Food Text Music a Multidisciplinary Lab on the Art of Feasting Syllabus

i year full-time or 2 years part-fourth dimension

Goldsmiths' operating principles for 2022-23 accept not yet been finalised but should changes be required to teaching in response to the Covid-19 pandemic, we will publish these as early as possible for prospective students wishing to start their programme in September 2022.

The MA Contemporary Art Theory is for those with a special interest in contemporary art, and an bent for theoretical work in the field of study.

Why study MA Contemporary Art Theory at Goldsmiths?

• This degree explores a range of theoretical perspectives that shape art and visual culture, and attitudes towards them in the late 20th and early 21st centuries.

• You'll be encouraged to conceptually and creatively explore the ways in which contemporary artistic do and urgent theoretical and political matters intersect.

• You'll expand your knowledge of contemporary artistic developments and deepen your understanding of the interdisciplinary nature of bookish discourses on visual culture.

• The programme draws on the shifting fields of operation studies, art history, continental philosophy, ecology, feminist theory, queer theory, postcolonial/decolonial studies, and cultural studies in addressing the critical challenges posed by artistic practice, and yous'll be able to focus on an aspect that particularly interests y'all.

• You'll take office in an assessed symposium, which provides y'all with a chance to present your dissertation topic at an early stage in order to ascertain and progress your terminal project.

Hero epitome credit: Ayesha Hameed,I sing of the body of water I am mermaid of the trees 2021, photo credit K MacBride.

Contact the department

If you have specific questions about the degree, contact Dr Lynn Turner.

What you'll study

Overview

The programme comprises a non-assessed introductory module, the Cadre Course (comprising 4 blocks that thematically vary from year to yr and of which students choose two), and 4 assessed components: two Special Subjects, the MA Symposium and the MA Dissertation. Students also attend the Visual Cultures Public Plan of lectures and other events. You take the option of auditing another special subject area should you wish to do and so, subject to availability and in agreement with the module tutor.

The taught office of the programme runs from the cease of September to the end of March, with additional guest lectures or workshops in May and June. It offers a framework to help yous focus and develop your own understanding of contemporary fine art practice and its wider cultural significance. It is designed to develop your understanding of a range of critical and theoretical approaches that inform the heterogeneous field of visual art production whilst, at the aforementioned time, enabling you lot to identify and prepare the area of contained research you will behave out in your dissertation project. While almost ten members of staff from the department directly teach into the taught components of the MA, almost all staff are bachelor for dissertation supervision.

Students may opt to take thematically divergent modules or shape their own consistent thematic pathway through the MA.

Full-time students attend on two or iii days per calendar week (determined by the choice of special subject plus the Public Program events on Thursdays); part-time students attend on i or two days each week in the first year and second twelvemonth.

Compulsory Module	Module title	Credits
	Mutual Compulsory Module Common Compulsory Module 0 credits The core module strands innovate you to the problematics that resides at the centre of the MA plan: how to explore the relations between critical theoretical enquiry and contemporary visual arts practices. You cull either A and C or B and D. They nowadays differently articulated contemporary perspectives on 'fine art' and 'theory' fatigued from a variety of traditions (eastward.g. The Frankfurt School, Postal service-structuralism, Functioning Studies, Contemporary Continental Philosophy, Phenomenology, Psychoanalysis, and Mail service-Colonial Studies and Ecology). The core module strands are supported by student-led Reading Groups.	0 credits

Special subjects

Special subjects are in-depth taught modules that depict on the current research interests of staff. They enable you to focus on an aspect of contemporary art, cultural theory or gimmicky thought that particularly interests you.

