"A PhD in art is inevitable. Elkins argues, and so best to explore the implications of this seemingly inevitable development. By bringing in a variety of perspectives. Elkins provides a rich
mosaic of opinions, detailed argumentation and information. with lots of good empirical evidence." David Carrier. Champney Family Professor, Case Western Reserve University/Cleveland Institute
of Art.
"I find this book to be fascinating and thought-provoking. I also know from my own experiences that many faculty have been thinking (and worrying) about the idea of the PhD in studio art."
Andrew E. Hershberger. Associate Professor of Contemporary Art History. Bowling Green State University.
"It is inevitable that one form or another of the studio PhD programs will be appearing in US art schools. For this reason it is especially timely that a book addressing the many concerns
regarding this degree. and the variety of possible forms it might take should appear in the US market." Tom Huhn, Ph.D., Chair Visual & Critical Studies. Art History School of Visual Arts.
New York.
"This collection of essays anchors the book in current knowledge not only about the visual arts but also about the growing intersection between the university and the artistic world. The book
is organized as a constructive debate that encourages people to engage with the issues, and is a new contribution that intervenes in a different manner in the nationwide discussion." Lynette
Hunter. Professor of the History of Rhetoric and Performance and Director UC Multicampus Research Group in International Performance and Culture University of California Davis.
"This book furthers the debate by opening various windows on the discussion of studio art and the viability of a new level of artistic exploration as opposed to simply writing and the
production of new knowledge through library research." Harold Linton. Chair Department of Art and Visual Technology. College of Visual and Performing Arts George Mason University.
