The School of Art is thrilled to launch the new Master of Arts in Art History specializing in the Arts of the Americas in partnership with Crystal Bridges Museum of American Art. Come study with us and declare what art history can be.
Overview
The Art History M.A. degree is an accredited two-year residency program in partnership with Crystal Bridges Museum of American Art and specializing in the arts of the Americas.
Educating students in a multivocal and inclusive art history, the program aims to give students the interdisciplinary training and robust work experiences that they will need to thrive with an M.A. degree in industries that value visual literacy, creativity, communication, collaboration, and research. The program prepares students for top Ph.D. programs in art history, but also facilitates other trajectories for those seeking to contribute to the arts and society with an M.A. degree.
Thanks to the transformational gift from the Walton Family Charitable Support Foundation, all graduate students accepted into the program will receive funding support during the two years of study.
Please direct specific questions about the M.A. program to Jennifer Greenhill, greenhil@uark.edu, Endowed Professor and Graduate Director.
About the Program
Program Mission
We are committed to thinking about the arts and creative practice in a global context. But we believe that a specialty in arts of the Americas allows us to best meet an urgent need in art history departments, museums, and the broader art world today: to expand the range of perspectives included in our art institutions, and to examine the legacies of Western canon formation on collecting practices, for example, and art historical pedagogy. Our program educates students to productively intervene in this inheritance.
How might an emphasis on the Americas diversify the knowledge systems recognized and cultivated by art historical research? How can we foreground transnational and transcultural narratives over nationalist ones that risk reinscribing center and periphery hierarchies? What can we learn from contemporary artists who are interrogating art world structures that marginalize or repress difficult institutional histories? How can we use the university and the museum as a training ground for refocusing interpretive energy in ways that matter to the lived experiences of creators and other art workers?
These are some of the questions animating the thinking behind our partnership with the Crystal Bridges Museum of American Art in a graduate program that prepares students to grapple with what art history means and can do in the twenty-first century.
Direct study of museum collections is enhanced in our program by regular dialogue with the practicing artists, designers, and art educators across the School of Art. Students will learn to support their first-hand observations with thorough research drawing on archival, primary, secondary, and unconventional source materials. We seek to empower students to develop their own unique voices as they explain creative cultural production and analyze the contributions of artists to society. They will learn to present their ideas clearly to multiple audiences and in a variety of written and oral formats. The museum will provide an especially rich context for this work.
Students in the program will develop:
- The ability to analyze works of art, visual culture, and related material.
- The ability to conduct advanced research.
- The ability to situate works of art and related material in historical and cultural contexts.
- The ability to formulate original ideas and clearly articulate them in a variety of forms of writing and oral presentations for diverse publics.
- A thorough understanding of methodological approaches informing art historical scholarship, including historical and contemporary critiques of the discipline.
- A critical understanding of key diversity, equity, and inclusion theories and orientations in the field of art history.
- The capacity to approach art, visual culture, and related material from interdisciplinary perspectives that expand the canon and take a diverse and inclusive approach to the field.
- Practical experience in areas of art history related to student career objectives.
Students admitted to the M.A. degree program must complete a total of 36 credit hours to graduate.
This includes 5 required core courses (15 credit hours):
- ARHS 6003. Art History’s Histories: Critical Historiography and Methodology (3 hours)
- ARHS 6043. Art History Practicum (3 hours)
- ARHS 6013. Immersive Travel (3 hours)
- ARHS 6023. Graduate Art History Writing Workshop (3 hours)
- ARHS 6033. Art History Qualifying Paper (3 hours)
For the remaining 7 courses (21 credit hours):
15 credits (5 courses) must be at the 6000-level and informed by one or more of the following themes, which we consider fundamental to an understanding of arts of the Americas in a global context. These themes reflect the program’s central concern with promoting critical thinking about art-world and social structures, transnational and transcultural networks of relation, and diverse perspectives on knowledge production and modes of creativity.
Students will define how each 6000-level course fulfills a particular theme through a self-assessment written at the end of each semester. Although most courses will touch on multiple themes, students may designate a particular course for no more than two themes. This model of theme-based learning as well as self-assessment will give students a share in designating how courses fulfill core themes and help them communicate their interests and goals as they proceed through the program.