Special subjects currently include:

Special Subjects	Module title	Credits
	Curating and Ethics Curating and Ethics 45 credits What is a suitable ethical position today? What cause should a curator support? What tin can philosophy do to address and/or support these upstanding decisions? This course explores the human action of taking on an ethical position in curatorial projects today. The material explored ranges from specific curatorial practices that have developed means of addressing ethical issues to philosophical engagements in ethics. Authors studied are taken from both Western and non-Western traditions and range from Aristotle, Immanuel Kant, Friedrich Nietzsche, Hannah Arendt, Emmanuel Levinas, Valentin Mudimbe, Jean-Luc Nancy, Nkiru Uwechia Nzegwu, and Timothy Morton. The visual work explored on this course mainly consists of primal exhibitions that accept defined the fashion art engages itself ethically. These include: Dada ist Politisch, When Attitudes Become Class, Inside the Visible, Making Things Public, Altermodern, etc. Teaching involves lectures, student presentations, and discussions of cardinal fine art historical and philosophical texts.	45 credits
	Transforming Critical Practices Transforming Critical Practices 45 credits Over the by few years, novel modes of interaction and collaboration take been sweeping through economic, political and social life: peer-to-peer platforms, fourth dimension banks, co-working communities, alternative currencies, self-managed spaces, digital commons and crowdsourcing schemes. The module investigates the relationship between these developments and gimmicky art practices. Creative experiments with alternative forms of funding, production and distribution are not only shaking up the roles of creators, audiences, institutions and the fine art market but accept also begun to spearhead a new culture of operations, in which citizens become enlisted in the self-servicing of the social, cultural and infrastructural fabric of societies. These processes raise critical questions almost issues of access and engineering, global inequality and citizenship arrangements. In this module, we will talk over these questions by considering the means in which art and culture are enlisted in shaping new public experiences, attitudes and expectations. The public of these new "data publics" is a multi-faced figure. In that it is implicated in its own generation, conventional political paradigms such as the protection of rights or the division and demarcation of powers autumn curt when it comes to engaging the dynamic realities of the hybridised analogue-digital realm. Parting from this much more active participation of today's populations in the shaping of new public spheres, we volition hash out the political implications of environments, in which individual, commercial and governmental agendas and actions become increasingly blurred. Research equally Intervention – Nosotros volition explore this changing human relationship between art and politics by mode of capturing the transformative chapters of new modes of creative appointment, new "eatables" for collective action and new social and political climates. Producing individual case studies, nosotros will trace, map and analyse specific cultural, temporal, geographic and systemic dimensions of the changing ways in which art practices are embedded in today's socio-economic environments. Addressing the global telescopic of these changes, we will engage with discourses on globalisation, social and political movements, technological restructuring, contemporary public culture and creative economies. Drawing on the individual case studies, this module volition conclude with a collectively organised public result.	45 credits
	Reading the Performative Reading the Performative 45 credits 'Reading the Performative' addresses the potential of performativity to think through contemporary art, focusing on feminist and queer theories and artworks. The course begins past exploring the 'contemporary' of contemporary art equally a performative concept, setting up central bug around temporality and reenactment that volition be explored throughout the grade. Different approaches to performativity will exist discussed, focusing on Judith Butler's use of the term in relation to gender. The course continues with the theme 'Performing History/Imagining Futures', looking at various aspects of performance and performativity in contemporary art, focusing on feminist and queer narratives. Of central concern is the disquisitional potential for performance to disrupt stable notions of identity and history. The performing of histories will be considered equally a fashion of actively engaging with the by, moving from the creation of personal histories to the passionate re-working of political legacies. We will also accost the possibilities of performative writing as an affective and political strategy. The reading will draw upon theoretical perspectives from performance studies, queer and feminist studies, art theory, and philosophy, aslope selected encounters with contemporary fine art and performance works. The focus of this form is on Anglo-American art since the 1970s, but students are encouraged to utilize the theoretical tools discussed to address a broader range of case studies.	45 credits
