Abstract
In the last few years the debate about studio-art doctorates in the United States of America has been transformed, largely by the interventions of the Association of Independent Colleges of Art and Design (AICAD), CAA, and the National Association of Schools of Art and Design (NASAD).1 When I first spoke in the United States about doctorates in studio art at a 2003 AICAD symposium, I encountered the widely held negative response, why do this thing for which there is no place and no demand? My response was to suggest that the introduction of studio-art doctorates in many countries in Europe, as well as in Australia, New Zealand, and China, had brought fine-art education to its coming of age, on a par with and different from other university-level disciplines.
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