Birmingham City University : Fine Art - MA



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Fine Art - MA

Summary
  • Campus
  • Margaret Street
  • Duration
  • Full Time: 1 year
    Part Time: 2 years
  • Fees
  • Full Time: £4,500
    Part Time: £2,250
    Full Time (International): £10,300 per year
    For information on fees please contact the Faculty Office directly:
    Tel: +44 (0)121 331 5800
    Email: biad.admissions@bcu.ac.uk

Overview

The MA Fine Art course is one of the longest standing Master’s courses in the field and as such has a significant regional, national and international reputation.

The course is located in the School of Art which is a QAA* and RAE** recognised centre of excellence for art-based learning and research. It was one of the first (1884) purpose-built Municipal Art Schools to be built in the country. It is Grade 1 listed and provides you with a fantastic 21st century studio based and technologically supported resource in the heart of the living city.

As part of the integrated Art-Based Masters Programme, MA Fine Art offers you the opportunity to develop your art work in relationship to a wide range of historical and contemporary theories and contexts.

The course is committed to enabling you to develop within the context of both specific disciplines (including: digital media, drawing, film and video, installation, interventions, painting, performance, photography, print, sculpture) and interdisciplinary practices.

MA Fine Art course is in receipt of Arts and Humanities Research Council Block Grant support. There are also a number of awards from the prestigious Gertrude Aston Bowater Bequest and the Mike Holland Bequest available.

*Quality Assurance Agency

**Research Assessment Exercise

Art-Based Masters Brochure

Student Experience

Lisa Metherell

"I started the MA Fine Art course concerned with how my cultural studies background would fit with the more usual fine art routes. This background turned out to be a strength as the MA supports and encourages inter and cross-disciplinary work and I was able to do some interesting collaborations. I found that I received valuable input right the way through the course in both my studio-based practice and my extended essay. Tutors are good at both playing to your strengths (it is your project after all; your MA), and challenging you to take your work in interesting directions. For me the biggest strength of the MA was its commitment to the dialogue between practice and theory. That combined with the opportunity to really go to town on my final MA show. Strong support from the staff was given to the development of my PhD application 'Queer Encounters with Art', for which I was awarded AHRC funding to study for a further three years at Birmingham City University."

Dr James Preston

"Beginning the MA was daunting and having been accepted through an alternative route (not the usual BA Fine Art route) I did find that keeping up was hard work – but then I am quite good at hard work. I was also funding myself through the year so juggling work and study and shows was a new skill that I acquired quickly. The great benefit for me was that I was being questioned all the time by the staff and other students and the process was very much one of self-appraisal, examination of practice and production. As my year progressed I became interested in participation and that became a major part of my final presentation. The enabled me to develop my interest in participatory practices and the philosophy of colour which has become the subject of my PhD research. The MA is a stepping stone and you get out of it what you put into it."

Jacqueline Taylor

"I am currently undertaking a PhD having completed my MA in Fine Art which helped me to identify my current research concerns. My research aims to explore the interrelation of painting/writing processes utilising l'écriture féminine as a theoretical framework. The research aims to destabilising the masculine/feminine binary relations and create an alternative space for feminine/non-phallocentric subjectivities. This includes investigating the implications of painting as a performative practice and hybrid writing/painting methodologies which are to be developed as part of the research. My PhD is AHRC funded, which has allowed me to study full-time for a further three years at Birmingham City University."

Chris Poolman

The MA Fine Art provided Chris with the foundation from which to develop his PhD proposal, 'Stupidity and the Artist as a Performative Construct', which is AHRC funded at Birmingham City University. Chris is currently investigating the way that performed idiocy and stupidity call attention to the performativity of being an artist. He is exploring the ways idiocy and stupidity can be employed as a 'tactic' within art practice to question and critique the 'strategies' of intelligibility inherent in art. Indeed, can idiocy and stupidity in art generate alternative models of art practice?

