Postgraduate Studies


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Postgraduate Studies

  1. 1. WELCOME to our visitor day for Postgraduate Studies Art and Design
  2. 2. Timetable for today <ul><li>Introduction to the programme core structure </li></ul><ul><li>Information in making an application to the AHRC </li></ul><ul><li>Lunch break </li></ul><ul><li>Opportunity to meet and talk to individual members of staff about your specific study interest </li></ul><ul><li>Facilities/Studio visits with staff/students </li></ul><ul><li>Portfolio surgeries for those who have booked in for this. </li></ul>
  3. 3. Postgraduate Art and Design <ul><li>MA Art as Environment David Haley </li></ul><ul><li>MA Fine Art Ian Rawlinson </li></ul><ul><li>MA Design and Art Direction Clinton Cahill </li></ul><ul><li>MA Media Arts Andrea Zapp </li></ul><ul><li>MA Landscape Architecture Ed Bennis </li></ul><ul><li>MA Textiles Melanie Miller </li></ul><ul><li>MA Visual Culture Simon Faulkner </li></ul><ul><li>MA Representation in Cinema and Media “ </li></ul><ul><li>MA Contemporary Curating Steven Gartside </li></ul><ul><li>Master of Enterprise in Art and Design (with MSEC) Ian Roberts </li></ul><ul><li>MA Three Dimensional Design “ </li></ul>
  4. 4. Location of the programme <ul><li>The MA programme is administrated by MIRIAD - Manchester Institute for Research and Innovation in Art and Design </li></ul><ul><li>And taught in collaboration with the, Department of Design, Department of Art and Media and History of Art and Design in the School of Art, Faculty of Art and Design </li></ul><ul><li>It links with Manchester Science and Enterprise Centre to deliver it’s Master of Enterprise degree *(pending continued validation) </li></ul>
  5. 5. MIRIAD Research Centres <ul><li>Visual Culture </li></ul><ul><li>Art and Media Arts </li></ul><ul><li>Craft and Design </li></ul><ul><li>Social and Environmental Arts </li></ul><ul><li>Drama, Dance and Performing Arts(Art and Design and Cheshire) </li></ul><ul><li>Fashion Business and Technology(Hollings) </li></ul>
  6. 6. Some Research Groups <ul><li>Location, Memory and the Visual Research Group </li></ul><ul><li>Archives, Collections and Objects Research Network - ACORN </li></ul><ul><li>REACT - research engine for art and creative technology with Salford University </li></ul><ul><li>Righton Press Research Group </li></ul><ul><li>Art and Ecology </li></ul><ul><li>Art and Democracy </li></ul><ul><li>Narrative group </li></ul>
  7. 7. Structure of the Programme Methods of Inquiry 10 credits Contemporary Theory 10 credits Option 2 10 credits Option 1 10 credits Practice 40 credits Practice 40 credits Practice 60 credits 180 credits in all 10 hours of effort per credit 48 weeks full time or 96 weeks part time
  8. 8. Core units + Shared learning <ul><li>Induction - first week Oct </li></ul><ul><li>Lecture/seminar based units of Methods of Inquiry and Strategies of Thought </li></ul><ul><li>Mixed Group Project - Oct/Dec </li></ul><ul><li>Lecture/seminar/project based units - Option choices </li></ul><ul><li>Testing Time - June/July </li></ul><ul><li>Postgraduate MA Show - October </li></ul><ul><li>Visiting speakers and events - year round </li></ul>
  9. 9. Subject Specific Practice Units <ul><li>2x40 credit and 1x60 credit Practice Units - led by individual learning agreement </li></ul><ul><li>Individual studio/work space for all full time students in studio disciplines </li></ul><ul><li>Practice is supported through seminar, project, work reviews, critiques, group and one to one tutorial </li></ul><ul><li>Specialist tutorial support is available where appropriate </li></ul><ul><li>Technical workshops and access to all workshop facilities after health and safety inductions - technician support </li></ul><ul><li>Visiting practitioners </li></ul>
  10. 10. Added Value <ul><li>Mixed group project - city based live project </li></ul><ul><li>Tuesday Talks in collaboration with the Cornerhouse </li></ul><ul><li>Testing Time - June/July - testing work in progress - links to professions in the city/region </li></ul><ul><li>Symposia - international panel speakers </li></ul><ul><li>MA shows - Holden Gallery </li></ul><ul><li>Support for student initiated events </li></ul>
  11. 11. Other Student Support <ul><li>IT drop in and wireless network for word-processing and internet </li></ul><ul><li>Student support and counselling officer dedicated to faculty </li></ul><ul><li>Accommodation Office </li></ul><ul><li> </li></ul>