Themes:
- Environment (speaks to land, nature, climate change, resource stewardship)
- Heritage (speaks to ancestral lineages and legacies, invented traditions, the life of objects and ideologies, questions of authenticity, materials and making)
- Power (speaks to rights issues, social and political imbalances and inequities, race relations and racism, imperialism and nation building, colonization and decolonization)
- Circulation (speaks to the movements and migrations of people, objects, and ideas across space and time; transculturation and globalization; value and mobility; markets)
- Structures and Systems (speaks to institutions and the mechanisms that organize and legislate experience; systemically maintained social privileges and oppressions; systems of signification; intersections between art and science)
- Identity and Community (speaks to identity formation, individual subjectivities, intersectionalities, kinship networks, social worldmaking, community protocols, imagined and real communities)
6 credits (2 courses) may be at the 5000-level and address material outside of the program’s key themes or emphasis on the Americas. These may be very specialized ARHS seminars or courses that fall outside of art history, in allied disciplines.
African and African American Studies offers a graduate certificate, which art history M.A. students may pursue (9 of their 15 total hours of coursework for the certificate may be in art history). By taking 2 courses in this department, students can earn a graduate certificate in African and African American Studies.
ARHS 6243. Seminar in Mining Museums (Themes: Heritage, Power, Circulation, Structures and Systems)
ARHS 6103. Seminar in Spatial Practices in Mesoamerica and New Spain (Themes: Environment, Structures and Systems, Identity and Community)
ARHS 6223. Seminar in Monuments and Public Space (Themes: Environment, Power, Identity and Community)
ARHS 6213. Seminar in Visual Legacies of the American West (Themes: Environment, Heritage, Power)
ARHS 6233. Seminar in Making and Unmaking the Modern (Themes: Circulation, Structures and Systems, Identity and Community)
ARHS 6643. Seminar in Imagining Africa (Heritage, Circulation, Identity and Community)
ARHS 6303. Seminar in Culture Wars: Politics, Protest, and Activism in the Arts (Themes: Power, Identity and Community)
ARHS 6653. Seminar in Cross-Cultural Artistic Production in the Atlantic World (Themes: Circulation, Power, Structures and Systems, Identity and Community)
ARHS 6203. Seminar in Art and Artifice of Americana (Themes: Heritage, Circulation, Structures and Systems)
ARHS 6313. Seminar in Contemporary Native American Art (Themes: Environment, Heritage, Power, Circulation)
ARHS 6403. Seminar in Contemporary Latinx Art (Themes: Environment, Heritage, Power, Circulation, Identity and Community)
ARHS 6433. Seminar in Queer, Trans, and Feminist Art of the Americas (Themes: Heritage, Identity and Community, Power, Circulation, Structures and Systems)
ARHS 6253. Seminar in Abstraction and Identity (Themes: Identity and Community, Structures and Systems)
1. Language Proficiency
Reading proficiency in a minimum of one world language (other than English) is required for successful progress through the program.
Proficiency can be demonstrated by one of these means: 1) passing a translation exam offered by the World Languages, Literatures and Cultures Department at the University of Arkansas or by special arrangement in cases when the relevant language translation exam is not offered; 2) by receiving a grade of B or higher in a reading knowledge course taken at Global Campus at the University of Arkansas or at another approved institution; or 3) by having an undergraduate major or minor in a world language. Students should demonstrate proficiency before the beginning of their second year in the program.
2. Qualifying Paper and Public Presentation
As part of their work for ARHS 6023: Graduate Art History Writing Workshop, taken during their third semester in the program, each student will begin the process of developing a Qualifying Paper (QP). They will expand upon and refine a research paper written in a previous course for their QP, or develop a new project, drawing on research begun in a previous course. By the end of the course, students will be expected to submit a 25-page draft of their QP and form an Advisory Committee.
ARHS 6033: Art History Qualifying Paper, to be taken during the fourth and final semester in the program, is a thesis research/independent study course that allows students to refine the 25-page QP draft that they developed and submitted in ARHS 6023. The last 6-8 weeks of the student’s work on this project will consist of editing the paper down to a 20-minute talk. Students will have two run-throughs of their lecture in the final stages with their Advisory Committee, before a public presentation at the graduate student symposium in mid-May, the capstone event of the degree program.
3. Comprehensive Oral Examination
The public presentation, adapted from the Qualifying Paper, in addition to a 1-hour oral defense of the project, will fulfill this requirement and demonstrate the student’s comprehensive knowledge of their research area explored in the Qualifying Paper.