Keir Williams

The MA Fine Art provided Keir with the foundation from which to develop his professional practice and his PhD proposal, 'Digital Stories: Interventions for Performing Digital Media'. Kier is an artist and researcher now based in London and he is working on his EPRSC-sponsored PhD at Queen Mary University London. His individual arts practice is concerned with how creative digital tools effect and can be enacted using the performing body. As part of his practice he works with young people in creating video and performance pieces.

Course Outline

Course Structure

We offer a practice led, seminar and research based course which has core and optional modules. The core modules will enable you to develop your individual art practice, and the option modules will enable you to reflect critically on the theories and contexts appropriate to your individual art practice. The taught option modules (from which you choose one to follow) are delivered in the evenings across the week in both the postgraduate certificate stage.

Individual art practice is central to the course which is defined through a range of artbased disciplines: painting, sculpture, print, photography, installation, performance, film and video as well as digital media and web-based art. While your work may be discipline-specific, interdisciplinary approaches to practice are also encouraged. You will be expected to complete an extended essay based on the module option chosen and this will enable you to develop and contextualize your practice in relation to contemporary culture and current debate. As a full-time student you will be allocated a studio or workspace, while as a part-time student you will be expected to have your own studio or workspace. The final Master’s submission is exclusively practice-based and takes the form of an exhibition open to the public.

You will have the opportunity to both enhance your existing skills and acquire new skills throughout the course. Students are encouraged to visit exhibitions and events regularly, and our regional, national and periodic international study visits will provide inspiration, while the extensive programme of professional practice lectures and seminars, delivered by visiting artists, curators and writers will enable you to learn from some of the best in the field. Our academic members of staff are all research active and exhibit work publicly. They are available for advice and guidance.

Modules
Core Modules

Stage 1:

Advanced Practice 1 @ 30 credits

Plus 2 shared option modules @ 15 credits each

Stage 2:

Advanced Practice 2 @ 30 credits

Research in Practice (RiP) at 30 (or 15 credits)

Plus 1 if shared option module @ 15 credits if RiP is followed at 15 credits

Stage 3:

Final Presentation or Dissertation @ 60 credits

Shared Option Modules (15 credits)

Term 1:

Advanced Practice

Art in the Public Realm

Arts Policy and Cultural Planning

Discourses in Art and Design

Perspectives on Art as a Global Human Experience

Subjectivity, Arts and Culture

Term 2:

Art and New Media

Models and Methods of Curatorial Practice

Mythologies of Madness

Photography as Research

Project Planning

Queer Strategies in Practice

Small Arts Business Set Up

Unconscious to Conscious Theories

After your studies

Further Studies

For further information on courses Tel: +44(0)121 331 5595 or go direct to the courses section of the website.

Employment Opportunities

Students graduating from the course are resourceful and versatile, extending their skills across a wide range of post-Master’s opportunities. While a number of students progress to PhD research at both Birmingham City University and a number of other prestigious institutions many of our alumni develop their careers as highly successful professional artists working both individually and collaboratively around the world.

Our Alumni

A selection of our alumni:

Andrew Hunt, Director of Focal Point Gallery, Southend on Sea, UK

Andrew was previously curator of International Project Space, Birmingham, UK and assistant curator at Norwich Gallery, UK. He regularly organises independent projects. Freelance exhibitions include The Affirmation, Chelsea Space (2007), Writing in Strobe, Dicksmith Gallery (2006) and Like Beads on an Abacus Designed to Calculate Infinity, Rockwell (2004). Publishing activities include the imprint Slimvolume, produced on a yearly basis since 2001. He is also reviews editor at Untitled, a regular contributor to Frieze, Art Monthly and a number of other journals. He is currently editing three books about contemporary art criticism collectively titled Laboratory of Synthesis with the critic Robert Garnett, to be published by Book Works during 2008 and 2009.