  12. 12. Other resources and special features <ul><li>Rare Book and Object Collection in Library </li></ul><ul><li>Textile Pattern Book Collection and visual resource library - Cavendish building </li></ul><ul><li>The Righton Press </li></ul><ul><li>Holden Gallery Exhibitions and dedicated window exhibition project space - Righton Building </li></ul><ul><li>IT Drop in with MAC and PC, graphics and 3-D imaging/modelling suites </li></ul><ul><li>Fabric and Paper Stores and AV Store </li></ul><ul><li>Moving towards centralised workshop and workspaces </li></ul>
  13. 13. Student Profile <ul><li>We are looking for independent and self motivated students. Students who have defined a focus as to what they want to study and a notion of how they will go about it. Students who are ready to take a pro-active role in their learning which maybe very different from their past educational experience. </li></ul><ul><li>In the submission of work we look for evidence of the ability to put ideas into practice, for an inquiry based approach </li></ul><ul><li>We look for an ability for self reflection, evaluation and critical awareness, a willingness to think flexibly and respond to change </li></ul><ul><li>We welcome applicants that come from varied experiences and routes into education, selection for the studio based routes is made by portfolio as well as the proposed programme of study, the application form and interview. You may be eligible to apply for APL. </li></ul><ul><li>conversion from related subject disciplines is possible through some routes depending on individual experience and proposal </li></ul>
  14. 14. <ul><li>National Benchmark Statements </li></ul><ul><li>Masters degrees are awarded to students who have demonstrated: </li></ul><ul><li>i a systematic understanding of knowledge, and a critical awareness of current problems and/or new insights, much of which is at, or informed by, the forefront of their academic discipline, field of study, or area of professional practice; </li></ul><ul><li>ii a comprehensive understanding of techniques applicable to their own research or advanced scholarship; </li></ul><ul><li>iii originality in the application of knowledge, together with a practical understanding of how established techniques of research and enquiry are used to create and interpret knowledge in the discipline; </li></ul><ul><li>iv conceptual understanding that enables the student: </li></ul><ul><li>to evaluate critically current research and advanced scholarship in the discipline; and </li></ul><ul><li>to evaluate methodologies and develop critiques of them and, where appropriate, to propose new hypotheses. </li></ul><ul><li>Typically, holders of the qualification will be able to: </li></ul><ul><li>a. deal with complex issues both systematically and creatively, make sound judgements in the absence of complete data, and communicate their conclusions clearly to specialist and non-specialist audiences; </li></ul><ul><li>b. demonstrate self-direction and originality in tackling and solving problems, and act autonomously in planning and implementing tasks at a professional or equivalent level; </li></ul><ul><li>c. continue to advance their knowledge and understanding, and to develop new skills to a high level; </li></ul><ul><li>and will have: </li></ul><ul><li>d. the qualities and transferable skills necessary for employment requiring: </li></ul><ul><li>the exercise of initiative and personal responsibility; </li></ul><ul><li>decision-making in complex and unpredictable situations; and </li></ul><ul><li>the independent learning ability required for continuing professional development. </li></ul>
  15. 15. Application Procedure <ul><li>Application form </li></ul><ul><li>Proposed Programme of Study form </li></ul><ul><li>Supporting work/portfolio where appropriate </li></ul><ul><li>Submit by end of January if you are intending to apply to AHRC funding also </li></ul><ul><li>All other applications taken year round </li></ul><ul><ul><li>Then selection for </li></ul></ul><ul><li>Interview </li></ul><ul><li>All MMU students will be offered an interview </li></ul>
  16. 16. Fees <ul><li>Home Students </li></ul><ul><li>MA £3320 (full time) </li></ul><ul><li>£1660 part time year one </li></ul><ul><li>Overseas Students- £9065 </li></ul><ul><li>Loyalty discounts - £500.00 for returning MMU students - but you need to make a claim </li></ul>
