OOIR: Observatory of International Research

Papers

(The median citation count 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 2021-08-01 to 2025-08-01.)

Article	Citations
Non-Aligned Visions	2
Getting Away and Going With	1
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	1
Marcel Broodthaers, Poet in the Pop Trap. Archival Notes on an Artist’s Narrative	1
Notes on Contributors	1
Notes on Contributors	1
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	1
Notes on Contributors	1
Carlos Cruz-Diez’s Ephemeral Painted Walkways and the Politics of Mobility in Mid-1970s Caracas	1
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Please Eat!	0
Review of Christopher Heuer Into the White	0
Women Counted in Early Modern Bologna	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
The Shopkeeper’s Renaissance	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	0
Man in the Middle: Ingres’s Portrait of Louis-François Bertin at the Salon of 1833 and the Problem of the Juste Milieu	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Morris Hirshfield and Art History in the Making	0
Notes on Contributors	0
A Box of Alabaster	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0

American Monument: Racism and Class	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
City Seer: Alfred Stieglitz Circa 1900	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
Invisible enemies	0
Notes on Contributors	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0
Notes on Contributors	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
Contemporary Art and Class: Reassessing an Analytical Category	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Notes on Contributors	0
The Spectacle of Crime	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
Never Still! Nonhuman Life in Charles Demuth’s Green Pears	0
Art and Insurance after the Era of Statistics	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
Wastelands: East End Bombsites in Postwar Photography	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Priests Come and Go…	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Notes on Contributors	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Art histories of corporate imperialism and racial capitalism	0
Crafting ‘Craft’ in Japan	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
Monet Remade	0
Museum Conversations	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
Print and the Early Modern Playing Card	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Abstracts	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
On the Beaten Track	0
Charles Meryon’s Graphic Risks	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Viewing Broken Things	0
Fuck You, Angels. Artworks as Allies in Care	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0

The Body Beyond	0
Concrete Violence – Wolf Vostell’s Disasters of War	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Tatlinism, or Dada’s Bluff	0
Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages	0
Beyond Rehearsed Positions	0
Notes on Contributors	0
Migrant Mother: Histories and Mythologies	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Body Talk	0
Abstracts	0
Abstracts	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Notes on Contributors	0
Abstracts	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Abstracts	0
Abstracts	0
Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Figino’s Efficacy: Portraits, Votives, and their Makers after Trent	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Making It Function Differently: TV Sculpture	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Abstracts	0
Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	0
Art and the Actuarial Imagination: Propositions	0
Pick Your Picasso	0
Abstracts	0
Notes on Contributors	0
Why Does That Wolf Have Red On His Lips?	0
Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
The Unstable Lives of Monuments	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Impotence and Incompetence: Edward Krasiński’s Art and Writing	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
The Different Tenses of the Recent Past	0
What Makes Mina Loy Modern?	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Abstracts	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
A Feminist Queering	0
Concealing and Revealing the Face of Charles the Martyr King	0
Abstracts	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Abstracts	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Impressionism After Impressionism	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
Colour Matters	0
HIV, the Country, and the City: Helen Chadwick’s Viral Landscapes	0
Photographic Power	0
Coals for the Study: Reading Fire in William Westall’s Views of Australia	0
Ways of Seeing Impressionism circa 1968	0