ABOUT US
emaj (electronic Melbourne art journal) is the only online, refereed art history journal published in Australia. emaj aims to provide an international forum for the publication of original academic research in all areas and periods of art history. Topics covered include fine arts, architecture, curatorship, politics and aesthetics, visual culture, philosophy, historiography and museum studies. emaj welcomes monographic articles about specific artists or art collectives as well as thematic or theoretical analyses on aspects of art history.
emaj was founded in 2005 as a research platform for postgraduate art historians. While the journal remains primarily devoted to the work of emerging scholars, submissions are open to all researchers investigating the history of art. The motivation for a refereed art history journal that spans all media and historical periods is twofold. Firstly, it provides a point of cohesion: emaj is designed to unite disparate threads of art historical scholarship within a single frame. Secondly, in presenting a diverse array of research, emaj hopes to encourage dialogue between traditionally segregated fields of enquiry. What might a new media analyst learn from a researcher working on Renaissance perspective? How might an historian of Japanese wood-block prints benefit from publishing their work in tandem with a history of Baroque stage design? In publishing articles that diverge in focus and yet remain within the scope of the discipline, emaj intends both to highlight the diversity of histories of art and to support interaction between scholars working in different fields.
emaj is published annually in association with the University of Melbourne. All articles are between four and six thousand words and are blind-refereed by academics working within the relevant field.
Editors
Robyn Dold is a PhD candidate in Australian art history at The University of Melbourne. She researches the emergence of installation art in Australia in the late 1960s and early 1970s. She also works as a Program Coordinator at the National Gallery of Victoria, Melbourne.
Dr Amelia Douglas is a curator, writer and art historian based in Melbourne. She completed her PhD on the work of contemporary French artist Pierre Huyghe at the University of Melbourne in 2008.
Katrina Grant is a PhD Candidate in the School of Culture and Communication at The University of Melbourne. Her research area is the relationship between gardens and theatre in Baroque Italy. She has previously published articles upon the villas and gardens of Lucca.
Mark Shepheard is a PhD candidate in Art History at the University of Melbourne. His thesis is a study of Italian musician portraits of the seventeenth and eighteenth centuries. He also produces 'The Early Music Experience' for Melbourne radio station 3MBS FM.
Ryan Johnston is finalising his PhD dissertation entitled 'Eduardo Paolozzi: History is Bunk!' at the University of Melbourne, where he also teaches.
Tim Ould has a BA (Hons.) degree from the University of Melbourne, with a major in Fine Arts (Art History). He is currently completing his PhD in Art History, on Jacopo Zucchi's Frescoes in the Palazzo Ruspoli in Rome, at the School of Culture and Communication at the University of Melbourne, under the supervision of Associate Professor David Marshall. He works as a research assistant at the Centre for Cultural Materials Conservation.
Acknowledgements
The emaj editors would like to thank all of our anonymous referees for their invaluable assistance; David Marshall for his continued support; The School of Culture and Communications at the University of Melbourne for financial and other contributions, and; Abby Robinson and Erin McGowan for the generous design and layout of our website.
Disclaimer
The opinions and views expressed in this journal do not reflect those of the editors.