	Sex, Gender, Species Sex, Gender, Species 45 credits This module asks how animate being and sexual differences affair in and through a range of contemporary fine art, films and literature. Methodologically, it brings contemporary feminist thought into creative dialogue with deconstruction. Recent years have shown a surge of interest in what Derrida'southward late writings name 'the creature question', that is to say, the philosophical trend to divide 'human' from 'brute' and for this divergence to allow for a 'non-criminal putting to death' of the latter. This module provides an in depth investigation into the 'logics' that cock this critical sectionalisation thought together with those of gender and sexuality. Thus this module interweaves study of works by feminist thinkers to enable the ways that 'the feminine' is problematically figured in relation to both 'the animal' and to a supposedly neutral and man 'field of study' to come up into view (Beauvoir, Haraway, Jardine, Kristeva, Wilson). In so doing, what we call 'nature' is necessarily refigured (Haraway, Kirby, Wilson). While the module may have dissimilar foci from year to year, it volition initially explore animal and sexual differences through one item interface: the mouth. This oral locus bridges eating, biting, sucking, licking, and speaking, all of which problem strict divisions betwixt literal and figural. Identification, sexuality, kinship and cannibalism are all implicated. Eating appears to be literal and described by need alone, notwithstanding information technology has a strenuous metaphorical connection with identification and thus both introjection and incorporation (Freud, Abraham & Torok, Derrida). Information technology marks the interface between sexuality and language (Freud, Irigaray, Klein). Kinship ostensibly asks to whom am I related, keeping a watchful center on the incest taboo as symbolic law. Closer inspection shows information technology to likewise necessarily enquire who – or what – can I consume? (Derrida, Haraway, Kristeva). Speech communication opens up the relation to vocalism and conflicting positions betwixt the dialectical overcoming of vocalisation by voice communication defined as human (Lacan) and the performative bridging of both voice and speech and thus a not-hierarchical relation betwixt human and animate being voices (Derrida, Cixous). Need becomes enmeshed in desire, and sexuality becomes enmeshed in a politics of species (Oliver, Wolfe, Adams). Thus, questions of the limits of actual and symbolic cannibalism also as vegetarianism/veganism inevitably comes to attending, anchored by Derrida's enquiry into what it might mean to 'eat well' likewise as Haraway'due south ethical insistence that nosotros also rethink what it might hateful to 'impale well'. Students will be encouraged to explore these questions every bit they are refracted through contemporary fine art, films and literature on a weekly footing and through their assessed piece of work. Examples include films such every bit White God, Problem Every Twenty-four hours, Babette's Feast, Whiplash; plays such as Equus; fiction such as We are all Completely Beside Ourselves, art by Catherine Bell, Kira O'Reilly, the Tissue Culture & Art Project, Diana Thater, Dorothy Cross, Olly & Suzi, Christine Wertheim.	45 credits
	Transcultural Retention Transcultural Memory 45 credits This course engages with questions of retentivity, placing item emphasis on the encounter of different histories and recollections betwixt and across cultures. Drawing on a variety of art works, exhibitions, films, literary texts and theoretical models, the class explores spaces in which memories neither compete with nor erase each other, but interact in productive and unforeseen ways. Nosotros shall read some of the historical texts that are crucial to the emergence of the field of memory studies: texts that have taught us to recollect of retention equally being shaped by the social milieu in which the subject lives (Maurice Halbwachs), to regard memory as a performative procedure that might exist concerned with the by, simply is enacted in the present (Pierre Nora) and to comprehend the long-term effects of trauma (Sigmund Freud). Past studying these works together with writings by the contemporary generation of retention scholars (Michael Rothberg, Astrid Erll, Cathy Caruth, Marianne Hirsch and others), nosotros shall also probe their limitations, thereby considering the shift from 'cultural' to 'transcultural' memory studies.	45 credits
	Spatial Biopolitics Spatial Biopolitics 45 Credits "What nosotros are dealing with in this new technology of ability is non exactly order...nor is it the private-as-body. It is a new torso, a multiple body, a trunk with so many heads that, while they might not be infinite in number, cannot necessarily be counted." Michel Foucault, 'Society Must Be Defended' Spatial Biopolitics develops an alternative critique of globalisation, asking the question: given that society is becoming increasingly 'planetary' in scale and urban in form, how can the space of civilisation provide an alternative political understanding of what a social body can practise and how social life is formed? Departing from archetype analyses of the spatial apparatuses which give form to life - the torso, personal identity, the market, the city and the state (Kant, Hegel, Marx, Foucault, Arendt, etc.) - we will engage with debates beyond postcolonialism, feminism, political economy, critical race theory, literary theory and urban studies, to endeavor to sympathise how socio-spatial forces act on the trunk, how bodies react to these forces, and thereby transform our sense of what bodies can get. The module will be of interest to students interested in developing a critical understanding nigh how contemporary fine art and culture chronicle to biopolitical processes integral to the turbulent spatial dynamics of global politics - like migration, sovereignty, neoliberalism, financialisation, social media, urbanisation, accumulation past dispossession etc. See the results of the 2020 Spatial Biopolitics collective group project in the 'pupil work' section.	45 Credits
