Cameron Hurst is a writer, editor, and art historian based in Naarm/Melbourne, Australia.
Contact: cameronhurst38 [at] gmail.com
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Cameron is a founding editor of the newsletter The Paris End. The Paris End publishes non-fiction essays and arts and culture reviews. EXCLUSIVE! Dispatches from The Paris End is a book of selected essays from the newsletter (Giramondo, 2025).
She is a contributing editor of art criticism publication Memo Review, and an editor of art history publication Index Journal. She has written for scholarly and general readership arts publications such as Artlink, HEAT, Arena, and the Australian and New Zealand Journal of Art (ANZJA).
Currently, she is undertaking a PhD in the Art History program at the University of Melbourne ("Whose Autumn? Flatness and Devotion in the Global Circulation of Early Netherlandish Art"). In 2023/24, she completed an MA in the History of Art ("Reinterpreting the Object. Late Medieval and Renaissance Art in Northern Europe c. 1360-1520") at the Courtauld Institute of Art, University of London. Her dissertation received The Courtauld Award for Outstanding Overall Achievement.
She has taught art history and cultural studies subjects to undergraduate students across the University of Melbourne and Monash University.
She previously led a research project on the early twentieth-century Australian artist Norman Lindsay. The project included an exhibition of the University of Melbourne's Lindsay collection and an edited collection of essays, Venus in Tullamarine: Art, Sex, Politics, and Norman Lindsay (Index Books, 2023).
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Published on the land of the Wurundjeri and Woiwurrung people of the Kulin Nations. Sovereignty was never ceded.
Contact: cameronhurst38 [at] gmail.com
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Cameron is a founding editor of the newsletter The Paris End. The Paris End publishes non-fiction essays and arts and culture reviews. EXCLUSIVE! Dispatches from The Paris End is a book of selected essays from the newsletter (Giramondo, 2025).
She is a contributing editor of art criticism publication Memo Review, and an editor of art history publication Index Journal. She has written for scholarly and general readership arts publications such as Artlink, HEAT, Arena, and the Australian and New Zealand Journal of Art (ANZJA).
Currently, she is undertaking a PhD in the Art History program at the University of Melbourne ("Whose Autumn? Flatness and Devotion in the Global Circulation of Early Netherlandish Art"). In 2023/24, she completed an MA in the History of Art ("Reinterpreting the Object. Late Medieval and Renaissance Art in Northern Europe c. 1360-1520") at the Courtauld Institute of Art, University of London. Her dissertation received The Courtauld Award for Outstanding Overall Achievement.
She has taught art history and cultural studies subjects to undergraduate students across the University of Melbourne and Monash University.
She previously led a research project on the early twentieth-century Australian artist Norman Lindsay. The project included an exhibition of the University of Melbourne's Lindsay collection and an edited collection of essays, Venus in Tullamarine: Art, Sex, Politics, and Norman Lindsay (Index Books, 2023).
/
Published on the land of the Wurundjeri and Woiwurrung people of the Kulin Nations. Sovereignty was never ceded.