
20	3	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.
21	4	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.
22	5	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.
23	6	Work both independently and as an effective team member in pursuit of an objective, exercising initiative and leadership when appropriate.
24	7	Evaluate how artworks are presented to the public in museums, galleries and other settings, and propose new or alternative strategies for display.
25	8	For History of Art with a Year Abroad only. Adapt successfully to unfamiliar contexts and take advantage of the intellectual and wider benefits of intercultural experiences.
26	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.
27	n/a
28	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.
29	A 4-year variant of the degree has been offered since 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 8: 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 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 Stage 3 at York they will have the opportunity to draw upon their experience, expanded language skills and academic knowledge.
30	Explanation of the choice of Programme Learning OutcomesPlease 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:
31	i) Why the PLOs are considered ambitious or stretching?
32	The PLOs define the key attributes that will benefit our graduates in employment or further study. The PLOs signal an ambition that our graduates will distinguish themselves in a highly competitive working environment by their their acute visual skills, their ability to interpret and express complex ideas, and initiate and complete timely, well-researched projects independently and collaboratively.
33	ii) The ways in which these outcomes are distinctive or particularly advantageous to the student:
34	The History of Art degree at York is distinctive in several ways. 1. The range of material and approaches students can learn (our range of staff expertise and module choice is unusually broad for an art history department) 2. The high concentration on small-group learning across all three years, especially in seminar discussions, requires students to take a highly active role throughout their degree and gives them close access to their tutors 3. The high quality of research-led content and approaches in the teaching programme. 4. The substantial curatorial experience of a majority staff members, which can impact module teaching (most obviously in Museology & Curatorship, though often in option modules too).
35	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)?
36	Students in History of Art 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. In other respects, digital art is an ever more visible and evolving presence in contemporary culture.
37	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 employablity objectives should be informed by the University's Employability Strategy:
38	Advanced analytical and communications skills and a capacity for self-directed learning are essential for any graduate-level job for students with humanities degrees. PLO 7 is particularly beneficial for students who go on to museum and gallery careers, but it enables all students to experience how these and other institutions benefit from academic work.
39	vi) How will students who need additional support for academic and transferable skills be identified and supported by the Department?
40	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.
41	vii) How is teaching informed and led by research in the department/ centre/ University?
42	Almost all of our modules are directly informed by staff research. At Stage 1 the module titles and general aims remain fairly constant, but specific content often varies from year-to-year, depending on evolving staff research interests. The option modules at Stages 2 and 3 are led by staff research interests and thus develop continually. New modules are often introduced, and long-standing modules may be withdrawn or redesigned to incorporate changes in the field.
43	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.
44	Stage 1
45	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 will have a developing familiarity with the conventions of scholarly writing and debate.
46	PLO 1		PLO 2			PLO 3					PLO 4					PLO 5					PLO 6					PLO 7
47	Recognise a range of art and architecture from different periods and places, with an understanding of the importance of historical and cultural context.		Analyse artworks visually from a variety of perspectives, with an awareness of the context in which the work is encountered.			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.					Recognise how circumstances of display impact upon the encounter with, and interpretation of, art and architecture.
48	Stage 2
49	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.
50	PLO 1		PLO 2			PLO 3					PLO 4					PLO 5					PLO 6					PLO 7
51	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.			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.					Evaluate, analyse and respond to the different display practices adopted by various museums and galleries.
52	Programme Structure
53	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.
54	Stage 1
55	Credits	Module				Autumn Term										Spring Term										Summer Term
56		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
57		HOA00005C		The Materials of Art and Architecture		S								E		A
58		HOA00003C		Critical Readings in the History of Art		S								E	A
59		HOA00012C		Transmissions and Connections												S								E							A
60		HOA00002C		Theory for Art Historians												S								E	A
61		HOA00007C		Objects in Focus																						S			E	A
62		HOA00008C		The Art of Describing		S																		E		A
63	Stage 2
64	Credits	Module				Autumn Term										Spring Term										Summer Term
65		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
66		Various		Intermediate Seminar (Option List A)		S								E		A
67		Various		Intermediate Seminar (Option List B)												S								E		A
68		HOA00005I		Dissertation Training Module		S																							E			A
69		HOA00031I		Museology and Curatorship																						S			E		A
70	Stage 3
71	Credits	Module				Autumn Term										Spring Term										Summer Term
72		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
73		Various		Special Subject (Option List C)		S								E		A
74		Various		Special Subject (Option List D)												S								E							A
75		HOA00030H		Dissertation		S																							E	A
76	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.
77	Option List A		Option List B			Option List C					Option List D					Option List E					Option List F					Option List G					Option List H
78	Intermediate Seminar (Autumn 2020)		Intermediate Seminar (Spring 2021)			Special Subject (Autumn 2020)					Special Subject (Spring 2021)
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80	(A) Image and Icon: Representing the Sacred in the Early Medieval World		(A) Seeing and Being Seen: English Art in the 14th Century			(A/B) Innovations in Northern renaissance Art					(A) The Art of Anglo-Saxon England c. 600-850
81	(A/B) Jerusalem in Western Medieval Art and Architecture		(B) The Power and the Real in C.17 Spanish Painting and Sculpture			(B) Art and Patronage in C.15 Florence					(A/B) Illuminating the Book
82	(B/C) The English Country House		(B) Themes in Early Modern Art			(B/C) Journeys, Histories and Methods of Display					(B/C)Connoisseurship: The Theory and Practice of Attribution
83	(C) Art in the USA		(C) The Italian Avant Garde			(C) Feminist Avant-Garde					(C) Image and identity in California 1950-1985
84	(C) Realism to Post-Impressionism: Painting in C.19 France		(C)Action/Re-action: Live Art, Performance and Participation			(C) Mirrors and Screens: The Art of Andy Warhol					(C) Art Law
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86	(A) = medieval; (B) = Renaissance/early modern; (C) = modern/contemporary. All three periods must be covered between Stage 2 and Stage 3 options (typically at Stage 2) NB modules choices vary from one year to another.
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