Heather Morison and Ivan Morison

Heather and Ivan exhibit internationally – here is a selection of their solo exhibitions and projects:

2010

An Unreachable Country. A Long Way to Go, Aspex Gallery, Portsmouth
Frost King, Open Satellite, Seattle, USA
Mr. Clevver, ongoing project commissioned by Contemporary Art Spaces Tasmania, Queenstown, Tasmania, AU

2009

Falling Into Place, published by Bookworks, London and Situations, UWE, Bristol
The Black Line, Void, Derry, Northern Ireland
The Shape of Things to Come, Situations, University of West of England, Bristol
I hate her. I hate her., VOLTA NY with Danielle Arnaud Contemporary Art, New York
Black Dog Times, produced in collaboration with Full Beam Visual Theatre, Bristol 

2008

How to Survive (The Bad Years), Clint Roenisch Gallery, Toronto
The Opposite of all those Things, Grundy Art Gallery, Blackpool 

2007

And so it goes, Representing Wales at the 52nd Venice Biennale 2007, with Merlin James and Richard Deacon, touring to Oriel Davies, Newtown and Chapter, Cardiff
The Land of Cockaigne, Bloomberg Space, London

James and Eleanor Avery

James and Eleanor are based in Sydney and exhibit internationally:

Excerpt from Claire Lewis’s ‘Eleanor and James Avery: Our Day Out’:

“The multiple and shifting manifestations of the contemporary ‘landscape’ form a fertile site for the critique of perception and reality in the work of Eleanor and James Avery. Their improbable towers of makeshift props and brazen monuments to the interventions of tourism offer us a parallel environment, constructed from artificial reproductions of natural phenomena. Although the material constituents of these unruly dioramas are familiar - a cable car, a mountain vista, a sightseeing tour or souvenirs, they remain symbols on the periphery of our conventional understanding of those entities. In the crude artifice of these synthetic landscapes we recognise the commodified, passive devices which shape our understanding of the ‘real’, opening up complex questions about the validity of how we experience and consume the natural world.”

Elizabeth Rowe

Excerpt from Pen Dalton’s ‘My Sponsor is the Leader of the Country’:

“Elizabeth Rowe works on the surface, and on the surface what we see is colour, pattern, repetition, images from the everyday: the popular magazine, advertising, the consumer catalogue. The work is about confusion, choice and how sense is made out of multifarious experience. The early work exemplified in Suburban Summer 2003 arose from the notion of subjectivity as a combinatory process, as continually emergent distributed in other things, in other people, in other practices. The collaging of disparate, highly coloured printed material, having both global and intimate references into continuous surfaces in Rowe’s work, reiterates the work of shaping selfhood. The images work as analogy for the vastly complex combinatory ethical and aesthetic relations we have and how we tell those relations of the self to the self: the selection of the best bits: the physical process of cutting-out and discarding those that don’t fit; the juxtaposition of contradictory elements of time, scale and printed syntax; allowing each image to have its say in relation to the other yet with some kind of ego: a different kind of ego emerging. The formal decisions of arrangement, sequencing, priority and framing all mimic the always becoming and creative processes of subjectivity.”

Solo Exhibitions:

  • 2009:‘If distance was an object between us.’ Het Wilde Weten, Rotterdam, NL.
  • 2008:‘Tiny Details Grotesque Proportions.’ The New Art Gallery Walsall, West Midlands.
  • 2006:‘My Sponsor is the Leader of the Country.’ MAC, Birmingham.
  • 2004:‘Autonomy, Homogenisation, Categorisation, Choice.’ RAID Projects. Los Angeles. USA.
Feng Ru Lee - Winner of the prestigious Taipei Prize in 2000

