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 to our open day for
Postgraduate Studies
   Art and Design
    This afternoons timetable
• Introduction to the programme core structure
• Information for those interested in our support
  in making an application to the AHRC
• Opportunity to meet and talk to individual
  members of staff about your specific study
• Work in progress/Studio visits with
• Portfolio surgeries for those who have
  booked this.
 Context - University Change
• Increasing growth in postgraduate
• Career progression and life long
• Change to culture of the university to
  more centralised units of support and
  administration - student hubs
• Art and Design - futures
Postgraduate art and design
MA Art as Environment    MA Three Dimensional
    MA Fine Art                    Design
 MA Design and Art         MA Visual Culture
        Direction        MA Representation in
   MA Media Arts            Cinema and Media
 MA Art and Design         MA Contemporary
   MA Landscape                   Curating
      Architecture      Master of Enterprise in Art
    MA Textiles              and Design (with
  Location of the programme
• The MA programme is administrated by
  MIRIAD - Manchester Institute for Research
  and Innovation in Art and Design
• And taught in collaboration with the Schools
  of Art, Design and History of Art and Design
  in the Faculty of Art and Design
• It links with Manchester Science and
  Enterprise Centre to deliver it‟s Master of
  Enterprise degree
MIRIAD Research Centres
           Visual Culture
        Art and Media Arts
          Craft and Design
   Social and Environmental Arts
Drama, Dance and Performing Arts(Art
      and Design and Cheshire)
       Fashion Business and
  Some Research Groups
Location, Memory and the Visual Research
Archives, Collections and Objects Research
Network - ACORN
REACT - research engine for art and creative
technology with Salford University
Righton Press Research Group
Art and Ecology
Art and Democracy
Narrative group
   Structure of the Programme

               48 weeks full time or 96 weeks part time
 Methods of Inquiry           Option 1
     10 credits              10 credits
Contemporary Theory           Option 2
     10 credits              10 credits

                                                     60 credits
    Practice                Practice
   40 credits              40 credits

                       180 credits in all
                  10 hours of effort per credit
 Core units + Shared learning
• Induction - oct
• Lecture/seminar based units of Methods of
  Inquiry and Strategies of Thought
• Mixed Group Project - Oct/Dec
• Lecture/seminar/project based units - Option
• Testing Time - June/July
• Postgraduate MA Show - October
• Visiting speakers and events - year round
Subject Specific Practice Units
2X40 credit and 1X60 credit Practice Unit
Individual studio/work space for all full time
  students in studio disciplines
Taught through seminar, project, work reviews,
group and one to one tutorial
Specialist tutorial support
Visiting practitioners
Access to all workshop facilities after health and
  safety inductions - technician support
     Other Student Support
• IT drop in and wireless network for
  word-processing and internet
• Student support and counselling officer
  dedicated to faculty
• Accommodation Office

    Other resources and special
•   Rare Book and Object Collection in Library
•   Textile Pattern Book Collection - Cavendish building
•   The Righton Press
•   Holden Gallery Exhibitions and dedicated window
    exhibition project space
•   IT Drop in with MAC and PC, graphics and 3-D
    imaging/modelling suites
•   Fabric and Paper Stores and AV Store
•   Visual resources centre
•   Moving towards centralised workshop and
                Student Profile
• 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.
• In the submission of work we look for evidence of the ability to
  put ideas into practice, for an appreciation of the value of inquiry
  to support ideas.
• Most of all we look for an ability for reflection, evaluation and
  self criticism, a willingness to think flexibly and change ideas
• While we look at applicants that have varied backgrounds and
  experiences, selection for the studio based routes is made by
  portfolio as well as the application form and interview.
• conversion from related subject disciplines is possible through
  some routes depending on individual experience and proposal
National Benchmark Statements
Masters degrees are awarded to students who have demonstrated:
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

ii a comprehensive understanding of techniques applicable to their own research or advanced scholarship;

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;

iv conceptual understanding that enables the student:

•    to evaluate critically current research and advanced scholarship in the discipline; and

•    to evaluate methodologies and develop critiques of them and, where appropriate, to propose new hypotheses.

Typically, holders of the qualification will be able to:
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;

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;

c continue to advance their knowledge and understanding, and to develop new skills to a high level;

and will have:
d the qualities and transferable skills necessary for employment requiring:

•    the exercise of initiative and personal responsibility;
•    decision-making in complex and unpredictable situations; and

•    the independent learning ability required for continuing professional development.
    Application Procedure
• Application form
• Proposed Programme of Study form
• Supporting work/portfolio where
  – Then selection for
• Interview
• All MMU students will be offered an
          Offer of a place
• Receiving an offer
• Preparation for starting the programme
•   Home Students
•   Pg Certificate 60 credits £1080
•   Pg Diploma 120 credits £2160
•   MA            180 credits £3240 (full time)
•                              £1620 part time year one
•   Overseas Students- to be confirmed

• Loyalty discounts - £500.00 for returning MMU
       Other possible costs
• Materials - no studio fee is levied
• Printing out digital work
• Costs of printing assessment submissions
  times 3 approximately £30 - £60
• Some local travel costs associated with mixed
  group project - Art as Environment
  collaborative project.
• Costs associated with attending
  conferences/exhibitions/events necessary to
  your individual studies
            AHRC funding

