OOIR: Observatory of International Research

Papers

(The TQCC of Oxford Art Journal is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-10-01 to 2025-10-01.)

Article	Citations
Non-Aligned Visions	2
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	1
Notes on Contributors	1
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	1
Carlos Cruz-Diez’s Ephemeral Painted Walkways and the Politics of Mobility in Mid-1970s Caracas	1
The Rhône and the Saône	1
Notes on Contributors	1
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0
Please Eat!	0
American Monument: Racism and Class	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Contemporary Art and Class: Reassessing an Analytical Category	0
Notes on Contributors	0
Colour Matters	0
Notes on Contributors	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
The Spectacle of Crime	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Notes on Contributors	0

Monet Remade	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
A Box of Alabaster	0
Coals for the Study: Reading Fire in William Westall’s Views of Australia	0
Ways of Seeing Impressionism circa 1968	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Millais and Yellow	0
Notes on Contributors	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
The Shopkeeper’s Renaissance	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
Abstracts	0
Art and the Actuarial Imagination: Propositions	0
Viewing Broken Things	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
What Makes Mina Loy Modern?	0
Abstracts	0
The Body Beyond	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Notes on Contributors	0
Impotence and Incompetence: Edward Krasiński’s Art and Writing	0
Morse’s Media	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
On the Beaten Track	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Abstracts	0
Ruskin’s Double Plots	0
City Seer: Alfred Stieglitz Circa 1900	0
Concealing and Revealing the Face of Charles the Martyr King	0
Notes on Contributors	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Body Talk	0
The Materialist Imagination: Essays in Honour of Caroline Arscott	0
Art and Insurance after the Era of Statistics	0
Abstracts	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
Abstracts	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Wastelands: East End Bombsites in Postwar Photography	0
The Unstable Lives of Monuments	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Priests Come and Go…	0

A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Fuck You, Angels. Artworks as Allies in Care	0
Charles Meryon’s Graphic Risks	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Notes on Contributors	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Art histories of corporate imperialism and racial capitalism	0
Abstracts	0
Twists in Time: Apricots and Pomegranates by Albert Moore	0
Pick Your Picasso	0
Notes on Contributors	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Rococo Rubbish: Ornament and Waste in the Eighteenth-Century Paris Street	0
Abstracts	0
A Feminist Queering	0
HIV, the Country, and the City: Helen Chadwick’s Viral Landscapes	0
Impressionism After Impressionism	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Abstracts	0
Invisible enemies	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Vitality of Form in Ruskin and Pater on Michelangelo	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Notes on Contributors	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Family Phantasmagoria: Antoine Claudet, Stereographs, and Middle-Class Dummies	0
Abstracts	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Beyond Rehearsed Positions	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
Getting Away and Going With	0
Tatlinism, or Dada’s Bluff	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
William Holman Hunt’s Fantastic Magic Lantern	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Realist Pastoral and the Painting of Modern Life	0
Why Does That Wolf Have Red On His Lips?	0
Abstracts	0
Women Counted in Early Modern Bologna	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Making It Function Differently: TV Sculpture	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Morris Hirshfield and Art History in the Making	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Museum Conversations	0
Crafting ‘Craft’ in Japan	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
Abstracts	0
Photographic Power	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0