	The Ocean every bit Annal The Ocean as Archive 30 credits The Ocean every bit Archive explores several interdisciplinary approaches to reading the water. It starts by examining discourses on the "watery Anthropocene". Spurred by this crisis it considers other means of reading the water: materially through oceanographic studies of watery depths and strata, and marine life therein; and temporally by considering the ocean as a speculative site, and as a space of residues. This module also explores alternate ways of reading this crisis: through not-western (Pacific Island, West African) maritime epistemologies and myths, through discourses on migration (both contemporary and historical), through the mobilisation of the image of water in critical theory, in literature, in music and in art. The class examines the site of the ocean not with the aim to systematically plumb its depths so to speak, but rather sees the ocean as a laboratory with which to examine multiple and frequently contradictory approaches when taking to the body of water. As a result, a central summative assignment is a creative journal, which is intended equally a site to explore critical experimental approaches to interdisciplinary ways of knowing, which the crunch of the watery Anthropocene urgently demands. The Bounding main as Archive considers methods with which nosotros can brainstorm to understand what is at stake in articulating the visual cultures of the sea. These methods are exercise-led and are aimed at students interested in exploring experimental methods in their critical work. Its thematics resonate with concerns raised past Geopolitics, Conceptual Ecologies, Conflicts and Negotiations, and Spatial Biopolitics in the MA Contemporary Fine art Theory offerings.	30 credits
	Psychopower and Subjectivity Psychopower and Subjectivity 45 Credits This module explores the interrelationship between ability and subjectivity with a particular focus on the question of 'psychopower'. The problematic of 'psychopower' (as proposed, in varying terminologies, by Bernard Stiegler and others) signals that more ever, and in pervasive ways, power relations today draw on subjective capacities and specifically operate on capacities of the subject which are constitutive of its psychic life: attention, care, concern, desire, the capacity to relate to others, anxiety, guilt, etc. As a event, new forms of 'dispossession' and suffering have emerged which require a new critical language informed by diverse disciplines such as philosophy, political theory, media theory, psychoanalysis, and theories of contemporary labour relations. Moreover, the problematic of psychopower intersects with new regimes of visuality and a new aesthetics, and is thus crucial for an agreement of various contemporary art practices. The module is divided in iii main parts: The starting time part (Autumn term, weeks 6–11) focuses on contempo critical analyses revolving mainly around questions of contemporary labour relations, shifting regimes of visuality, and the role of chatty technologies in gimmicky forms of production and consumption (Berardi, Terranova, Dean, Chun, Galloway, Stiegler). The 2nd part (Jump term, weeks i–5) engages with a number of classical philosophical and psychoanalytic theorizations of constitutive subjective capacities, in society to proceed to more contempo discussions of the psychic and affectivity (Husserl, Levinas, Klein, Winnicott, Bion; Kristeva, Ahmed, Malabou). The third and final office (Spring tem, weeks 6–xi) focuses on theories of power relations and resistance which specifically highlight the role of subjectivity in its both passive and active capacities (Foucault, Butler, Guattari, Massumi, Found for Precarious Consciousness, Precarias a la deriva).	45 Credits
	From Art Writing to Theory-Fiction From Fine art Writing to Theory-Fiction 45 credits This xv-calendar week MA Special Subject field will explore two kinds of writing exercise that are increasingly prevalent with the expanded field of contemporary art and the critical humanities: art writing and theory-fiction. As far every bit the first of these goes we will and look at some precursors to this new field, from creative person's writing to experimental forms of literature. Nosotros will then go on to look at a option of unlike forms of fine art writing from the last ten years, attending, especially, to the connections, but also differences with both 'autofiction' and more standard art theory. In terms of theory-fiction, again the module volition map out some precursors in terms of those philosophers and theoreticians that have employed fictional modes or tropes; and those fiction writers whose writings tend towards the invention and explication of concepts and theories. We volition then look at some examples of theory-fiction, over again from the last ten years. In each instance, the module aims to critically survey and evaluate these new kinds of writing – in terms of their content, but specially their manner – and attend to both the intersections betwixt the two modes and their differences. Crucial in all this volition be an exploration of the political and disquisitional potential of these modes of expression, and, in detail, the connexion of them both with technology and the spider web and with other ways of writing outside of the Western tradition. It should be said that the indicative reading list below concerns a very particular 'contemporary tradition'; students will, of course, be encouraged to extend the range or contest the boundaries between these different kinds of writings in other ways. In terms of assessment, students will have the option of submitting work that moves betwixt the critical and artistic, and thus explore these new forms of writing from, equally it were, a practice-based angle. Important here volition be identifying and developing forms of rigor appropriate to these other artistic modes of expression.	45 credits