Course Spotlights
This course explored the inner workings of a museum through a single exhibition at Crystal Bridges Museum of American Art, Takaezu & Tawney: An Artist is a Poet. Taught by the museum’s Windgate Curator of Craft, Dr. Jen Padgett, the seminar offered behind-the-scenes insights into curatorial work and the making, display, interpretation, and acquisition of objects. Students learned about groundbreaking artists in craft while developing analytical and writing skills relevant to the museum field.
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Student reflection: Ibby Ouweleen ’25 On a snowy day in January 2024, MA students were seated around a table at Crystal Bridges, weaving on mini looms and listening to poetry, an exercise inspired by fiber artist Lenore Tawney’s meditative approach to weaving. The students were taking “Case Studies in Art History and Curatorial Practice,” a class taught by Windgate Curator of Craft Jen Padgett. The class revolved around an exhibition that had just been installed: Takaezu and Tawney: an Artist Is a Poet. Through this case study, students took an in-depth look into the process of mounting an exhibition. The assigned readings addressed curatorial practice, engagement strategies in the gallery, and also looked specifically at the unique histories and frameworks of craft. As a final project, each student developed a mini exhibit about craft, devising conceptual frameworks and writing interpretive material. The course afforded students an intellectual and practical understanding of curatorial work and an exciting opportunity to spend quality time in Crystal Bridges’ galleries and collections. |
Fall 2024 seminar taught by Dr. Ashley Holland, Curator & Director of Curatorial Initiatives, Art Bridges Foundation
This course explores the foundation and development of contemporary Native American art through a centering of Indigenous knowledge, world views, and voices. Recognizing the falseness of borders, it looks at artists from what is now known as Canada and the United States working in a variety of media. It interrogates the scholarship, exhibitions, and art forms that have shaped the field historically through the present. The course emphasizes class discussions, presentations, and a final project with corresponding paper. First-hand study of objects at Crystal Bridges and the Momentary and other area collections, and regular class visits by practicing artists, are fundamental to the course.
Spring 2024 seminar taught by Dr. Jennifer Greenhill, Endowed Professor of American Art
This course explores the aesthetic and social operations of “Americana,” roughly defined as “things associated with the culture and history of the United States.” It does so by focusing largely on the period between the 1870s and the 1940s, when the concept of Americana was codified (and, arguably, invented) through exhibitions, collecting practices, and widespread efforts to understand the present through various “usable pasts.” Gallerists such as Edith Halpert and institutions like the Museum of Modern Art in New York will be important to our conversations, as will some of the key art movements of the period. But we will typically approach Americana through fine-grained analyses of individual case studies that may complicate catch-all categories such as “Regionalism” or “Colonial Revival.” We will also work to complicate conventional stagings in the existing scholarship of “period rooms,” for example, and “folk art” through occasional mash-ups of unlike things. This is meant to prompt creative thinking about historical material, compel you to push back when necessary, and inspire you to take risks in your own writing. Although we will focus on historical material, contemporary artists will pop up throughout, such as Bethany Collins, Kent Monkman, Danh Vō, and Titus Kaphar.
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Student reflection: Ella Nowicki ‘25 This seminar achieved its goal to spark creative thinking about historical material. One week combined early displays of American decorative arts at the Met, Van Wyck Brooks’s call to invent a national “usable past” in 1918, cultural historian Philip Deloria’s discussion of summer camps as spaces where white Americans have “played Indian,” and queer theorist José Esteban Muñoz’s concept of “disidentification.” These remixes jolted me into thinking about art history as a practice of critically constructing new usable pasts vs. exposing tactical uses of the past to access historical truth. To me, the relationship between these tasks is unresolved but not mutually exclusive. |
Fall 2024 seminar taught by Dr. Ana Pulido Rull, Associate Professor
This seminar examines space as a category for art historical analysis in Mesoamerica and New Spain. Space is a cultural and social product; it is created by the people who inhabit these spaces and informed by their ideology. The first part of the semester studies Indigenous ideas of space in preconquest Mesoamerica. We then examine what happened to these ideologies and practices when the Spaniards arrived in the Americas in the sixteenth century and colonized Indigenous lands. Throughout the colonial period, Indigenous communities participated actively in the defense of their territories and used Spanish laws to their advantage. They used a series of strategies or spatial practices to shape the politics of land distribution. These political, social, and artistic practices helped Indigenous communities keep some of their territories and redefine the administrative boundaries of their lands, even while living under a colonial rule. We will study some of these spatial practices and underscore how they helped shaped land distribution.