  17. 17. Other possible costs <ul><li>Materials - no studio fee is levied </li></ul><ul><li>Printing out digital work </li></ul><ul><li>Costs of printing assessment submissions times 3 approximately £30 - £60 </li></ul><ul><li>Some local travel costs associated with mixed group project - Art as Environment collaborative project, Contemporary Curating trips to Tate Liverpool. </li></ul><ul><li>Costs associated with attending conferences/exhibitions/events necessary to your individual studies </li></ul>
  18. 18. AHRC funding <ul><li>Arts and Humanities Research Council </li></ul><ul><li>Professional Preparation Masters </li></ul><ul><li>Research Preparation Masters </li></ul><ul><li>Full and part-time funding support </li></ul>
  19. 19. Professional Preparation Masters <ul><li>Will fund Masters degree or Post Graduate Diploma </li></ul><ul><li>Aimed at developing high level skills and competencies for professional practice </li></ul><ul><ul><li>Practical work and related theory at advanced level, develop own work critically </li></ul></ul><ul><ul><li>Demonstrate clear relationship with professional practice </li></ul></ul><ul><li>All areas of Arts and Humanities </li></ul><ul><li>Awards for 1 year full time (max 12 months, Min 9 months) or 24 months part time </li></ul><ul><li>Can apply for final year (two years part time) of a longer course, provided an MA/MSc or PGDip is gained by end of AHRC award </li></ul><ul><li>Tuition fees paid and £4750 approx stipend </li></ul>
  20. 20. Research Preparation Masters <ul><li>Masters Degree (MA, MSc, MPhil) not PG Dip </li></ul><ul><li>Advanced study and research training explicitly intended as preparation for doctoral research </li></ul><ul><ul><li>Dissertation or extended piece of work showing proficiency as a researcher </li></ul></ul><ul><ul><li>Intention to proceed to doctoral study </li></ul></ul><ul><li>Must not upgrade to doctoral study during award period? </li></ul><ul><li>Creative and performing arts, also to provide a foundation for a career in teaching and research in the HE sector </li></ul><ul><li>Full or part time study </li></ul><ul><li>Awards normally available for 1 year full time (max 12 months, min 9 months), but up to two years funding possible. Awards normally available for 2 years part time but up to four years funding possible. </li></ul><ul><li>Tuition fees and £7500 approx stipend </li></ul>
  21. 21. AHRC advice <ul><li>Need to make a clear distinction about your aspirations whether research or professional skills development </li></ul><ul><li>Review the criteria for the scheme you are applying for. </li></ul><ul><li>Start the process early </li></ul><ul><li>Competition is tough, you should have at least a good 2.1 degree to be considered and supported in your application by the offering institution </li></ul><ul><li>Discuss your proposal for study with your potential supervisor. </li></ul><ul><li> </li></ul>
  22. 22. How to make a successful AHRC MA Application <ul><li>In general, the best candidates… </li></ul><ul><li>had read and followed the guidelines and provided the information sought </li></ul><ul><li>expressed their proposed project convincingly </li></ul><ul><li>avoided jargon and aimed to make their statement intelligible to readers with expertise in the general subject area, but not necessarily in the specific area of their proposed research </li></ul><ul><li>were able to make a convincing case about the significance of the proposed topic, and show evidence of wide reading around the subject. </li></ul>
  23. 23. The best Master’s candidates(cont) <ul><li>articulated clearly the relationship of the course to their own research or professional training needs or aspirations (depending on the scheme to which they are applying), rather than simply listing modules or repeating the course description conveyed a good sense of the intellectual and/or practical motivation in undertaking the course, why the areas in which they wanted to work were especially interesting or challenging, and showed an awareness of the relevance of the course to their future plans </li></ul><ul><li>were able to articulate how the proposed Master’s study would build on and extend the work already undertaken in the area (for example in their first degree or in their professional experience) </li></ul><ul><li>presented a clearly focussed statement, and where using complex concepts or language, ensured that it was presented clearly and concisely </li></ul><ul><li>showed evidence of consultation with the prospective course leader, and consistency with the institution’s own description of the course content, training and other support available </li></ul><ul><li>were aware why they had chosen that particular course at that particular institution rather than any other, and what it would offer them for their specific field of study </li></ul>