Independent research

From the end of March, you lot will start contained research on a field of study of your own choosing. At the end of the spring term, you lot will submit your dissertation proposal and be assigned a dissertation tutor who will back up your independent dissertation enquiry and writing activities in an advisory chapters.

	Module title	Credits
	MA Gimmicky Art Theory Dissertation MA Contemporary Art Theory Dissertation 60 credits Having already produced an assessed oral presentation on your topic (see higher up) you lot work on your dissertation over the summer and submit your completed projection for assessment early in September. Assessment: one 12-xv,000-word dissertation.	threescore credits

Ii-mean solar day MA Symposium (oral presentation on dissertation topic) (xxx credits)
The MA Symposium provides you with the opportunity, adequately early on in the research/writing process, to nowadays a worked up and focused investigation of your dissertation topic or some attribute of it. Your presentation volition be formally assessed. Presenting on your dissertation enquiry at this stage is invaluable for enabling yous to define your project and, through exact feedback and give-and-take, to progress your thinking. Assessment: one oral presentation in early on June (xx minutes, plus ten minute discussion).

Assessment

Visual Cultures assessment are 100% coursework. Unremarkably this consists of essays, sometimes accompanied by creative projects, group projects, multi-media projects, presentations, and symposia.

Download the programme specification . If yous would similar an earlier version of the plan specification, please contact the Quality Role.

Please note that due to staff research commitments not all of these modules may be available every year.

For 2021-22 and 2020–21, we have made some changes to how the teaching and assessment of certain programmes are delivered. To check what changes affect this programme, delight visit the plan changes page.

What our students say

Zi Jiao

The thing I capeesh the near almost Goldsmiths is its subtle yet precise, elegant still difficult-hitting fluidity and radicality.

Zi Jiao's fourth dimension at Goldsmiths

I think the thing I appreciate the most about Goldsmiths is its subtle withal precise, elegant nonetheless hard-hitting fluidity and radicality. The well-curated modules in my degree programme (MA Contemporary Fine art Theory) cover a vast range of theoretical fields/clusters, which tin can be selected/customised to adjust our item research directions and needs. Moreover, the materials being examined and discussed in each module are as well quite various and heterogeneous (coming from a variety of cultures and disciplines), which have helped me a keen deal in calibrating, perspectivising, and structuring my ain research project.

The classmates from miscellaneous backgrounds always bring in refreshing ideas and recommendations and strike upward stimulating discussions. I felt more driven, inspired, and cogitative each time after a seminar session.

Our academic yr coincided almost entirely with the lockdown period, which was rather taxing, challenging, and kind of dreary (to say at least) for both the students and the professors. All the same, I would say that a sizeable amount of my 'pandemic blue' and 'coursework stress' was get-go by the support and encouragement I received from the responsive and attentive professors.

I've benefited immensely from private tutorials and project feedback, and feel utterly grateful for the vibrant and convivial temper they've cultivated for our online seminars and symposia.

