Around ten years ago, I had a transformative experience at a fundraising event in Brooklyn. The director of a residency program encouraged me to apply for a Van Lier studio fellowship, igniting a spark of hope and momentum in my artistic journey. However, my optimism was swiftly met with rejection due to being just seven days over the age limit set by the program. This incident highlighted the rigid constraints of time that govern the art world, dictating who is deemed “emerging,” who receives support, and who is left behind.

The concept of chrononormativity, as elucidated by cultural theorist Elizabeth Freeman in her book Time Binds: Queer Temporalities, Queer Histories, sheds light on how societal norms impose linear timelines on individuals, particularly in the arts. The pressure to conform to predetermined career stages by certain ages overlooks the diverse paths and experiences of artists, many of whom navigate nonlinear trajectories, interruptions, and returns to their practice.

Institutions like the Van Lier fellowship enforce age caps and categories that reflect donor mandates, perpetuating a system that favors those who adhere closely to the prescribed timeline. This exclusivity is further exacerbated by systemic barriers, such as recent challenges to affirmative action in higher education that impact the entry points for marginalized artists into the art world.

The intersection of age restrictions and respectability politics disproportionately affects Black artists, who are often steered towards traditional educational pathways as markers of legitimacy. However, the reality of caregiving responsibilities, diverse career trajectories, and personal circumstances can prevent many artists from meeting these narrow criteria, reinforcing exclusion rather than inclusivity.

While some programs like the Van Lier fellowship adhere strictly to age limits, others, such as the Burke Prize and MacDowell residency, demonstrate more nuanced approaches by extending eligibility and focusing on the quality of work rather than age. These alternative models challenge the notion of chrononormativity and offer a more inclusive framework for supporting artists at various stages of their careers.

Programs like Stoneleaf, the Wassaic Project, and Artists & Mothers acknowledge the nonlinear realities of artistic life by providing family residencies and childcare grants, recognizing the diverse paths that artists traverse. By reimagining career stage definitions, pausing eligibility clocks for caregiving, and creating parallel funds for reentrants, the art world can move towards a more equitable and empathetic support system for all artists.

Ultimately, the art world must confront the inherent biases embedded in chrononormativity and embrace the multiplicity of artistic timelines that exist. By dismantling age-based restrictions and designing structures that reflect the complexities of artists’ lives, institutions can truly strive towards equitable support for a diverse range of creators.