BA (Hons) History of Art with a Year Abroad

Key details

BA (HONS) HISTORY OF ART WITH A YEAR ABROAD

Start Year

2022

Attendance

Full Time

Award

Degree of Bachelor of Arts

UCAS course code

V354

Entry Requirements

AAB

Duration (years)

This course is distinctive in its breadth of coverage of art as a global phenomenon. Through close engagement with artworks and small-group teaching from experts, you’ll gain a unique education in the forms and meanings of art across a range of periods and cultures. You’ll have the opportunity to study the art and artefacts held within the internationally renowned Sainsbury Centre, itself a celebrated icon of modern museum architecture.

You’ll also spend a year studying at one of our prestigious partner universities in Europe, the US, Canada, Australia or New Zealand. For many students this overseas experience is the highlight of their time at university.

About

On this history of art degree, you’ll learn about the most important periods in the history of European art whilst exploring the arts of other cultures, from prehistory to the present day, across Europe, the Americas, India, Africa and Asia. You’ll engage with artworks from pre-history right through to the present, and with a wide variety of art forms including painting, sculpture, photography and video art, architecture, and installation and performance art.

In your first year, you’ll establish firm foundations for the study of works of art from a variety of traditions. In your second and third years, you’ll select from a range of optional modules focused on particular periods and addressing specific topics and themes in art history. These currently include the relationship between modern art and gender, contemporary art history, the fascinating world of medieval life, the role of the gallery and museum, indigenous art practices, and the politics of art in different historical contexts.

As well as expanding and deepening your knowledge and understanding of art, you will cultivate key intellectual and professional skills including the visual analysis of images, critical thinking, and confident communication.

You’ll have the opportunity to study the world-famous collection of art held in the Sainsbury Centre. This means that in addition to its impressive collection of modern art you will have access to important artworks from Asia, Africa, the Pacific, the Americas, and Europe. You will be able to study relevant objects first hand, while learning about the processes of collecting such objects in museums. You will also be taught by experts from a range of disciplinary backgrounds, who will encourage you to approach works of art from different perspectives.

This course is delivered by UEA’s world-leading department of Art History and World Art Studies. Our main areas of research are the history of art and architecture in Europe and North America; the arts of Africa, Asia, Oceania and South America; the archaeology and anthropology of art; and museum studies and cultural heritage.

We are part of a close network of internationally renowned centres for the study and display of art: the Sainsbury Centre, the Sainsbury Research Unit for the Arts of Africa, Oceania and the Americas, and the Sainsbury Institute for the Study of Japanese Arts and Cultures.

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Sainsbury Centre

The Sainsbury Centre is one of the most prominent university art galleries in Britain, and a major national centre for the study and presentation of art.

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Important Information

Whilst the University will make every effort to offer the courses listed, changes may sometimes be made arising from the regular review of course programmes. Where this activity leads to significant (but not minor) changes to programmes, there will normally be prior consultation of students and others. Changes may for example consist of variations to the content and method of delivery of programmes, courses and other services, to discontinue programmes, courses and other services and to merge or combine programmes or courses. The University will endeavour to keep such changes to a minimum, and will inform students.

Assessment for Year 1

You won’t sit any formal examinations. Instead, in each year you’ll be assessed on written coursework, usually in the form of essays, presentations, critiques, posters, exhibition catalogues to name only a few. Our assessment methods have been developed to measure your skills, but also to aid your learning. Your final assessment is your dissertation, a piece of independent research that you will carry out in the third year.

Structure

You’ll begin your degree by studying artists, artisans, and the process of creating. You’ll engage directly with artworks first hand in order to explore different techniques and visual effects, and deepen your appreciation of their functions and meanings. You’ll be introduced to art history as a discipline before exploring some of the most significant topics in art history, beginning with the role of portraiture in shaping our identities. You’ll explore the collections of the Sainsbury Centre, and become familiar with how to critically engage with different kinds of art.

Teaching and Learning

You’ll be taught by leading scholars in the field of art history and will learn through a combination of lectures, seminars and field trips.

In your first and second years, and the first semester of your third year, your learning activities will involve a combination of lectures, seminars and tutorials combined with independent learning. A representative week will consist of 15-20% class time, 40% work on assessments and 40% on independent learning. In the Spring semester of your third year, independent learning increases in line with work towards your dissertation.

