This paper aims to respond to the need for a model of doctoral supervision that can capture and represent the focus, range and complexity of instructional intentions, practices and possibilities.
The study draws on the substantive literature on supervision and changing doctoral programs in the Fine Arts and relatively new empirical findings about supervision and learning. The authors posit a holistic model of supervision ranging across micro–macro and product–person dimensions. The model is further explained and illustrated using four supervisor cases in Fine Arts.
The model offers a heuristic for supervisors to reflect on and identify existing emphases, alignments and integrative possibilities to better understand the complexities of Fine Arts supervisory practices.
There is a dearth of research that addresses how doctoral supervisors perceive and articulate their roles and breadth of responsibilities in light of new programs and changing sectoral expectations.
