The Center awards fellowships to scholars across various career levels, from predoctoral students to senior professionals. We host around 20 fellows at any given time at the National Gallery of Art and support predoctoral fellows conducting research around the world.

Fellows are at the heart of our residential community, joining appointed professors, postdoctoral research associates, undergraduate interns, and staff to create a thriving group of approximately 50 people. Fellows who relocate are provided office space in the National Gallery’s East Building and housing nearby, subject to availability.

We welcome applications for the following fellowships: 

Visiting Senior Fellowships

Award period: one two-month period between March 1 and August 15, 2025

Application deadline: September 21, 2024

Senior Fellowships

Award period:  September 2025–May 2026, or a single semester therein 

Application deadline: October 15, 2024

Postdoctoral Fellowships

Award periods: June 15–August 15, 2025; September 2025–August 2027

Application deadline: October 15, 2024

Predoctoral Dissertation Fellowships

Award period: one to three years beginning September 2025

Application deadline: November 15, 2024 (portal opens August 15)

"Is there anybody out there? UFOs, UAPs, and American Art"

AHAA-sponsored panel at CAA 2025

In 2017, Leslie Kean reported in the New York Times that the U.S. government has taken U.F.O.s. seriously for decades. Resembling something out of “The X-Files,” her article, “Glowing Auras and ‘Black Money’: The Pentagon’s Mysterious U.F.O. Program,” was the first of several intelligence disclosures, rekindling the public’s interest in otherworldly technology and beings. Kean’s article appeared seventy years after the famous “Roswell incident.” Between those two events, American culture has been rife with art and imagery about U.F.O.s. This session examines artistic responses to Ufology. Papers should center the perspective and interpretations of “experiencers” – makers who believed that they or others had first-hand encounters. How did they translate encounters with a creature, being, intelligence, or technology that derived from beyond Earth? What does renewed interest in U.F.O.s say about our relationship to the planet’s ecological crisis; what does it say about our trust in or fear of technology or government? How have these concerns shifted over the past eighty years? A vast and growing Ufology literature in the humanities is full of interdisciplinary convergences. Art history has barely scratched the surface. Scholars such as Jeffrey Kripal have led the way, stewarding the Archives of the Impossible at Rice University, a center for studying this phenomena. Possible artists/subjects: Macena Barton, Peter Charlie Besharo, Rev. Howard Finster, Budd Hopkins, Mike Kelley, Paul Laffoley, John McCracken, Howardena Pindell, Sun Ra, Prophet Royal Robertson, Diego Romero, Ionel Talpazan; Indigenous nations long engaging this subject; ex-voto imagery that include U.F.O.s and extraterrestrial encounters.

Deadlines:

Thursday, August 29, 2024

To submit, visit the College Art Association's website: 

https://caa.confex.com/caa/2025/webprogrampreliminary/Session15199.html

Keywords:
Geographic Area: North America 
Geographic Area: United States of America 
Time Period: Eighteenth Century to Present 
Topics: Science and Art 
Topics: Outsider Art 

Exhibition Reviews Editor

Join the journal’s editorial team for a three-year term beginning with our November 2024 issue. For the first time this year, we are able to offer a modest stipend for our section editor positions. Deadline for applications August 1. For more info to apply:  https://bit.ly/4cA0vcS

Call for Proposals: Colloquium

Panorama is seeking proposals for a Colloquium—a suite of short texts that trace a conversation or debate on a topic that is of interest to the field—to appear in the November 2024 issue. We’re thinking about how artists have embraced, critiqued, and or reformulated iconic American symbols in their practices over time—and what art historians and curators may be able to learn from these approaches as we move forward with terms like “Americanist” as fundamental to cohering a field despite its limiting dimensions. Deadline August 24. For more info and to submit: https://bit.ly/3ROUTU2

Minneapolis, MN – The Executive Editors of Panorama: Journal of the Association of Historians of American Art are pleased to announce that the Henry Luce Foundation has awarded the journal with a new $250,000 grant. The Luce Foundation has been a key funder of the journal in covering operating expenses from Panorama’s very beginning. Luce was the first foundation to support the journal with a start-up grant in 2012, and since that time the foundation has provided the journal with new operating grants in 2015, 2017, 2018, and most recently 2021. This new general operating grant will provide the journal with the flexibility and stability that is necessary for its continued good health and long-term sustainability.
 