Your seminar groups will very rarely have more than 18 students. This allows for plenty of dialogue between tutors and students. Teaching methods vary but most sessions are organised around investigation of particular topics supported by close analysis of artworks and texts. As you progress through your course you’ll expand your knowledge, skills and understanding as you become familiar with different art practices and techniques and become accustomed to reading diverse historical sources and art historical and critical texts.

You’ll be asked to prepare material for classes, which you will often later use as a starting point for an assessment. You’ll also be given the opportunity to engage with a diverse range of relevant presentation styles such as catalogue entries and exhibition reviews.

In lecture modules, you’ll engage with a range of art-historical problems and methods. Your lectures will be delivered by members of staff from art history, anthropology and archaeology.

As you develop specialist knowledge in your final year, you’ll also begin work on a dissertation. This will enable you to refine your understanding of a particular topic and develop the independent perspective crucial to practising art history beyond university.

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Open Days

Assessment for Year 2

Structure

You’ll be encouraged to think about the strange and varied ‘lives of objects’ as they move through different contexts, and how art history interacts with anthropology and archaeology. In your spring semester, you’ll be invited to consider how your historical studies relate to contemporary debates about the status of art and the role of galleries and museums in the present. Alongside these lectures, you’ll choose from a range of optional modules through which you’ll develop more specialist knowledge of particular problems and periods.

Teaching and Learning

You’ll be taught by leading scholars in the field of art history and will learn through a combination of lectures, seminars and field trips.

In lecture modules, you’ll engage with a range of art-historical problems and methods. Your lectures will be delivered by members of staff from art history, anthropology and archaeology.

September 2023 opportunities. Discover more

Open Days

Assessment for Year 4

Structure

In your final year of study, you’ll take three optional modules which involve close engagement with advanced topics in art history. Our optional modules address topics such as modern art and gender, race and visual culture and in Alternative Modernisms, what modern art means within the context of different cultures. You’ll also write a dissertation on a topic that has most sparked your interest, working closely with a supervisor to design your own research programme.

Teaching and Learning

You’ll be taught by leading scholars in the field of art history and will learn through a combination of lectures, seminars and field trips.

In lecture modules, you’ll engage with a range of art-historical problems and methods. Your lectures will be delivered by members of staff from art history, anthropology and archaeology.

September 2023 opportunities. Discover more

Open Days

Assessment for Year 1

Compulsory Modules

ENVIRONMENT, ART AND CULTURE

Code AMAA4004B

Credits 20

Most works of art – whether objects, buildings, or performances – are designed to serve a set of purposes. How their forms and functions relate may be straightforward and practical, or complex and elusive. Through a range of case studies, presented in lectures by our staff in Art History and World Art Studies, you will examine the connections between the uses, meanings, and appearances of art, culture, space, and landscape. You will also consider how these connections may change over time, especially in the context of cross-cultural contact. The opportunity to analyze texts on your own and in discussion groups will help you understand different points of view and construct an argument supported by evidence.

LEARNING ON SITE: THE SAINSBURY CENTRE FOR VISUAL ARTS

Code AMAA4007A

Credits 20

In this module, you will discover the art and architecture that makes up our department’s home in the Sainsbury Centre for Visual Arts (SCVA). Designed by Lord Norman Foster and opened in 1978, this building and the Robert and Lisa Sainsbury Collection have shaped the study of Art History and World Art Studies at UEA. Through readings, group discussions, and the close study of objects in the SCVA, you will be encouraged to challenge assumptions and preconceptions about different kinds of art – from around the world, and from prehistory to the 20th century. This module will also develop your abilities in library research and academic referencing.

GALLERIES AND MUSEUMS: HISTORIES/POLITICS/ETHICS

Code AMAA4009B

Credits 20

This module will introduce you to some of the key concepts underpinning art galleries and museums. You’ll learn about the history of museums and their impact on society. You’ll consider how museums and galleries today use not only their displays but also a range of activities to attract, educate, and inspire visitors. By visiting museums and galleries in Norwich as part of this module – including the Castle Museum and Art Gallery and the Sainsbury Centre for Visual Arts – you’ll gain a real-world perspective on museums today. You will also have a chance to study galleries and museums from around the world.

INTRODUCTION TO ART HISTORY

Code AMAA4001A

Credits 20

This module introduces you to the study of art history. You will discover what makes art history distinct as an academic discipline. By learning about the themes art historians have explored over time, and some of the methods they use to study art, you will start to understand the subject better – and to appreciate how it fits into your degree. As a seminar, this module also gives you the chance to experience the small-group discussions that are central to our teaching.

