Dr. John Ott

• Association for Critical Race Art History
• Association of Historians of American Art
• American Studies Association
• College Art Association
• Southeastern College Art Conference 

• Research Fellow, Lunder Institute for American Art, Colby College, 2019–20
• Paul Mellon Visiting Senior Fellowship, Center for Advanced Study in the Visual Arts, 2019
• American Council of Learned Societies Project Development Grant, 2018–2019
• National Endowment for the Humanities Summer Stipend, 2016
• John H. Daniels Fellowship, National Sporting Library & Museum, 2016
• SECAC William R. Levin Award for Research in the History of Art, 2015

Manufacturing the Modern Patron in Victorian California: Cultural Philanthropy, Industrial Capital, and Social Authority (Ashgate Press, 2014; paperback, Routledge, 2016).

“African American Art Beyond the Harlem Renaissance,” in Eddie Chambers, ed., The Routledge Companion to African American Art History (London: Routledge, 2020), pp. 41-51.

“Art and Economics” (co-edited with Robin Veder), American Art 33:3 (Fall 2019): 2-31.

“Metropolitan, Inc.: Public Subsidy and Private Gain at the Genesis of the American Art Museum,” in Margaret R. Laster and Chelsea Bruner, eds., New York, Cultural Capital of the Gilded Age (London: Routledge, 2018), pp. 122–38.

“Hale Woodruff’s Antiprimitivist History of Abstract Art,” Art Bulletin 100:1 (March 2018): 124–45.

“Netted Together: Eadweard Muybridge’s Animal Locomotion at the Dawn of Comparative Biology,” in Alan C. Braddock and Laura Turner Igoe, eds., A Greene Country Towne: Philadelphia, Ecology, and the Material Imagination (Penn State University Press, 2017), 81–95.

“A Show of Unity: Art Exhibitions, Racial Integration, and the CIO,” International Review of African American Art 26:3 (October 2016): 28–33.

“The Warp and Woof of the Archive: Or, Anton Refregier, from Macy’s Showroom to Congressional Hearing,” Archives of American Art Journal 55:1 (Spring 2016): 50–63.

“Westward Contraction: Maynard Dixon Paints the Great Depression,” in Marion Wardle and Sarah Boehme, eds., Branding the American West (Oklahoma University Press, 2016), 64–87.

“Battle Station MoMA: Jacob Lawrence and the Desegregation of the Armed Forces and the Art World,” American Art 29:3 (Fall 2015): 58–89.

"Patrons, Collectors, and Markets,” in John Davis, Jennifer Greenhill, and Jason LaFountain, eds, Blackwell Companion to American Art (Malden, Mass.: Wiley Blackwell, 2015), pp. 525–34.

Forthcoming: 

Muybridge and Mobility, with Tim Cresswell. Defining Moments in Photography, ed. Anthony Lee (under contract, University of California Press).

Mixed Media: The Visual Cultures of Racial Integration, 1931–1954.

“Occidental Arrangements: Midcentury Episodes in an Emerging Global History of Art,” in Sandra Zalman and Austin Porter, eds., Modern in the Making: MoMA and the Modern Experiment, 1929–1949 (New York: Bloomsbury, forthcoming fall 2020).

“Archives and the Pandemic,” Archives of American Art 60:1 (Spring 2021) 

Ott is on the advisory board of Archives of American Art Journal.

Peer Reviewer for American Art, American Indian Quarterly, Archives of American Art Journal, Ashgate Press, Art History, Bloomsbury Publishing, Duke University Press, Nineteenth-Century Art Worldwide, Panorama, University of California Press, University of Chicago Press, Yale University Press, and Winterthur Portfolio

External Peer Reviewer for promotion and/or tenure applications at a Midwestern liberal arts college, a Midwestern research institution, a Northeastern arts school, a Northeastern state university, a Southern research institution, a Western liberal arts college, a Western research institution, and a Western state university 

Juror for the Carter Woodson Fellowship program, the College Art Association Wyeth Publication Grant, Terra Foundation Research Travel Grants to the United States, the Archives of American Art Graduate Research Essay Prize, the Terra Foundation Academic Workshop and Symposium Grants, the SECAC William R. Levin Award, and NEH Summer Stipends