artbull-argument-developmentUse when building the central art-historical argument of an Art Bulletin article — the thesis, its stakes, and the chain from visual and documentary evidence to interpretation. The Art Bulletin rewards a fresh, well-warranted claim, not description. Shapes the argument; it does not generate evidence
artbull-evidence-and-sourcesUse when assembling and handling the non-visual evidence for an Art Bulletin article — objects, archives, primary documents, provenance, and technical findings — and citing them rigorously. Art-historical claims must rest on verifiable sources, not assertion. Guides evidence handling; it does not fa
artbull-images-and-permissionsUse to plan and execute the illustration, copyright-permission, and reproduction-quality workflow for an Art Bulletin article — the distinctive, slow, author-funded task of art-historical publishing. The author secures and pays for rights and supplies high-resolution images. Manages the image workfl
artbull-review-processUse to understand how The Art Bulletin evaluates a submission — double-blind peer review, what referees and the editor look for in art-historical work, and the likely decision outcomes. Helps anticipate review; it does not contact editors or simulate a specific referee.
artbull-revision-and-responseUse when revising an Art Bulletin manuscript after a decision and writing the response to referees — converting double-blind reviewers without diluting the art-historical contribution, while keeping anonymity and the image/permissions plan on track. Structures the response; it does not fabricate new
artbull-scholarly-positioningUse when situating an Art Bulletin article in the historiography and scholarly literature of art history. The Art Bulletin expects engagement with prior interpretation, methods, and debates across the field, not just the literature on one object. Positions the contribution; it does not do the lookin
artbull-structure-and-expositionUse when organizing an Art Bulletin article so the argument unfolds clearly and the figures are integrated at the right moments within the ~16,000-word limit including endnotes. Art-historical exposition must move the reader through the objects, not around them. Shapes structure; it does not write t
artbull-submissionUse when running the final pre-submission preflight for The Art Bulletin — double-blind anonymization, the required Word files (manuscript, abstract, illustrations, captions, cover sheet), word/abstract/illustration caps, Chicago formatting, and the permissions status. Final checks; it does not draf
artbull-topic-selectionUse when deciding whether an art-history project fits The Art Bulletin and how to frame its contribution. The Art Bulletin is the discipline's leading generalist journal across all periods and regions, so the test is a significant art-historical contribution, not a local description. Helps frame the
artbull-visual-analysisUse when performing the close visual and formal analysis that anchors an Art Bulletin article — describing and interpreting composition, form, medium, facture, scale, and viewing conditions of specific works, tied to numbered figures. Close looking is the discipline's core method. Guides the analysi
artbull-workflowUse as the entry point for any The Art Bulletin manuscript in art history. Routes to the right Art Bulletin sub-skill based on where you are in the lifecycle, with early attention to the image-and-permissions workload that art-historical publishing requires. It dispatches; it does not draft content.
artbull-writing-style-and-citationUse when polishing prose and formatting citations for an Art Bulletin article to The Chicago Manual of Style — endnotes (not author-date), full credit-line captions, and consistent CAA-style formatting. Art-historical writing must be precise about objects and rigorous in its notes. Handles style and