MAKERS AND MAKING

Code AMAA4002A

Credits 20

Artworks are the culmination of a process by which ideas are made material. The process of making requires the formation of an idea, the appropriate materials and tools, time, space to create, vision of a finished product, and a maker (artist) to bring all these elements together. What’s more, making art, or making anything, is culturally constructed and socially embedded. Through a series of lectures we will investigate the fascinating and sometimes complex world of makers (artists, artisans and crafts people) and the social worlds in which they live and make their art. We will explore the social, economic and religious contexts of turning raw materials into beautiful, accomplished significant, meaningful things. Most importantly, you will also learn about how materials and the things that are made from them acquire significance and meaning.

PORTRAITURE AND IDENTITY

Code AMAA4025B

Credits 20

How do you represent a person? On this module, you will explore the genre of portraiture as it has been practiced by visual artists from the ancient world to the present day. You will develop the skill of visual analysis as you consider 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. You will also continue to develop your writing skills, as we analyze works of art alongside histories and concepts of the individual self – perhaps the supreme artefact of all.

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Open Days

Important Information

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring and review of modules. Where this activity leads to significant change to a programme and modules, the University will endeavour to consult with affected students. 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. Availability of optional modules may be restricted owing to timetabling, lack of demand, or limited places. Where this is the case, you will be asked to make alternative module choices and you will be supported during this process.

Assessment for Year 2

Compulsory Modules

THE LIVES OF OBJECTS

Code AMAA5089A

Credits 20

Your main objective in this module will be to develop your critical skills as they pertain to thinking, reading, writing and looking. To enable this, the module will fall into two main sections. In the first section, you’ll focus on one particular methodology – object biographies – used in archaeology, anthropology, museum studies and art history. You’ll examine this methodology in detail, breaking it down into its component sections. You’ll then consider its strengths and its weaknesses, as we subject it to a thorough critical evaluation. In the second half of the module, you will study a range of theories and methodologies used in the study of material culture. In this part of the module, you will focus more broadly on what critical thinking is, both in general and within each of the four disciplines taught in the Department of Art History and World Art Studies. You’ll be taught through a combination of two weekly lectures and one discussion seminar. The lectures will offer you an introduction to the relevant topic, and will end with an opportunity to discuss/debate the issues raised. During the discussion seminars, you’ll consider key issues raised in preceding lectures and the weekly class readings which accompany them.

ART IN THE CONTEMPORARY WORLD

Code AMAA5090B

Credits 20

Art is a resource which can be used both positively and critically to affect the contemporary world around us. It may be exploited, most obviously for its economic value, but also for broader social or political gain. You will explore these different uses of art by addressing the factors that condition our contemporary reception of art works and visual culture. You will begin by examining some of the key methodologies for interpreting art’s contemporary functions, including its capacity to create contemporary identities and world-views. You will then turn to focus on the museum and gallery as spaces for these contemporary issues to emerge, before considering the same ideas at work in more quotidian ways. And, finally, you will conclude with a reflection on your own position as art historians, anthropologists, and archeologists working with art in the contemporary world.

Optional A Modules

(40 credits)

MATERIAL WORLDS

Code AMAA5009A

Credits 20

We live our lives surrounded by material objects. In many ways, our lives are dictated by the consumption of goods. How then, should we understand our relation to materiality? In this module, you'll learn about contemporary archaeological and anthropological perspectives in the study of material culture. Questions that come up include: why the Summer Solstice is celebrated at Stonehenge; how houses differ across cultures; why we give each other gifts and wrap them; and how clothing gives us identity? Studying human-object relations from a range of perspectives, this module equips you to understand the role of materiality in your life and to think in nuanced ways on our consumer society.

MEDIEVAL BODIES

Code AMAA5086A

Credits 20

Born, bathed, dressed, worshipped, sexed, cut, bruised, ripped, split, buried: the human body offer historians a gateway onto understanding the cultures of the past. On this course you 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, and examining how the techniques and society of the medieval craftsman at once idolised and distorted the medieval body's forms. In previous years this course has also featured a study trip to museums and galleries in London to meet with curators and handle objects.

ARTISTS/MUSEUMS

Code AMAA5102A

Credits 20

You will examine 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.

AMERICAN ART AND AMERICAN PHOTOGRAPHY 1900-1950

Code AMAA5103A

Credits 20

You will examine 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.