Events
March 2025
Animal Stories: Non-Human Animals in the Arts of the Americas
Organized by Dr. Jenn Marshall (Professor of Art History, University of Minnesota,
and 2025 Tyson Scholar for Graduate Mentorship and Collaborative Initiatives)
March 2025
35th Annual Arkansas Art History Undergraduate Symposium
Organized by Dr. Akshaya Tankha, hosted by the Art History Program, University of
Arkansas
February 2025
Resounding Sovereign Expressions: Resurgent Indigenuity in Ozark Arts Practice & Scholarship
Organized by Aaron Turner, Serena Caffrey, and Elise Boulanger (Osage). Hosted by
Center for Art as Lived Experience (CALE) and supported by the Terra Foundation for
American Art. February 2025.
Past Events
MA/Arts of the Americas students meet members of the Association of Research Institutions in Art History, November 2024.
In November 2024, Crystal Bridges hosted the annual meeting of the Association of Research Institutions in Art History (ARIAH), of which the museum is a member alongside organizations including the Getty, the Smithsonian, and the Art Institute of Chicago. ARIAH is “a consortium of research institutes dedicated to the study of arts and material culture. The consortium works to strengthen the work of its member institutions through partnership, dialogue, grant making, and advocacy for scholars.” Representatives from more than ten organizations met with Arts of the Americas students at a lunch and roundtable conversation. The conversation offered valuable insights into the world of research, fellowships and funding, and the importance of thoughtful archival collaboration. Students were honored to have met so many scholars and administrators doing such important work, and they were struck by the generosity of the people present.
Co-organized by Julia Silverman (PhD candidate, Harvard University; Research + Teaching Fellow, 2022-2023, University of Arkansas Art History Program), Mary McNeil (Tufts University), and local multimedia artist Cory Perry. January 2024.
In the last decade, Northwest Arkansas has emerged as an increasingly important hub for art and culture. New art institutions and non-profits have been critical in bringing artists and artworks to the area, creating dynamic cross-regional exchanges between Northwest Arkansas and other US cities. However, these major institutions have also controlled narratives about art in the region, often prioritizing artists from elsewhere and overlooking the rich regional history of craft that exists—and has always existed—in the Ozarks. This symposium brought together artists working in and around the Ozarks today to explore histories and futures of arts and craft production in the region.
Co-organized by Amy Lonetree (Ho-Chunk) and Sascha Scott, Centre for American Art, Courtauld Institute of Art, London, June 2023.
This symposium gathered an interdisciplinary group of scholars, artists, and curators whose work both engages with 19th– and 20th-century Indigenous art/history and is framed by the field of Native American and Indigenous Studies. Indigenous studies scholars adopt diverse tactics for challenging settler structures and narratives, including decolonial (or anti-colonial) calls for restoration, restitution, and reparation; truth-telling and ethical research methodologies; Indigenizing dominant structures via Indigenous presence and voices; recognizing Indigenous sovereignties through consultation and partnerships; embracing story-telling and storywork as powerful methodologies; and considering place, relationality, community, and kin, both human and more-than-human, as central to Indigenous knowledges.
Internships
All incoming students will be matched with specific departments and/or projects at Crystal Bridges/the Momentary for a minimum 8-10 hour-per-week internship during their second semester in the program, which will fulfill core course ARHS 6043: Art History Practicum.
Students may forego their slot for an internship at another institution and/or during summer or other periods when class is not in session with the approval of the Graduate Director.
In my role as a graduate assistant for the Center of Art as Lived Experience (CALE), I have had the pleasure of diving deep into the personal archives of local African-American photographer Geleve Grice (1922–2004). In much the same way that James Van Der Zee captured the diverse range of human experiences in his Harlem-based photo studio throughout the first half of the 20th century, Geleve Grice chronicled the majority Black community of Pine Bluff, Arkansas and the surrounding Delta region. Grice’s career spanned nearly six decades and he captured momentous occasions like weddings, graduations, family reunions, and funerals as well as more ordinary scenes of daily life. The Geleve Grice Photograph Collection located in Special Collections at the University of Arkansas Library contains 44 boxes of photographic prints, negatives, and other ephemera.