Feng-Ru Lee’s practice is rooted in her Far-East Asian Cultural background her work crosses a range of different media and often-incorporates video, two dimensional works, performance and installation. Toying with ideas of mass production and genetic engineering, Lee’s practice is often seen as both a critique and an attempt to understand the seemingly controversial issues involved in the state of the contemporary human condition. Lee explores ideas that centre on the status of the transition/ migration between cultures and humanity, whilst also addressing notions of the materialisation of objects and beings. Subjects, such as Eastern philosophy and Western science that seem immediately differential, hold intrinsically deep and thought provoking issues for both the artist and viewer. Lee has exhibited throughout the UK, Taiwan and internationally including the USA, Middle East, Japan, and across Europe. In 2001 she represented Taipei, Taiwan in an artist residency programme between Taipei and Jerusalem. Lee has also completed residencies in Berlin and recently at the New Art Gallery Walsall.

Recent exhibitions have included:

  • Flux Fest at VIVID, Birmingham,
  • Jam: Cultural Congestions in Contemporary Asian Art at South Hills Park
  • Shift Time - The Festival of Ideas in Shrewsbury
  • Solo Exhibition at Entrance Gallery in Prague, Czech Republic.
Faye Claridge

Faye has an MA Fine Art distinction from Birmingham City University and has had 13 solo shows. Her numerous commissions and awards include work for the Photographers’ Gallery and the New Art Gallery Walsall, in addition to being shortlisted for the Helen Chadwick Fellowship with the British School in Rome. She has also worked internationally with exhibitions in Greece and France and a residency in the Czech Republic. In 2010 she was in group exhibitions with Cindy Sherman, Glenn Brown and Gillian Wearing, building on her 2009 solo exhibition at Danielle Arnaud Contemporary Art, which won the accolade of Time Out London Exhibition of the Week.

Yoko Obata

Yoko predominantly works in oil on canvas and in commission basis, on MDF. She originally intended to learn Japanese Traditional Painting and practiced with traditional Japanese pigment, it still influence current practice. She completed MA Fine Art course at the Birmingham Institute of Art and Design in 1999. She now lives and works in London. She has exhibited widely in the UK and Japan since 1995.

Other alumni successes

View a selection of our graduates' work:

Christopher Hodson – XYZ, a collaboration with Sarah Staton - Commissioned by Site Gallery, Sheffield, May 2011

Greg Cox

David Culshaw

Mark S Gubb

Anne Guest

Joe Hallam - (Artist) in Nottingham (UK) from Re-title.com

Neil Jones - Saatchi Online Artist Profile

Jonathan Kelham

Liu Diqui

Alfreda McHale

Sarah Maurice-Smith

David Miller - Grand Union

Nicole Mortiboys

Andrew M. Parker - Digbeth is Good

Mark Parkinson

Stuart Tait

Matt Westbrook - Grand Union

Entry Requirements & Applications

Entry Requirements

  • Either a degree in a relevant subject, or equivalent qualifications or experience.

Application Details

Please apply direct to BIAD Admissions. For more information, or an application form, please contact: Tel: 0121 331 5150. Email: biad.admissions@bcu.ac.uk

What we require in your application

Fill in the application form

Tell us something about your artistic, educational and/or professional experience thus far. Tell why you want to apply to the MA Fine Art course and what you hope to gain from the experience.

Your application must be accompanied by evidence of your art-based practice. We require 12 images of recent work on power point. If your work is film based you need to prepare a show-reel and if your work is web-based you need to direct us to it with the appropriate link.

Send your application to the MA Fine Art Course Director directly:

Henry Rogers
MA Fine Art Course Director
School of Art
Birmingham Institute of Art and Design
Birmingham City University
Margaret Street
Birmingham
B3 3BX

Enquiries

For information on the course or to discuss your application, please contact Henry Rogers (MA Fine Art Course Director) directly:
Tel: +44 (0)121 331 5970
Email: henry.rogers@bcu.ac.uk

Fees Notes

For information on fees please contact BIAD Admissions. Tel: +44 (0)121 331 5150. Email: biad.admissions@bcu.ac.uk

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