INDIGENOUS ARTS AND INDIGENOUS PEOPLES

Code AMAA5105A

Credits 20

You will begin 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 inter-disciplinary approach 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.

Optional B Modules

(40 credits)

ART AND ARCHITECTURE IN VENICE

Code AMAA5093B

Credits 20

Positioned at the hub of trade routes which spanned out across the known world, the city of Venice was a major commercial and political power during the medieval, renaissance, and early modern periods. It also grew to be one of Europe's most important centres of artistic production, with Venetian painters, sculptors, glassmakers, and architects channelling their city's diverse multiculturalism into a vast range of influential artworks. You will examine the development of art and architecture in the city from its earliest foundations through to the present day, tracing the aesthetic and urban history of what its inhabitants came to call 'La Serenissima,' the most serene city on earth. In previous years this module has featured a study trip to Venice.

ARCHAEOLOGIES OF THE MEDITERRANEAN WORLD

Code AMAA5098B

Credits 20

Using a range of case studies from the Mediterranean World, this module introduces students to some of the most significant themes and debates in the archaeology of the Mediterranean and archaeology more generally. Case studies will be drawn from a range of time periods and will address ‘the big themes’ in archaeology, such as cultural transmission, cultural development, societal collapse, trade and exchange, conflict, migration, empire and expansion, the emergence of urban societies, climate and society and ritual and religion. Often more than one theme will be included in a case study and the aim will be to understand how they relate to each other. For example, how does conflict or climate change contribute to migration or societal collapse?

DIGITAL MEDIA THEORY & PRACTICE

Code AMAP5128B

Credits 20

This module provides an introduction to the practical and theoretical study of digital media. By exploring the historical and contemporary aspects of various media, including audio-visual and social media you will consider how the digital turn has affected media production and consumption. You will also gain awareness of the technologies which underpin digital media, the interfaces for delivering media online, and the cultural and social aspects of digital society. By the end of the module, you will be able to evaluate digital media in their contemporary and historical contexts, and understand the principles which influence the digital remediation of media forms. You will gain hands-on experience of a variety of digital media, drawing on sessions based in UEA’s Media Suite, and use these creations to explore cutting edge digital approaches to media texts. These practical sessions will introduce students to: digitisation of text and images; creation of 3D models and image processing; creation of audio-visual media; editing of Wikipedia/Wikimedia. Each of these sessions will serve to illuminate particular theoretical issues, including social media, reproduction and restoration, and the problems associated with ephemerality and preservation in the digital age.

ARTS AND HUMANITIES PLACEMENT MODULE

Code HUM-5004B

Credits 20

This module will provide you with the opportunity work within a creative/cultural/charity/ heritage/media or other appropriate organisation in order to apply the skills you are developing through your degree to the working world and to develop your knowledge of employment sectors within which you may wish to work in the future. The module emphasises industry experience, sector awareness and personal development through a structured reflective learning experience. Having sourced and secured your own placement (with support from Careers Central), you work within your host organisation undertaking tasks that will help you to gain a better understanding of professional practices within your chosen sector. Taught sessions enable you to acquire knowledge of both the industries in which you are placed as well as focusing on personal and professional development germane to the sector. Your assessment tasks will provide you with an opportunity to critically reflect on the creative and cultural sector in which you have worked as well as providing opportunities to undertake presentations, gather evidence, and articulate your newly acquired skills and experiences.

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Important Information

Assessment for Year 4

Compulsory Modules

DISSERTATION

Code AMAA6112B

Credits 30

On this module you will undertake a research project on a topic related to your specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation.

Optional A Modules

(60 credits)

MAPPING WORLDS

Code AMAA6121A

Credits 30

Mapping helps 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 historical maps and modern theories of cartography as the jumping-off point for an in-depth investigation of the visual and imaginative cultures of Europe and the Middle East from the prehistoric and classical eras through to the Middle Ages and Renaissance. In previous years this course has also featured a study trip to museums and galleries in London to meet with curators and handle objects.

MUSEUM WORK: THEORY AND PRACTICE

Code AMAA6126A

Credits 30

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, housing and caring for collections, to curating shows and exhibitions, and producing texts and writing criticism. You will develop your engagement with the practice of conceiving, designing and mounting exhibitions, exploring both the conceptual demands of putting on a successful show and the practical considerations involved in doing so. Finally we consider the role of interpretation and learning in galleries and museums practice, thinking also about how texts of various sorts operate in exhibitions and collections displays. The module has previously involved a study trip to London or Cambridge.