Life afterwards graduating

I'one thousand currently liaising and collaborating with some ecology justice and human rights organisations to develop the subject I explored in my MA thesis, with a item involvement in investigating and theorising the inextricable/co-constitutive environmental and racialised violence in South-Due south relations. I'thousand working on maturing this project to an MPhil/PhD study; and being in an active and enquiry-intensive establishment like Goldsmiths has definitely reinforced my determination to pursue a research career.

Advice for future students

To the students coming to this programme and Goldsmiths at large, I would say just be completely open, be insatiable of data and knowledge from all areas and disciplines; immerse, drench yourself in the incessant flows, exchanges, even collisions of thoughts and ideas. Within your learning capacity, audit as many modules as y'all tin (something I wish I did). If possible, make it impact/involved with the College'southward many innovative research centres, units, and hubs.

Living in South East London

In terms of studying/living in SE London, I relished the memory of catching upwards with classmates in the Rose Pub (a local pub well-nigh the campus), and taking long walks around the campus, exchanging ideas and sharing life stories with friends in Fordham and Greenwich Park. There are also enough of vibrant arts/performances/music venues in the expanse hosting iridescent cultural events. All y'all have to do is exist eager to engage, experience and explore.

Miranda Johnson

I wanted to written report the MA in Gimmicky Art Theory because the lecturers all came from various research backgrounds.

I had a wonderful time at Goldsmiths. I wanted to report the MA in Contemporary Art Theory because the lecturers all came from diverse research backgrounds, whilst other MA degrees in Art Theory mostly came from Art History backgrounds only. I was not disappointed - and felt that the form options were all incredibly rich and varied, and able to be tailored to students' specific inquiry interests whilst also demonstrating the broad range of inquiry approaches from the lecturers.

I met some life-long friends whilst studying as the courses were also small enough for students to get to know each other and the teaching styles encouraged students to collaborate and talk over the course materials and their ain interests with one some other, both in the classes and out.

One of my favourite things about the Department of Visual Cultures was the public programming lecture serial that was held every week during instruction. It was open to the public or students from other departments, and immune me to experience a wide range of lectures, performances and talks from academics, artists, and other speakers from outside Goldsmiths.

I loved the green spaces nearby - particularly reading my book in Telegraph Hill or wandering through Nunhead Cemetery.

I am currently partway through a 3-yr Curatorial Fellowship at the Perth Institute of Contemporary Arts, in Boorloo (Perth), on Whadjuk Noongar land, also known as Perth, Australia. In my role I piece of work with the Curator researching and curating exhibitions and supporting artist residencies. My item focus is the Hatched: National Graduate Show, an annual exhibition of leading artists who have recently graduated from art schools across Australia. I curate the exhibition and support the artists in this of import professional person development experience, often their starting time experience working with an arts institution. My experience at Goldsmiths is incredibly valuable to this as I accept formed ongoing connections with lecturers and other academics from these art schools to coordinate the exhibition, which requires a skillful understanding of electric current concerns and/or priorities within the university. I too take the opportunity to speak with and host classes for undergraduate students in fine art and curating within the gallery, which is something I specially savour. It's also important to me to remember what it felt similar to be an art educatee venturing into the unknown earth of art galleries, particularly institutions, and how intimidating this could be. In my work I always attempt to approach curating and working with artists, particularly those at the beginning of their careers, with care and genuine back up.

Since returning to Perth afterward my Goldsmiths degree I also started an creative person-run infinite with a group of peers, named Cool Change Contemporary, and am the current Chairperson. Over the past two years we have received funding from the Commonwealth of australia Council for the Arts to offering complimentary exhibition spaces for artists, and accept recently collaborated with Perth Festival for an exhibition in their 2021 program.

When my Fellowship ends I hope to proceed working every bit a curator, although I would similar to spend some time working independently, exterior institutions.

I hope to exist able to travel outside Western Australia over again, every bit currently our authorities has banned travel beyond our country borders with no set engagement for opening up. In the meantime I am spending time bushwalking, swimming in the body of water, and contemplating how lucky I am to alive on this state, which ever was and always will be Aboriginal land.

I would propose electric current students to make the most of everything that'due south on offer for you. Public programs, auditing classes, social events, and so on. There is so much to studying beyond only attending your own classes.