Combing through this incredible amount of material which is arranged in “original order” (meaning as it was originally received from the Grice family, reflecting the idiosyncratic mishmash of the creative mind) is like being on a treasure hunt. I have come across hand-written notes that provide insight into Grice’s busy life as a professional photographer and his personality. Recurring themes in the archive reveal his own aesthetic predilections, drive towards mastery of the photographic form, curiosities, and sense of humor. The range of images, particularly group portraits and candid shots of crowds during parades and other festivities, detail Grice’s ability to observe and celebrate humanity.
The Center for Art as Lived Experience is a “multidisciplinary visual arts research center that promotes innovative ideas on the integration of the arts in communities and pedagogy by emphasizing the intersections of art and lived experience.” Aaron Turner is the director of the center and Assistant Professor of Art (Photography/Interdisciplinary Practice). He is working on developing a new monograph focused on the photographic legacy of Geleve Grice.
Relevant Links:
Travel
Immersive travel courses offer unprecedented access to private collections, behind the scenes tours by museum curators, visits to off-the-beaten-path public art collections, and discussions with scholars.
To fulfill the core course requirement of ARHS 6013: Immersive Travel, students will take a 10-day January intersession course focusing on sites and collections in the Southern U.S. They may fulfill the Immersive Travel requirement by instead taking international travel courses when they are offered. The first international travel course for M.A. program students was offered in 2024, with travel to Mexico.
This immersive travel course invited graduate students to experience the arts and architecture of Mexico stemming from different moments of its history: Mesoamerican, Colonial, Modern, and Contemporary. This 10-day trip included visits to Mexico City with day trips to Teotihuacan and Acolman. Students visited archaeological sites, museums, colonial monasteries, public monuments, artist collectives, and archival collections. Students had the opportunity to learn from faculty members from the National Autonomous University of Mexico, cultural agents, museum curators, and artists residing in Mexico. Through these experiences, students deepenend their knowledge about the history and contemporary realities of Mexico and its rich artistic production.
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Student reflection: Djamila Ricciardi ‘25 In May of 2024, I along with a group of fellow graduate students embarked on a ten-day immersive travel course in Mexico City. Drs. Alexis Salas and Ana Pulido-Rull, both professors in the Art History department and natives of this bustling metropolis, were our intrepid guides. Each day’s itinerary was as densely packed and vibrant as the city itself. All of the people and sites we encountered contributed to our collective mosaic of memories about this unabashedly modern and historically significant epicenter of art and culture. Throughout this intersession, we came to better understand how the past and present artfully co-mingle in Mexico City. We enjoyed walking tours of the Centro Histórico as well as the captivating neighborhoods of La Condessa and Roma. We stood in awe of the Palacio de Bellas Artes with its opulent façade radiant golden dome. Once inside we saw the massive paintings of los Tres Grandes (the three great muralists of Mexico) – Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros – up close. Other art spaces such as the Museo Tamayo, Museo Universitario de Arte Contemporáneo (MUAC), and the Museo Jumex lit up our imaginations. Through candid conversations with artists, gallerists, and scholars we gained insight into the inner-workings of the contemporary art scene in Mexico City. We also time-traveled to the ancient past at the impressive archeological sites of Teotihuacán and the Templo Mayor. All in all, we were able to fully immerse ourselves in this colorful and dynamic place. It is an experience I, for one, will never forget. |
This field trip gave students the chance to meet, in person, Dr. Stephanie Sparling Williams, the Andrew W. Mellon Curator of American Art at the Brooklyn Museum of Art. Williams made regular virtual visits to the Graduate Art History Writing Workshop as the MA Program’s Visionary for 2024-2025, working with Dr. Jennifer Greenhill to support students as they developed a writing practice and made progress on their Qualifying Papers. At the Brooklyn Museum of Art, students toured Williams’s groundbreaking reinstallation of the American galleries, Toward Joy: New Frameworks for American Art.