PUBLIC ART, PERFORMANCE AND MEMORY

Code AMAA6135A

Credits 30

Intense debates rage around monuments that represent historical figures as our most celebrated heroes. But why are our monuments epicentres of public debate and political contestation? This module examines how and why public art and performances commemorate historical events. To find answers to these questions, you'll study the monuments that remember the First World War, the Holocaust, the Slave Trade and Colonialism. But you will also be encouraged to ask how memorials makes us remember and, indeed, whether there are alternative ways of remembering. You'll study commemoration in spirit possession, pilgrimage, and popular music. Considering case studies from across the world, you will review the role of memory and commemoration in the constitution of our society. This module encourages you to consider why alternative forms of memory are required for a more just society.

GODS, KINGS AND PRE-COLUMBIAN ART: DIVINE RULERSHIP IN ANCIENT AMERICA

Code AMAA6140A

Credits 30

Why are some rulers seen as gods and supernatural beings? How do rulers participate in and draw power from superhuman sources? How do artworks express and presence their divinity? To explore these questions, this module explores visual systems of the ancient Americas and focuses on the rich artistic and archaeological records that connect rulership (and associated men and women) to divinity. Drawing especially from general anthropological and archaeological theory, the first sessions lay out the comparative basis to consider how humans are seen and treated as gods (e.g., naming, ancestrality, myth, attire, performance, ritual). The remainder of the module details case studies from major civilizations of the Americas (e.g., Olmec, Maya, Aztec, Moche, Inca), to reveal unique variations of this global human pattern.

MODERN ART AND STATES OF MIND

Code AMAA6141A

Credits 30

This module explores art’s relationship with aspects of mental and emotional life in the 20th Century. Each seminar is dedicated to a particular ‘state of mind’: anxiety, boredom, anger, joy, love, grief, or shame, for example. The module examines both the way in which inner life is subject to social, historical and technological forces, and how artworks engage such crucial dimensions of lived experience. The seminars will draw upon rich conceptual resources derived not only from art history but also from psychology, literary theory, sociology, and philosophy.

Optional B Modules

(30 credits)

THE AFRICAN PAST: GLOBAL CROSSROADS AND EMPIRES

Code AMAA6001B

Credits 30

This module introduces the history and archaeology of Africa in the past 1500 years. It focuses on its art and artefacts, and explores case studies such as the medieval empires of the Sahel, the Indian Ocean trade in cowrie shells and beads, trans-Saharan caravans and the sumptuous graves of southern Africa, Libya and Congo. Through the discussion of Africa’s past and its global links, we can reach a better understanding of the continent past and present. This helps us challenge the false idea that African societies have remained static over centuries, and that the continent’s role in world history was negligible - an idea that is commonly held outside academic and is underpinned by negative media coverage of Africa today. Archaeology, anthropology, history, and oral tradition all inform this module. And although our subject-matter is African, the questions raised apply much more widely.

ARTISTS' FILM AND VIDEO

Code AMAA6016B

Credits 30

Since the 1960s the proliferation of artists working with film and video has resulted in screen-based installations becoming a common feature of most contemporary art exhibitions. Surveying the activity of a diverse range of film and video makers this module will explore how artists have sought to develop a critical mode of practice that distinguishes their work from commercial forms of cinema and television. With a particular focus on European and American film and video artists, this module will examine in detail how their work relates to established histories of avant-garde cinema and experimental film making. Through direct engagement with film and video artworks this module will investigate how artists have sought to challenge and subvert our viewing habits and in turn question our psychological and social relationship to the moving image. Artists discussed include: Andy Warhol, Maya Deren, Barbara Rubin, Carolee Schneemann, Stan Brakhage, Nam June Paik, Joan Jonas, Bruce Nauman, Bill Viola, Tacita Dean, John Akomfrah and Steve McQueen.