“Panorama has benefited from the sustained support of the Henry Luce Foundation, and we are thrilled to receive such a significant grant at a critical moment in our history,” said Keri Watson, a co-Executive Editor and the journal’s inaugural Finance and Grants Manager. “Now in our tenth year of publication, Panorama will use these funds to secure our long-term financial stability.”
 
Panorama is published twice a year, with past issues archived on the journal website. In addition to peer-reviewed feature articles, Panoramapublishes an extensive array of Book Reviews, Exhibition Reviews, and Research Notes, presenting innovative projects currently in the works. It also features Colloquium—a popular section pairing brief scholarly and polemical texts with responses from academics, curators, critics, and other interpreters of art and visual culture in the United States—and In the Round, suites of scholarly articles organized around a common theme.
 
Panorama promotes some of the most diverse, vital, and accessible work being done in our field, which this grant from the Luce Foundation recognizes. The journal is a dedicated venue for accessible scholarship that mirrors the diversity of the United States, underscoring how the study of American art is relevant to the needs and interests of today’s students and future audiences. The journal’s fully digital, open-access platform is essential to that access.
 
About Panorama
Panorama (journalpanorama.org) is the first peer-reviewed, open-access, online journal dedicated to publishing groundbreaking scholarship on visual and material culture that circulates within and beyond the constructed geographies of what is now the United States. Published by University of Minnesota Libraries, the journal values and models collaboration, inclusivity, and dialogue in its content, presentation formats, and contributors. The publication—which offers texts of varying lengths authored by leading and emerging thinkers—serves specialists, students at various levels, and lifelong learners.

About the Luce Foundation for American Art
The Henry Luce Foundation seeks to deepen knowledge and understanding in pursuit of a more democratic and just world. Established in 1936 by Henry R. Luce, the co-founder and editor-in-chief of Time, Inc., the Luce Foundation advances its mission by nurturing knowledge communities and institutions, fostering dialogue across divides, enriching public discourse, amplifying diverse voices, and investing in leadership development. A leader in arts funding since 1982, the Luce Foundation's American Art Program advances the role of American art in realizing more vibrant and empathetic communities. Through support for innovative projects, it empowers institutions to celebrate creativity, elevate underrepresented voices, challenge accepted histories, and seek common ground.  

Panorama, journal of the Association of Historians of American Art
Volume 10, no. 1
Spring 2024

FEATURES

“Peripheral Prints: Karamu House and the Rise of African American Art in the Midwest”
Erin Benay

“Psychedelic Patriotism: Peter Max’s Sparks a Debate on Modern Representations of America”
David McKinney

IN THE ROUND

“Ex-Artists in America”
Introduction by Oliver O'Donnell, guest editor

“Jilted: Samuel F. B. Morse at Art’s End”
Paul Staiti

“The Artistic Life and Afterlives of William James Stillman”
Diana Strazdes

“Lee Lozano’s Revolution, or Quitting Art at the End of the 1960s”
Chloë Julius

“‘No Art’ Protests: Restricting and Withdrawing Artistic Labor Downtown”
Tom Day

RESEARCH NOTES

“The Republic of the Spirit: Thomas Cole’s The Voyage of Life in Two Novels by Edith Wharton”
Jessica Skwire Routhier

“Sigismund Ivanowski: Illustrating Teddy Roosevelt”
Mindy Farmer

“Louis Carlos Bernal’s Photographs of TV Screens and Domestic Interiors”
Jennifer Wingate

DIGITAL DIALOGUES

“The Florence Arquin Slide Project: Art, Pan Americanism, and the Digital Humanities”
Emily Fenichel, Camila Afanador-Llach

“Art, Bananas, Cash: Learning from Banana Craze”
Sonia de Laforcade

"Act As If You Are a Curator: An AI-Generated Exhibition" (at the Nasher Museum of Art, Duke University
Erin Dickey

BOOK REVIEWS

Portraits of Resistance: Activating Art during Slavery
By Jennifer Van Horn
Reviewed by Bruce Robertson

The Forest: A Fable of America in the 1830s
By Alexander Nemerov
Reviewed by Rachael DeLue

Speculative Landscapes: American Art and Real Estate in the Nineteenth Century
By Ross Barrett
Reviewed by William Coleman

Ben Shahn: On Nonconformity
By Laura Katzman et al.
Reviewed by Katherine Mintie

When Eero Met His Match: Aline Louchheim Saarinen and the Making of an Architect
By Eva Hagberg
Reviewed by Annmarie Adams