Speak with your peers virtually your research. Go to the pub or a buffet and discuss what yous're reading, ideas you might have, or things you don't sympathize.

Maggie Sava

What I enjoyed about most the MA Contemporary Art Theory caste was being able to participate in boosted lectures and events outside of classes every bit well as the public programme planned by the Visual Cultures section.

What I enjoyed most virtually the MA Contemporary Art Theory caste was being able to participate in additional lectures and events outside of classes also as the public programme planned past the Visual Cultures department. These were a fantastic supplement to my in-class learning as they immune to me heed to and engage with practitioners and discussions that I would have had a hard fourth dimension accessing, or maybe even knowing of in the start place, had I not had the supportive structure of the Visual Cultures section.

Coming from the university system in the United States, I was surprised at how independent and personally driven much of the work at Goldsmiths was and how fast the programme went by (I was a full-time student, so I completed the MA in 1 year). Studying at Goldsmiths grew my critical thinking and writing skills and introduced me to new ways of budgeted contemporary art through different areas of theory.

Before the COVID-19 pandemic, I was working at a pocket-sized gallery in Denver, Colorado, which hosted exhibitions for both up-and-coming and locally established artists. Still, I lost my chore due to the pandemic and the subsequent disability to have shows in pocket-size indoor spaces. Since then, I take done freelance work to assist people doing diverse art programming throughout the metropolis and have volunteered to assist unlike non-profits and art initiatives, including assembling art kids for students in Denver Public Schools. During the past yr of navigating these smaller jobs, I was able to revise and publish an essay I had originally written for the Curating and Ideals class at Goldsmiths with the help of my sometime instructor, Dr. Martinon. Currently, I am working as a gallery host at the Denver Art Museum for one of their travelling shows.

If I had to give a slice of advice about going to Goldsmiths or to Academy in general, information technology would be not only to take full advantage of everything your coursework has to offering simply also of all the opportunities outside of class. Being at Goldsmiths was particularly exciting for me because of how much additional programming and activity they had on and around campus related to my field of written report. I was able to hear lectures given past scholars whose work I was interested in besides equally attend film screenings and meet fantastic art exhibitions all on campus.

As an international student, and also every bit a generally introverted and shy person, it was hard for me to get to know people when I commencement started studying at Goldsmiths. Withal, I was able to overcome some of the loneliness past making an effort to get out my dorm room and explore as much equally I could. I would fight the urge to stay inside past myself equally much as possible and instead spend an afternoon going to a museum or doing homework in a pub or exploring a part of town I hadn't been earlier. Information technology helped me feel more confident and excited about being in London despite non having many close friends or any family unit nearby.

I take many favourite aspects nearly studying and living in south-east London, only 1 of them was the unlike parks, pubs, and restaurants I was able to sit and work in while enjoying food or a beer or just being outside. There are the well-known student spots, like the Fatty Walrus and New Cantankerous House that I really liked (and I went to both regularly, although I know some students sometimes take sides and pick one over the other). I besides really enjoyed a neighbourhood pub down the street from my dorm called the Wickham Artillery. I personally liked to take walks through the Brockley/Ladywell Cemetery and the park simply upward the street from it considering they are both cute places to spend fourth dimension outdoors and decompress.

Meet more profiles for this program

Entry requirements

You lot should normally have, or expect to gain, an undergraduate caste of at least upper second class standard in art history, fine art, another studio-based practice, arts administration and related activities, or a humanities discipline other than art history which demonstrates your power to undertake work at Masters level.

Yous don't necessarily need a formal bookish qualification in fine art history: we welcome applications from prospective students who do not meet the standard entrance requirements only tin can demonstrate advisable cognition and feel from outside academia in the earth of piece of work.

If you take niggling or no formal preparation in art history or a related humanities subject, you may need to take a preparatory twelvemonth of study on the Graduate Diploma in Contemporary Art History. Yous may as well be required to nourish an interview.

International qualifications

We take a wide range of international qualifications. Notice out more nearly the qualifications nosotros have from effectually the world.

