Dr. John Ott

• Research Fellow, Lunder Institute for American Art, Colby College, 2019–20
• Paul Mellon Visiting Senior Fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, D.C., 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
• Society for the Preservation of American Modernists Publication Grant, 2014
• Wyeth Foundation for American Art Publication Grant, 2012
• Senior Fellowship, Center for the History of Collecting, Frick Art Reference Library, 2012
• Robert Lehman Foundation Senior Scholar Fellowship, Rockwell Center for American Visual Studies, 2012
• Smithsonian Postdoctoral Fellowship, 2009–10
• Patricia and Phillip Frost Essay Award (“for the most distinguished contribution to American Art”), 2009
• JMU College of Visual and Performing Arts Madison Scholar, 2009–10
• JMU General Education Distinguished Teacher, 2010–11

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

• “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 Bulletin100:1 (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.

• “Graphic Consciousness: The Visual Cultures of Integrated Industrial Unions at Midcentury,” American Quarterly 66:4 (December 2014): 883–918.

Current:

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

• “African American Art Beyond the Harlem Renaissance,” in Eddie Chambers, ed., Routledge Companion to African American Art History(London: Routledge, forthcoming 2019). “Occidental Arrangements: Midcentury Episodes in an Emerging Global History of Art,” in Sandra Zalman and Austin Porter, eds., Reintroducing the Modern: The First Twenty Years at MoMA, 1929–1949(New York: Bloomsbury, forthcoming 2019).

• “Art and Economics” (with Robin Veder), American Art33:3 (Fall 2019)

• “Race Forms: African-American Athletes in Eadweard Muybridge’s Photographs and Gilded Age Philadelphia”