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 The book's cover in the US edition. This is one of Jo-Anne Duggan's Impossible Gaze series of photographs made inside museums. Her PhD dissertation and artwork are sampled in the book. (Cover design by the editor, who got no credit for it.)  The book's cover in the original Irish edition. This book is available through Printed Project in Ireland; Artists with PhDs is rewritten and expanded for the U.S. and Canadian contexts, where theses discussions are newer and less well formed. Artists with PhDs: On the New Doctoral Degree in Studio ArtNew York: New Academia Press, 2009Download sample chapters in pdf format. This is the first book on the new PhDs in studio art that is addressed to the North American academic system. It is intended as a comprehensive introduction to the subject, with chapters by a number of people who run such programs in Europe and elsewhere, and excerpts from studio art PhD dissertations. My own contributions are polemic -- not because I want to prevent the spread of such programs, but because I am wary of the administrative and theoretical discourse (really, jargon) that supports and justifies them in the U.K The book has twelve essays and eight 3,000–word extracts from eight PhD dissertations done in Sydney, Canberra, Hobart, and London. New Academia is a refereed, print-on-demand publisher available through Amazon. This book is a greatly expanded version of The New PhD in Studio Art, no. 4 in the occasional series called Printed Project (Dublin: Sculptor’s Society of Ireland [now Visual Artists Ireland], 2005).  A painting by Ruth Waller, one of the artists whose dissertations are excerpted in the book. Waller is an example of how a contemporary practice can be informed by doctorate-level work. "As my research developed," she explains, "I was fascinated to find myself immersed in the late medieval world-view," and she began to think about "how painters gave visual form to theology. While this naturally involved investigating the narratives depicted and the pictorial devices employed in relating these episodes, I was also led to consider how the late medieval painter might have thought about the nature of perception itself and the role of painting within this devotional cosmology."  Hogarth's picture of mistakes made by artists shows a simpler idea of artists' skills and how to talk about them. Errors like these could be corrected. But it can be extremely difficult to talk about the making of art in academic settings where art, or visual objects, are actually being made. In the book, I argue that it remains deceptively easy to talk about what artists know, and even how they might be taught, but very difficult to talk about artist's knowledge in places where making is also part of the experience. Analogously, it is crucial to find ways of addressing the relation of university life and the act of making art, as opposed to the variegated and often fascinating ways of talking about the relation between the university and finished art.  Sue Lovegrove's dissertation explores Aboriginal painting; it is part of the larger issue of PhDs that are in fields only tangentially related to the art student's practices. Lovegrove wrote: "My motivation and viewpoint throughout the research was as an artist rather than as a theorist, and what I hoped to do was understand how an Aboriginal woman might perceive the land around her and how she might perceive the pictorial space of the canvas. It was really an investigation in what determines Aboriginal aesthetics." The result is a new kind of practice, one that needs to be evaluated by both academic (in this case, anthropological) and artistic criteria.
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