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Student reflection: Ibby Ouweleen ‘25 In December of 2024, the Arts of the Americas MA students had the distinct joy of taking a trip to New York City to see the Brooklyn Museum’s reinstallation of their American Art collection. We were toured through this innovative exhibit by Stephanie Sparling Williams, the museum’s Andrew W. Mellon curator for American art and a guest faculty member who co-taught the 2nd-year cohort’s writing workshop in the fall. After early-morning flights from Bentonville to LaGuardia, students from both 1st and 2nd-year cohorts regrouped at the Brooklyn Museum for our 1pm tour. Sparling Williams grounds her curatorial practice in a Black Feminist intellectual tradition. The exhibit, Toward Joy: New Frameworks for American Art, seeks to reorient the museum public’s relationship with American art. The installation dislodged fraught historic narratives and representations, while creating renewed opportunities for productive encounters with such works. Sparling Williams is explicit about trying to move beyond an “add and stir” approach, wherein collections are diversified but not thoroughly restructured. Through Sparling Williams’ curating, overlooked works and artists were given their flowers, nestled in robust, generative analytical frameworks that reshape viewers' approach to the whole collection. One student commented that “seeing this exhibit and learning about the process of bringing it together was an extraordinary experience. I am struck by how effectively and earnestly Stephanie communicated her priorities and ambitions through this re-hang. This is the most radical approach I’ve ever seen to a permanent collection, and it really pushes the limits of what I imagined possible in a museum space. Toward Joy and working with Stephanie has greatly impacted my thinking and learning. And I felt like a VIP in the museum getting a tour from such a brilliant curator!” |
Faculty
John Blakinger, Endowed Associate Professor of Contemporary Art and Director of the Art History Program
Jennifer Greenhill, Endowed Professor of American Art; Graduate Director; Director of Museum + Strategic Partnerships for the School of Art
Lynn Jacobs, Distinguished Professor
Abra Levenson, Assistant Professor
Ana Pulido Rull, Endowed Associate Professor
Alexis Salas, Endowed Assistant Professor of Arts of the Americas
Janine Sytsma, Assistant Professor of Art History
Kim Sexton, Associate Professor of Architectural History and Art History
Rhodora Vennarucci, Assistant Professor of Classics and Art History
Austen Barron Bailly – Chief Curator, Crystal Bridges
Alejo Benedetti – Associate Curator, Contemporary Art, Crystal Bridges
Mindy Besaw – Curator of American Art, Director of Fellowships, Research, and University Partnerships, Crystal Bridges
Ashley Holland – Curator and Director of Curatorial Initiatives, Art Bridges Foundation
Jen Padgett – Windgate Curator of Craft, Crystal Bridges
Javier Rivero Ramos, Associate Curator, Art Bridges
Funding
All students in the M.A. art history program receive full tuition waivers and a generous stipend, with take-home annual support offered through a mix of graduate assistantships and fellowships that support research, travel, internships, language learning, and other academic activities.
How to Apply
The School of Art application is free and submitted through Slideroom, a web-based portfolio and document submission system.
The program will accept applications for the 2026-27 academic year in the fall.
Please note that the GRE is not required for applicants to the Master of Arts program in Art History at the School of Art at the University of Arkansas. Applicants wishing to submit GRE scores are welcome to do so, however, and may submit them as a part of their application materials.
Successful applicants will have an undergraduate degree in art history, significant coursework in art history, or a related discipline relevant to art history and/or the arts of the Americas. Relevant work experience will also be considered as preparation for graduate work in art history.
Applicants should submit the following materials to the School of Art, using Slideroom:
Please submit a personal statement detailing motivation for pursuing graduate research in art history (in general and at the University of Arkansas), personal and career goals, and relevant qualifications and experiences (three pages).
A writing sample demonstrating preparedness for advanced research in art history, 15-20 pages.
The writing sample should be a piece of scholarly writing that demonstrates the student's research and writing skills, analytical abilities, and capacity for original argumentation. The writing sample should read as a complete piece of work (not an incomplete section of a larger text).
Students may attach up to five additional pages of illustrations and/or bibliography.
Please upload a copy of your CV or Resume in PDF format.
Please provide three letters of recommendation addressing the applicant's prepardness for graduate education.
Applications are not considered until all recommendation letters are received.
PDF of unofficial transcripts from all previous colleges and/or universities attended. GPA of 3.0 minimum.
If English is not your native language, or your baccalaureate (or for applications with a graduate degree) was not completed at an institution where the language of instruction is English, please provide English proficiency test scores (TOEFL, IELTS, or PTE). For more information on requirements, please visit https://international-admissions.uark.edu/graduate-studies/english-proficiency.php