This book is the second, extended edition of the first of its kind. It is a resource to help people artists, teachers, administrators, and students assess and compare programs for a new PhD in Studio Art. qA PhD in art is inevitable, and so best to explore the implications of this seemingly inevitable development.q -David Carrier, Champney Family Professor, Case Western Reserve University/ Cleveland Institute of Art. qI find this book to be fascinating and thought-provoking material.q -Andrew E. Hershberger, Associate Professor of Contemporary Art History, Bowling Green State University. qIt is especially timely that a book addressing the many concerns regarding this degree should appear in the US market.q -Tom Huhn, Ph.D., Chair Visual a Critical Studies, Art History School of Visual Arts, New York. qThe book is organized as a constructive debate that encourages people to engage with the issues.q -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. qThis book furthers the debate by opening various windows on the discussion of studio art.q -Harold Linton, Chair Department of Art and Visual Technology, College of Visual and Performing Arts George Mason University. qWe are in the midst of a paradigm shift.The range of viewpoints presented in this collection will help spur the debate and contribute to clarifying what is at stake.q -Saul Ostrow, Chair, VisualArts and Technologies, Cleveland Institute of ArtThis book is the second, extended edition of the first of its kind. It is a resource to help people artists, teachers, administrators, and students assess and compare programs for a new PhD in Studio Art.
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