If English language isn't your offset language, y'all will need an IELTS score (or equivalent English language linguistic communication qualification) of 6.v with a 6.five in writing and no element lower than 6.0 to study this program. If you need aid with your English, we offering a range of courses that tin help prepare yous for postgraduate-level study.

Fees, funding & scholarships

Annual tuition fees

These are the fees for students starting their programme in the 2022/2023 academic year.

• Home - full-time: £9260
• Home - part-time: £4630
• International - full-fourth dimension: £17460

If your fees are not listed hither, please check our postgraduate fees guidance or contact the Fees Office, who can as well propose yous nigh how to pay your fees.

It's not currently possible for international students to study part-time if you crave a Student Visa, notwithstanding this is currently beingness reviewed and will exist confirmed in the new year. Please read our visa guidance in the interim for more information. If you think you might be eligible to study part-time while being on some other visa type, please contact our Admissions Team for more information.

If you are looking to pay your fees delight see our guide to making a payment.

Additional costs

In add-on to your tuition fees, you lot'll be responsible for any additional costs associated with your grade, such as buying stationery and paying for photocopying. You tin can discover out more about what you need to upkeep for on our study costs folio.

There may as well be specific boosted costs associated with your program. This can include things similar paying for field trips or specialist materials for your assignments. Please bank check the programme specification for more than data.

Funding opportunities

Find out more well-nigh postgraduate fees and explore funding opportunities. If you're applying for funding, you may exist subject area to an awarding deadline.

How to utilise

You apply straight to Goldsmiths using our online application arrangement.

Earlier submitting your application you'll need to take:

• Details ofyour education history, including the dates of all exams/assessments
• Theelectronic mail address of your referee who we can asking a reference from, or alternatively an electronic copy of your bookish reference
• Apersonal argument – this can either be uploaded as a Discussion Document or PDF, or completed online

           Please meet our guidance on writing a postgraduate argument

• If available, an electronic copy ofyour educational transcript (this is peculiarly important if yous take studied outside of the United kingdom, simply isn't mandatory)

You'll exist able to save your progress at whatever point and render to your application by logging in using your username/email and password.

When to apply

Nosotros accept applications from October from students wanting to start the following September. There is no application deadline, but we encourage yous to employ sooner rather than later while in that location are even so places on the course, and to allow time for student visa applications if applicable.

We encourage you to complete your awarding as early as possible, fifty-fifty if yous haven't finished your electric current programme of written report. It's very common to be offered a place that is provisional on you achieving a particular qualification.

Late applications volition only exist considered if in that location are spaces available.

If yous're applying for funding, you may exist subject to an earlier awarding deadline.

Pick procedure

Admission to many programmes is past interview, unless you live exterior the UK. Occasionally, we'll brand candidates an offering of a place on the basis of their awarding and qualifications alone.

Find out more near applying.

Student work

Careers

Many of our MA students accept gone on to MPhil/PhD study, not just in art history and visual cultures simply as well in related fields such as philosophy, the ecology humanities and literature. Careers obtained by contempo graduates include artists, curators at mainstream galleries/museums, curators at contained organisations, editors in major publishing houses, lecturers, researchers, and roles in TV and film production.

Discover out more near employability at Goldsmiths.

Similar programmes

MFA Curating

The programme is designed for students who wish to take up the challenge of contemporary curating as an creative, social and critical undertaking, and who wish to develop their professional practice in this expanse.

PGCert in Museums & Galleries Entrepreneurship

This programme will cover sponsorship and marketing, audition development, regeneration and partnerships, and commerce/merchandise, giving a detailed insight into the means that museums and galleries are managed and develop entrepreneurship.

Graduate Diploma in Gimmicky Art History

The Graduate Diploma in Contemporary Art History is for graduates of other disciplines with an interest in contemporary art and ideas, and who wish to carry out research at higher levels in the fields of visual cultures.

MA Research Architecture

The MA Research Architecture is for graduates from a range of disciplines who desire to examine how architecture tin engage with questions of gimmicky civilization, politics, media, ecology and justice and question whether spatial practice can become a form of inquiry.

lasterhadeare.blogspot.com

Source: https://www.gold.ac.uk/pg/ma-contemporary-art-theory/

Share this post