•   Arts and Humanities Research Council
•   Professional Preparation Masters
•   Research Preparation Masters
•   Full and part-time funding support
     Professional Preparation
•   Will fund Masters degree or Post Graduate Diploma
•   Aimed at developing high level skills and competencies for professional
     – Practical work and related theory at advanced level, develop own work
     – Demonstrate clear relationship with professional practice
•   All areas of Arts and Humanities
•   Awards for 1 year full time (max 12 months, Min 9 months) or 24
    months part time
•   Can apply for final year (two years part time) of a longer course,
    provided an MA/MSc or PGDip is gained by end of AHRB award
•   Tuition fees and £4750 approx stipend
           Research Preparation
•   Masters Degree (MA, MSc, MPhil) not PG Dip
•   Advanced study and research training explicitly intended as preparation for
    doctoral research
     –   Dissertation or extended piece of work showing proficiency as a researcher
     –   Intention to proceed to doctoral study
•   Must not upgrade to doctoral study during award period?
•   Creative and performing arts, also to provide a foundation for a career in
    teaching and research in the HE sector
•   Full or part time study
•   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.
•   Tuition fees and £7500 approx stipend
                   AHRC advice
• Need to make a clear distinction about your aspirations whether
  research or professional skills development
• Review the criteria for the scheme you are applying for.
• Start the process early
• 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
• Discuss your proposal for study with your potential supervisor.
   How to make a successful
    AHRC MA Application
In general, the best candidates…
     had read and followed the guidelines and provided the
         information sought
     expressed their proposed project convincingly
     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
     were able to make a convincing case about the
         significance of the proposed topic, and show evidence
         of wide reading around the subject.
                 The best Master‟s
•   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
•   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)
•   presented a clearly focussed statement, and where using complex concepts or
    language, ensured that it was presented clearly and concisely
•   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
•   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
•   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)
•   overall, the best statements demonstrate the applicants’ commitment
    to their chosen field, understanding of their chosen course, and
    sensible preparation.
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)
•   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
•   Ed Wakefield, exhibiting Helsinki
•   Sarah Perks, Chief Education Officer, Cornerhouse, Phd student
•   Annette Cobley, works part-time as a Marketing assistant at the People‟s
    History Museum, Manchester, and is starting her own company.
•   Elizabeth Orchison, work in gallery collections, completing a large series of
    commissions for a new development in London.
•   Martin Elms, Airbus, Bristol, landing gear design for large passenger aircraft
•   Lesley Halliwell, lecturer at NEWI and exhibiting artist
•   David James, Lecturer in Film & Media, School of History of Art & Design,
•   AHRB doctoral studentship
•   Judith Rothwell, chosen for exhibition in Helsinki
•   James Aston, PhD student, MMU studentship
•   Eric Latham, successful freelance photographer and visiting lecturer, exhibiting
•   Anne Charnock exhibiting and publishing Manchester artist, Stockholm 2004,
    also winner of many prizes
•   Paul Harfleet has set up an artist‟s led space
•   Dave Griffiths – CODEC/X - New British Video & Sound Art, (co-curated by
    Nick Jordan), touring internationally
•   Maeve Rendle, exhibition at the Academy of Fine Arts, Helsinki.
•   Jim Medway, exhibited “New Work‟ Paul Stolper Gallery, London, Dec 2003
•   Claire Baldwin, Curator „The Secret Life of Things‟, Australian Touring
    Exhibition 2001 – 2002
•   Mike Dawson, Visual Arts editor, Flux magazine
•   Ben Cooke, selected for New Contemporaries, Research Fellow MMU, curator
    and artist in residence – successful self-employment as artist
•   Erica Wright, is studying for a PhD, doing community workshops and writing for
•   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.
•   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
•   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.
•   Laurence Lane is co-director of The International 3 Gallery, Manchester. He
    has exhibited widely including Mexico.
•   Fiona Curran, Exhibited „Pattern Crazy‟, Crafts Council, 2001
•   Julie Haslam, „Tomorrow People‟ The Guardian Weekend, July 5th 2003 –
    North West Arts Setting Up Scheme, Manchester Metropolitan University,
    designer in residence.
•   Tabitha Moses – Embroiderers Guild Scholarship
•   Jo Lansley and Helen Bendon, self employed artists – New Contemporaries
    and numerous exhibitions. French photographic prize.
•   David Haley, Research Fellow, MMU – international exhibiting artist
•   Andrew Bracey, exhibiting artist (Manchester City Art Gallery) and part-time
    worker at Cornerhouse exhibitions.
•   Kathryn Eden, Master of Enterprise programme, bursary.
•   Debbie Steggle, Lecturer Liverpool John Moores – collaborative project with
•   Adele Myers, developed and launched „Let‟s Go Global‟ Internet TV channel
•   Martell Linsdell, Lecturer at York University.
    Q. Do you think it is valuable to work
       as a student in a research rich
•    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”.

•    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.”

•    A. “Entirely.”

•    A. “Yes, as long as the researchers make themselves available for studio tutorials as well
     as lecturing.”

•    A.“ Absolutely. Learning from past and present helps inform and inspire. How else can
     one learn?”

•    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.”
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?
•   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”.
•   A. “Yes, I enjoyed virtually all of it. The Thursday morning lectures were
    very interesting and informative.”
•   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

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