THE ITALIAN RENAISSANCE

Code HIS-6098B

Credits 30

‘The mother of our own’: that was Jacob Burckhardt’s famous claim about the civilization of the Renaissance in Italy. Certainly its influence in art and thought has been lasting and profound. But is this culture really so familiar? Only by recognising its strangeness can we truly understand it and bring that world, its values, and its mentalities to life. That is our task in this journey from the revival of Antiquity to the renewal of papal Rome; from the cosmopolitan centres of Venice and Florence to the scintillating sprezzatura of the princely courts; from the squalor and splendour of city streets to the routes travelled by pilgrims, armies, manuscripts, minorities, scholars, and slaves. What made the German artist Albrecht Dürer feel himself a 'gentleman' in Venice, or made Titian call his paintings ‘poems’? Why did people get so excited when the preserved body of an ancient Roman girl was discovered on the Appian Way, translating her like a holy relic and drawing her like a fragment of sculpture? And why did so many men after 1500 start growing beards? Paintings and other works of art will be at the heart of our source base as we try to answer these and other questions. Alongside texts by those such as Petrarch, Machiavelli, and Leonardo da Vinci, we will encounter the Jewish philosopher and Iberian exile Isaac Abravanel, arguing the superiority of republics on the basis of Hebrew scripture from his new Venetian home – before the opening of its Ghetto; the cultured courtesan Tullia d’Aragona, disputing frankly in defence of sexual desire and the intellectual and spiritual equality of women; and the theories of love and art of a homosexual artist and poet (Michelangelo).

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Important Information

Entry Requirements

A Levels

AAB or ABB with an A in the Extended Project

T Levels

No acceptable pathways for 2022 entry

BTEC

DDD. Excludes BTEC Public Services, BTEC Uniformed Services and BTEC Business Administration

Scottish highers

AAAAA

Scottish highers advanced

BBC

Irish leaving certificate

4 subjects at H2, 2 subjects at H3

Access course

Access to Humanities & Social Sciences pathway. Pass the Access to HE Diploma with Distinction in 36 credits at Level 3 and Merit in 9 credits at Level 3

European Baccalaureate

80%

International Baccalaureate

33 points

GCSE offer

You are required to have Mathematics and English Language at a minimum of Grade C or Grade 4 or above at GCSE.

Additional entry requirements

If you do not meet the academic requirements for direct entry, you may be interested in BA History of Art (with a Foundation Year).

INTO UNIVERSITY OF EAST ANGLIA

If you do not meet the academic and/or English requirements for direct entry our partner, INTO University of East Anglia offers guaranteed progression on to this undergraduate degree upon successful completion of a preparation programme. Depending on your interests, and your qualifications you can take a variety of routes to this degree:

International Foundation in Business, Economics, Society and Culture

International Foundation in Humanities and Law

Alternative Entry Requirements

UEA recognises that some students take a mixture of International Baccalaureate IB or International Baccalaureate Career-related Programme IBCP study rather than the full diploma, taking Higher levels in addition to A levels and/or BTEC qualifications. At UEA we do consider a combination of qualifications for entry, provided a minimum of three qualifications are taken at a higher Level. In addition some degree programmes require specific subjects at a higher level.

Important note

Once enrolled onto your course at UEA, your progression and continuation (which may include your eligibility for study abroad, overseas experience, placement or year in industry opportunities) is contingent on meeting the assessment requirements which are relevant to the course on which you are enrolled.

Students for whom english is a foreign language

Applications from students whose first language is not English are welcome. We require evidence of proficiency in English (including writing, speaking, listening and reading):

IELTS: 6.0 overall (minimum 5.5 in all components) for year 1 entry
IELTS: 6.5 overall (minimum 6.0 in all components) for year 2 entry

We also accept a number of other English language tests. Please click here to see our full list.

INTO University of East Anglia

If you do not yet meet the English language requirements for this course, INTO UEA offer a variety of English language programmes which are designed to help you develop the English skills necessary for successful undergraduate study:

Pre-sessional English at INTO UEA

Academic English at INTO UEA

Interviews

Most applicants will not be called for an interview and a decision will be made via UCAS Track. However, for some applicants an interview will be requested. Where an interview is required the Admissions Service will contact you directly to arrange a time.

Gap year

We welcome applications from students who have already taken or intend to take a gap year.  We believe that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry on your UCAS application.

Intakes

This course is open to UK and International applicants. The annual intake is in September each year.

September 2023 opportunities. Discover more

Sainsbury Centre

The Sainsbury Centre is one of the most prominent university art galleries in Britain, and a major national centre for the study and presentation of art.

LEARN MORE >

Ask a Student

This is your chance to ask UEA's students about UEA, university life, Norwich and anything else you would like an answer to.

ASK US ON UNIBUDDY >

UEA Award

Develop your skills, build a strong CV and focus your extra-curricular activities while studying with our employer-valued UEA award.

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Course Reference Number: 4479738

BA (Hons) HISTORY OF ART WITH A YEAR ABROAD