  24. 24. Professional Preparation <ul><li>in the Professional Preparation Master’s scheme, demonstrated a clear intention to proceed to a career in the relevant field of arts and humanities professional practice, evidence of learning from relevant practical experience, and a clear articulation of how their Master’s study formed a necessary preparation to enter that specific career. (Students without this clear intention – for example, those for whom the Master’s degree would be a helpful experience but not a key requirement before they may progress in their profession – should not apply to this scheme) </li></ul><ul><li>overall, the best statements demonstrate the applicants’ commitment to their chosen field, understanding of their chosen course, and sensible preparation. </li></ul>
  25. 25. Research Preparation <ul><li>in the Research Preparation Master’s scheme, showed a clear intention to proceed to doctoral research in a related specialism, a clear articulation of how their Master’s study would relate to the proposed area of their doctoral thesis, and an explanation of why that topic attracted them and made a viable subject for a doctoral thesis. ( Students without this clear intention – for example, those who wish to undertake a Master’s degree, but do not want to follow it with a doctoral degree – should not apply to this scheme) </li></ul>
  26. 27. destinations <ul><li>Nick Jordan, has shown his work in exhibitions and film festivals around the world. His film 'Fury' won the Best Film Award at the Halloween Short Film Festival, ICA, London, 2004 and has been included in the main programme at the ICA. He also won the Grand Jury Prize for best film at the Exposures Film Festival, Cornerhouse, Manchester, 2003. Also was also awarded a Visual Arts Publication award, Arts Council England, 2004 and a New Media Arts Production Award, Arts Council England, 2003 </li></ul><ul><li>Ed Wakefield, exhibiting Helsinki </li></ul><ul><li>Sarah Perks, Chief Education Officer, Cornerhouse, Phd student </li></ul><ul><li>Annette Cobley, works part-time as a Marketing assistant at the People’s History Museum, Manchester, and is starting her own company. </li></ul><ul><li>Elizabeth Orchison, work in gallery collections, completing a large series of commissions for a new development in London. </li></ul><ul><li>Martin Elms , Airbus, Bristol, landing gear design for large passenger aircraft </li></ul><ul><li>Lesley Halliwell , lecturer at NEWI and exhibiting artist </li></ul><ul><li>David James , Lecturer in Film & Media, School of History of Art & Design, MMU, AHRB doctoral studentship </li></ul><ul><li>Judith Rothwell , chosen for exhibition in Helsinki </li></ul><ul><li>James Aston , PhD student, MMU studentship </li></ul><ul><li>Eric Latham, successful freelance photographer and visiting lecturer, exhibiting </li></ul>
  27. 28. <ul><li>Anne Charnock exhibiting and publishing Manchester artist, Stockholm 2004, also winner of many prizes </li></ul><ul><li>Paul Harfleet has set up an artist’s led space - Apartment with Hilary Jack </li></ul><ul><li>Dave Griffiths – CODEC/X - New British Video & Sound Art, (co-curated by Nick Jordan), touring internationally </li></ul><ul><li>Maeve Rendle , exhibition at the Academy of Fine Arts, Helsinki. </li></ul><ul><li>Jim Medway , exhibited “New Work’ Paul Stolper Gallery, London, Dec 2003 </li></ul><ul><li>Claire Baldwin , Curator ‘The Secret Life of Things’, Australian Touring Exhibition 2001 – 2002 </li></ul><ul><li>Mike Dawson , Visual Arts editor, Flux magazine - freelance mover and shaker </li></ul><ul><li>Ben Cooke, selected for New Contemporaries, Research Fellow MMU, curator and artist in residence – successful self-employment as artist </li></ul><ul><li>Erica Wright, completed PhD, doing community workshops and writing for newspapers. </li></ul>
  28. 29. <ul><li>Paul Cordwell has staged numerous exhibitions in the region, nationally and internationally. His work was included in ‘Beyond the Endgame’ 2003 at Manchester Art Gallery and he has a forthcoming show at the ‘Pushkinskaya – 10 art centre, St. Petersberg. </li></ul><ul><li>David Osbaldeston , Education Officer, Cornerhouse, Manchester. He has participated in exhibitions nationally and internationally: most recently in “Friday 13”, Galleri 5.e, Bergen, Norway. His work was included in artranspennine03 and he is Editor of ‘Stellar’ THE art fanzine, quarterly, A Third Person Publication. </li></ul><ul><li>Hilary Jack has exhibited her work widely, most recently in Hungary when she participated in the International Course in Contemporary Art at The Hungarian Academy of Fine Arts. She participated in ‘Beyond the Endgame’ at Manchester Art Gallery and also has a commissioned work on permanent display there in the Interactive Gallery. She is co-founder of 49 Lamport Court, a new artist run gallery in Manchester. </li></ul><ul><li>Laurence Lane is co-director of The International 3 Gallery, Manchester. He has exhibited widely including Mexico. </li></ul>
