Concerning the higher education bubble and employability, John Leo writes:
Employers, because they realize that many college graduates aren’t really educated, now routinely quiz job seekers on what they majored in and what courses they took, a practice virtually unknown a generation ago. Good luck if you majored in gender studies, communications, art history, pop culture, or (really) the history of dancing in Montana in the 1850s.
He implies that those who major in the five disciplines he mentions, or in kindred areas, will need luck since their training and capabilities will not be adequate to pass muster. In short, they "aren't really educated." Well, maybe. But one of these things is not like the others. One of these things just doesn't belong here….
Art history isn't one of the fashionable new disciplines, along the lines of <noun>-studies, that arose in the academic turmoil of the 20th century's latter half. As an academic endeavor, it has historical roots similar to those of psychology and economics: rumblings of inquiry and analysis in the late 1700s, disciplinary differentiation on the continent in the later 1800s, and finally a blossoming between the wars. Even in the United States, the PhD in art history (to say nothing of the undergraduate major) has been around since the 1940s. On a broad definition, art history as a systematic learned endeavor traces back to the monumental 16th-century labors of Giorgio Vasari.
Art history requires facility with languages, engagement with intellectual history, an understanding of evolving technologies of representation and communication, and a grasp of the rich interaction among methodologies and social forces underlying creation, distribution, consumption, and analysis. Maybe some who choose art history desire to look at and laud the pretty pictures — a practice better understood as art appreciation — but many who pursue it do so because doing art history well is hard, and there's pleasure in doing hard things well.
Perhaps the foregoing is true, too, of "gender studies, communications, …pop culture, or …the history of dancing" but I can't speak to that question with authority. (As for the broader anti-humanistic trend, I've called it out before). This much seems true: thinking that the study of art history doesn't provide a "real education" (including, but not limited to, skills valuable to employers) betrays not just ignorance of the particulars but a contempt for the humanistic endeavor in general.
John Leo isn't alone in his trench; it's not hard in excavating the word hoard of today's techno-intellectual cultural backlash to find other examples of sneering disdain. Standing with one foot in the humanities and the other in STEM, I'm disappointed to see complex, mature, and deeply rooted disciplines trashed alongside academic novelties and questionable latecomers, all in the service of a monolithic, pragmatic vision of education as mere job training.
Good luck if your pedagogical vision is limited to empirical and procedural questions of what and how. Why and whether and what to do with paradox and gray– these also matter.