EXHIBITION REVIEWS

Fashioned by Sargent
Museum of Fine Arts, Boston
Reviewed by Lea Stephenson

A Movement in Every Direction: Legacies of the Great Migration
Brooklyn Museum
Reviewed by Chloe Ming

Marking an Era: Celebrating Self Help Graphics & Art at 50
Laguna Art Museum
Reviewed by Margot Yale

Han
Korean American Artists Collective at Culture House, Washington, DC
Reviewed by Ashley E. Kim Duffey

Dawoud Bey: Elegy
Virginia Museum of Fine Arts
Reviewed by Sharayah Cochran

$150,000 will support the Journal of the Association of Historians of American Art

Minneapolis, MN – The Executive Editors of Panorama: Journal of the Association of Historians of American Art are pleased to announce that the Andrew W. Mellon Foundation has awarded the journal a three-year $150,000 grant. This grant supports the digital journal’s operations, provides professional development in art history and digital humanities, and underwrites the journal’s web hosting by the University of Minnesota Libraries Publishing.

“Panorama is thrilled to receive such a substantial grant from the Andrew W. Mellon Foundation at a critical moment in the journal’s history,” said Keri Watson, a co-Executive Editor and the journal’s Finance and Grants Manager. “As we enter our tenth year, Panorama is working to establish an operational fund that will secure our long-term sustainability and ensure that we can continue to expand our digital art history initiatives and support emerging and established scholars. Funding from the Mellon Foundation makes this important work possible.”

Panorama promotes the most diverse, vital, and accessible work being done in our field, which this grant from the Andrew W. MellonFoundation recognizes. Its fundamental dedication to accessible scholarship that mirrors the diversity of the United States underscores how the study of American art is relevant to the needs and interests of today’s students and future audiences. Essential to that access is a fully digital, open-access venue for publication.

In the journal’s inaugural issue, founding editors Ross Barrett, Sarah Burns, and Jennifer Jane Marshall anticipated how “the broad view taken by the journal’s title” would nurture “experimental, hybrid approaches” and “seize the timeliness and flexibility of our online medium.”  Seventeen issues later, with the latest edition of Panorama set to publish on November 15, 2023, the journal has established itself as a platform for disciplinary rigor and innovation, publishing a wide array of content from both established scholars and diverse and emerging professionals from both academia and the museum world. 

In addition to peer-reviewed feature articles, Panorama publishes an extensive array of Book Reviews, Exhibition Reviews, and Research Notes, presenting innovative projects currently in the works. It also features Colloquium, a popular section pairing brief scholarly and polemical texts with responses from academics, curators, critics, and other interpreters of art and visual culture; In the Round, suites of articles investigating a common theme; and Digital Dialogues, responses to digital art history projects and initiatives. 

Panorama’s most recent issue features a suite of essays on “Producing and Consuming the Image of the Female Artist,” a Colloquium titled “Beyond Copyright: How Does Law Impact Art?” and a robust Digital Dialogues section on digital catalogues raisonnés. The upcoming issue includes an investigation of public and private forms of museum funding that concludes a series of digital art history research projects supported by a grant from the Terra Foundation for American Art, highlights “automobility” and the centrality of the car in a section titled “Reframing Art and Travel in American Art,” and features an article that extends contemporary concerns of the environmental humanities by reframing atmospheric light within the context of Gilded Age-era air pollution. 

About Panorama

Panorama (journalpanorama.org) is the first peer-reviewed, open-access, online journal dedicated to publishing groundbreaking scholarship on visual and material culture that circulates within and beyond the constructed geographies of what is now the United States. Published by University of Minnesota Libraries, the journal values and models collaboration, inclusivity, and dialogue in its content, presentation formats, and contributors. The publication—which offers texts of varying lengths authored by leading and emerging thinkers—serves specialists, students at various levels, and lifelong learners.

About the Andrew W. Mellon Foundation

The Andrew W. Mellon Foundation is the nation’s largest supporter of the arts and humanities. Since 1969, the Foundation has been guided by its core belief that the humanities and arts are essential to human understanding. The Foundation believes that the arts and humanities are where we express our complex humanity, and that everyone deserves the beauty, transcendence, and freedom that can be found there. Through our grants, we seek to build just communities enriched by meaning and empowered by critical thinking, where ideas and imagination can thrive. Learn more at mellon.org.