  29. 30. <ul><li>Fiona Curran, Exhibited ‘Pattern Crazy’, Crafts Council, 2001 </li></ul><ul><li>Julie Haslam, ‘Tomorrow People’ The Guardian Weekend, July 5 th 2003 – North West Arts Setting Up Scheme, Manchester Metropolitan University, designer in residence. </li></ul><ul><li>Tabitha Moses – Embroiderers Guild Scholarship </li></ul><ul><li>Jo Lansley and Helen Bendon , self employed artists – New Contemporaries and numerous exhibitions. French photographic prize. </li></ul><ul><li>David Haley , Research Fellow, MMU – international exhibiting artist </li></ul><ul><li>Andrew Bracey , exhibiting artist (Manchester City Art Gallery) and part-time worker at Cornerhouse exhibitions. </li></ul><ul><li>Kathryn Eden , Master of Enterprise programme, bursary. </li></ul><ul><li>Debbie Steggle , Lecturer Liverpool John Moores – collaborative project with Unilever </li></ul><ul><li>Adele Myers, developed and launched ‘Let’s Go Global’ Internet TV channel </li></ul><ul><li>Martell Linsdell , Lecturer at York University. </li></ul>
  30. 31. Q. Do you think it is valuable to work as a student in a research rich environment? <ul><li>A. “I think it is valuable to study in a research rich environment. To be amongst fellow artists who are at different stages in their careers and involved in a range of research projects feeds into the whole notion of what it is to be an artist”. </li></ul><ul><li>A.“Yes. The research facilities provided me with an unrivalled opportunity to produce qualitative and quantative materials and findings. The findings were very important to the production of my written and creative work as a student.” </li></ul><ul><li>A. “Entirely.” </li></ul><ul><li>A. “Yes, as long as the researchers make themselves available for studio tutorials as well as lecturing.” </li></ul><ul><li>A.“ Absolutely. Learning from past and present helps inform and inspire. How else can one learn?” </li></ul><ul><li>A. “Yes, in that it opened up a whole new world of possibilities, by teaching research methods, which helped me to access hidden stores of knowledge. It also demonstrated methods that I have used to generate evidence for use in my own creative practice.” </li></ul>
  31. 32. Q. As a measure of how effective the course experience is for students would you highlight any aspect of your student experience or part of the programme structure as having been of particular value to you? <ul><li>A. “Before coming to MMU to study for an MA Fine Art I had been working for at least ten years as a practicing artist. So, for me, the most valuable aspect of the course were the tutorials. After the relative isolation of independent arts practice having the attention of a respected lecturer – time when we could discuss, examine and interrogate my ideas and practice - was simply fantastic”. </li></ul><ul><li>A. “Yes, I enjoyed virtually all of it. The Thursday morning lectures were very interesting and informative.” </li></ul><ul><li>A. “For me as student rep. the organisation of some of the events like ‘Testing Time’ was really good to be involved with. Also the trip to and organisation of the New York exhibition. My role, as well as to make some work, was to book hotels and liaise with the Pratt Institute. All of this made me realise that this sort of event was achievable. I felt I gained a lot from Methods of Inquiry and Professional Issues. I find that now I am constantly referring to the notes that I made whilst on the course.” </li></ul>
  32. 33. Achievements <ul><li>M.A. Art as Environment, David Haley - Manchester Metropolitan University awarded IGNASI DE LECEA AWARD for Initiatives in higher education dedicated to Public Art and Urban Design </li></ul><ul><li>MA Media Arts, Andrea Zapp, curator, The World is My Imagination, exhibition, Cube Gallery, 07.09.2007 to 03.11.2007, Manchester including work of students Joel Porter and Amanda Oliphant </li></ul><ul><li>MA Textiles, Melanie Miller, Schiffli research project Mechanical Drawing, Exhibition in Holden Gallery - 15.11.2007 - 14.12.2007 </li></ul>