This hierarchy has been in question for a while now, and is an ongoing area of contention (9/PB1). In the latest guest-edited issue (June 2014, on Chinese art historiography), the dialogic relationship between Western and non-Western art histories is revealed in its complexity: several non-native scholars deconstruct the work of contemporary Chinese art historians in order to reveal certain localized agendas (10/JG1, 10/PG1).

Disorganized. Etc. Turn-around was pretty fast: it took 13 months from initial submission to publication in print. Publication was relatively fast (within a year), but I am not sure it is always the case. Waited 9 months for acceptance: second reviewer had bailed, not journal's fault, but a replacement was quickly secured. This year’s forthcoming issue will address the reception of ‘primitive’ art in Europe at the end of the nineteenth century. Members receive 75% off subscriptions to Art History. Important scholarly works are scrutinized from novel perspectives. To this end, the section ‘Reinventing the Old Masters’ (Dec 2010) explores what one can learn from non-traditional sources, about the reception of artists during their lifetimes. Publication was within 2-3 months, and review/edits were critical, constructive and informed. Similar ideas relating to the Vienna School’s wider intellectual network are also discussed in a selection of conference papers published in the December 2009 issue. Reasonable turn-around time but absolutely no feedback given with rejections. Very good experience.

The categorisations below are necessarily fluid, and are designed simply to help the reader navigate his or her way around the increasingly multifaceted field of art historiography. We have placed cookies on your device to allow the website to perform better for you. My review process took 2.5 months, which seemed very fast (especially since it happened around the holidays). Perhaps this is symptomatic of today’s sharpened sense of cultural self-consciousness. My experience was very good. Did you receive useful feedback? Alternate issues of this bi-annual publication are guest-edited by scholars specialising in a ‘subfield’, or particularly under-studied area, of art history. The contributions to this journal map the most recent and relevant developments in the ongoing interrogation of that indeterminate question: how do we, or should we, study art and its traditions? Welcome to ArtHistory.us, an online, open access journal encompassing all aspects of art history and visual culture. The increasingly cross-cultural, interdisciplinary nature of contemporary art itself is mirrored in the ever richer, complex network of ideas which make up the study of the history of art. Great experience. One paper explores the potential for learning about Jasper Johns’ artistic intentions by treating the difficult experience of interviewing him as centrally important to understanding his thought processes (7-AH/1).

The issue re-evaluates the cultural identity of the group of scholars known collectively as the Vienna School of Art History (whose best-known representatives are Alois Riegl and Max Dvořák).

It took 6 months from submission to publication. A paper focusing on Alois Riegl looks not so much at his theories and methods, but rather the significance of his practical work as a curator of textiles at the Austrian Museum for Art and Industry (3-DRC/1). A paper published in the journal’s very first issue uncovers the influence of music on Alois Riegl’s understanding of the history of art (1-RWi/1). The Journal of Art Historiography, an open-access peer-reviewed e-journal, is dedicated to the self-critical exploration of art history as a methodological practice.

It publishes essays and critical reviews that foreground methodological self-reflexivity and highlights specific areas of concern and interest to the field through its special issue programme.

December 2011 offers an examination of Giorgio Vasari’s use of epitaphs in Lives (5-MWG/1), and a discussion of the historicist-modernist tensions present in the scholar’s treatment of artistic ‘progress’ (5-IV/1). Copy editing non-existent. Helpful feedback. Exhibition practice is explored in relation to the cultivating of national identity in Australia (7-RR/1), New Zealand (4-AS/1, 4-CLJMCS/1), and Ireland (9/NNG1). Bringing into dispute the scholarly assumptions, aesthetic concepts, and meta-narratives which have shaped art history – including the narrative frameworks of periodization, the ‘canon’, style evolution – is a necessary task of art historiography. Art History, founded in 1978, under the auspices of the Association of Art Historians, represents a much broader constituency and it can be considered alongside Art Bulletin, the journal of the American College Art Association, founded in 1913. Alternative avenues of historical enquiry are opened up in relation to more contemporary art; these include an article written on an experiment involving the use of the questionnaire as a potential source of future art historical knowledge (5-LC/1).

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