Harnessing the innovative potential of digital technologies, Panorama, the born-digital journal of the Association of Historians of American Art offers open access to groundbreaking scholarship on visual and material culture. Panorama embrace the study of the diverse artistic production that circulates within and beyond the constructed geographies of what is now the United States. The journal values and models collaboration, inclusivity, and dialogue in its content, presentation formats, and contributors. The publication—which offers texts of varying lengths authored by leading and emerging thinkers—serves specialists, students at various levels, and lifelong learners. Panorama is published online twice a year.

Panorama welcomes scholarly submissions in various formats, including Research Notes. Research Notes are short works of original scholarship that bring attention to recent research discoveries, creative methodologies, or projects in development (curatorial, academic, and/or digital). The journal eagerly encourages submissions from early career scholars and museum colleagues on topics such as new acquisitions, education programming, discoveries from the vault, reinstallation projects, exhibition development and/or feedback, and other institutional topics relevant to the field. Authors are encouraged to consider multimedia presentations for their work, interactive illustrations, or other components that are intrinsic to the journal’s digital format.

Research Notes are usually written in the first person, so that the author’s voice and excitement are significant. They can be informal in tone and speculative in content; at the same time, essays should demonstrate significant engagement with an image, art object, or archival find through detailed visual analysis and attention to the scholarly context for the discovery. Most authors place their presentation of the object, discovery, or project’s main questions/interventions in the introductory paragraph, including or followed by how they discovered the information. Essays should clearly explain the significance of the discovery, analyzing and speculating on how it fits within (or is adjacent to) the context of their larger research agenda, contributes to the field, and/or suggests new directions for scholarly exploration. Research Notes are an opportunity to share those wonderful moments when fresh information comes to light, to introduce new resources that may be of interest to other scholars, and/or to begin conversation within the broader American art intellectual community.

Research Notes are usually around 2,500-4,500 words long; they may include footnotes and up to five illustrations. 

For more information, please see Panorama's Submissions page and/or contact one of the Research Notes editors:

• Emily C. Burns, University of Oklahoma: emily.burns@ou.edu
• Katelyn Crawford, Birmingham Museum of Art: kcrawford@artsbma.org

Panorama : Journal of the  Association of Historians of American Art is the first-ever born-digital, open-access journal for the study of American art and visual culture (broadly defined). We take that commitment to access seriously, which means not only is our content free to read, but we do not charge author fees and we provide support for our contributors' rights and reproduction expenses. We are also committed to publishing the work of emerging  and nontraditional scholars, as well as voices from underrepresented communities and from outside the field of art history. 

With that in mind, we invite you to meet with Panorama's editors on Friday, September 30, at 3 p.m. Eastern, to learn the ins and outs of publishing with us. We will begin with a presentation on who we are, what we do, and how we handle submissions, followed by a question-and-answer session. This event is FREE and open to all. 

For more information and to register: https://www.nyhistory.org/conversations-american-art-museums

August 31, 2022

To submit, visit the College Art Association's website:

https://caa.confex.com/caa/2023/webprogrampreliminary/meeting.html

Fields of Study:

Geographic Area: North America
Geographic Area: Latin America
Topics: African Diaspora
Topics: Asian Diaspora
Topics: Indigenous peoples

Chairs:

Caitlin Meehye Beach - cbeach1@fordham.edu and Katherine Fein, Columbia University - katherine.fein@columbia.edu

Executive Director, Chesterwood Historic Site

EDITORS’ WELCOME


FEATURE ARTICLES

“Seeing Flora’s Profile as Portrait”
Phillip Troutman, Jennifer Van Horn


“‘The Sunflower’s Bloom of Women’s Equality’: New Contexts for Mary Cassatt’s La Femme au tournesol”
Nicole Georgopulos


“Visuality and the Plantationocene: The Panoramas of Regina Agu”
Allison Young

 

IN THE ROUND

“Art History and the Local”
Julia Silverman, Mary McNeil

“Obligations to the Local: Solidarity as Method in LaToya Ruby Frazier’s The Last Cruze”
Samuel Ewing

 
“The Tide is Turning: Gullah Vernacular Knowledge and the Ecologies of Lowcountry Basketmaking”
Molly Robinson

 
“Arabian Nights in the Mississippi Delta: The Embroideries of Ethel Wright Mohamed”
Rachel Winter

 
“Of Dreams, Relatives, Spirits and the Peabody Museum of Archaeology and Ethnology at Harvard”
Anthony Trujillo

 
“Beyond Land Acknowledgments”
Marina Tyquiengco, Layla Bermeo, Tess Lukey

 

COLLOQUIUM

“Exploring Indisposability: The Entanglements of Crip Art”
Jessica Cooley, Ann M. Fox

 
“Unsolid Ground/Pile”
Kevin Quiles Bonilla

 
“Mississippi Appendectomy”
Heather Lynn Johnson
 

“BRUISED”
Pamela Sneed
 

“TEXERE: The Shape of Loss Is a Tapestry”
Indira Allegra

 
“Melancholy as Medium”
Jill Casid

 
“More From 3AM: Excerpts from Late September, 2020”
Allison Leigh Holt
 

“When We Gather”
Alex Dolores Salerno
 

“Slow Time, Slow Futurity”
Ellen Samuels

  

RESEARCH NOTES

“Iconoclasm on Paper: Resistance in the Pages of Emory’s Narrative of the Life and Adventures of Henry Bibb, an American Slave, 1849”
Ellery Foutch
 

“‘Moral Lessons’: Charles Deas’s The Wounded Pawnee”
Carol Clark

 
“Naming Naquayouma: A Collaborative Approach to American Murals and Indigeneity at the 1937 International Exposition”
Phillippa Pitts, Davida Fernández-Barkan

  

BOOK REVIEWS

The Word in the Wilderness: Popular Piety and the Manuscript Arts in Early Pennsylvania
By Alexander Lawrence Ames
Reviewed Christopher M. B. Allison
 

Gems of Art on Paper: Illustrated American Fiction and Poetry, 1785–1885
By Georgia Brady Barnhill
Reviewed by Julie Mellby

 
Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art
By Diana Seave Greenwald
Reviewed by Elizabeth Block
 

Remade in America: Surrealist Art, Activism and Politics, 1940–1978
By Joanna Pawlik
Reviewed by Sandra Zalman

  

EXHIBITION REVIEWS

“Exhibition Reviews in the Time of COVID-19”
Exhibition Reviews Editors

 
Whistler to Cassatt: American Painters in France
Denver Art Museum
Reviewed by Annette Stott
 

Georgia O’Keeffe
Museo Thyssen Bornemisza, Madrid
Reviewed by Beatriz Cordero

 
Joseph E. Yoakum: What I Saw
Museum of Modern Art, New York
Reviewed by Elizabeth Driscoll Smith

 
Cauleen Smith: Give It or Leave It
Los Angeles County Museum of Art
Reviewed by Emma Silverman

Programming related to Drawn from Nature & on Stone will explore Fitz Henry Lane’s life and career in detail and against the backdrop of 19th century printmaking culture in America. A symposium will be held on Saturday, October 28 at which six scholars working in fields related to the history of graphic arts will present their research to the public. Their presentations will explore such diverse topics as how race and race relations were portrayed in prints in the period following the issuance of the Emancipation Proclamation in January 1863; the role women artists and artisans played in printmaking during the 19th century; and how the rise of industrialization in towns such as Lowell and Lawrence, Massachusetts, affected the careers of Fitz Henry Lane and other artists. The symposium will be held in the Cape Ann Museum’s auditorium and will be a day-long event. Space is limited for the October 28 symposium and seats are available on a first come, first served basis. For more information or to make a reservation visit  http://www.capeannmuseum.org/events/laid-down-paper-print-making-america-1800-1865/
 

The CAA-Getty International Program, generously supported by the Getty Foundation, provides funding to between fifteen and twenty art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conferences. The goal of the project is to increase international participation in CAA, to diversify the association’s membership, and to foster collaborations between North American art historians, artists, and curators and their international colleagues.

Grant information and details can be found at: http://www.collegeart.org/programs/travel-grants/caa-getty-international-program

The journal seeks field editors for books in the following subject areas: digital humanities; Early Modern Iberian and Colonial Latin American Art; nineteenth-century art; Early Modern and Southern European Art. The journal also seeks a field editor for exhibitions in the Northeast. Candidates may be artists, art or design historians, critics, curators, or other professionals in the visual arts; institutional affiliation is not required.

Working with the caa.reviews editor-in-chief, the editorial board, and CAA’s staff editor, each field editor selects content to be reviewed, commissions reviewers, and reviews manuscripts for publication. Field editors for books are expected to keep abreast of newly published and important books and related media in their fields of expertise, and field editors for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions. The Council of Field Editors meets annually at the CAA Annual Conference. Field editors must pay travel and lodging expenses to attend the conference.

Candidates must be current CAA members and should not currently serve on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Deidre Thompson, CAA publications assistant. Deadline: May 1, 2017.