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 2021-05-01 to 2025-05-01.)

Article	Citations
Non-Aligned Visions	2
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	1
Notes on Contributors	1
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	1
Notes on Contributors	1
Marcel Broodthaers, Poet in the Pop Trap. Archival Notes on an Artist’s Narrative	1
Carlos Cruz-Diez’s Ephemeral Painted Walkways and the Politics of Mobility in Mid-1970s Caracas	1
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	1
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Contemporary Art and Class: Reassessing an Analytical Category	0
Notes on Contributors	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
A Box of Alabaster	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy	0
Migrant Mother: Histories and Mythologies	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Review of Christopher Heuer Into the White	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
American Monument: Racism and Class	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0

Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Figino’s Efficacy: Portraits, Votives, and their Makers after Trent	0
Notes on Contributors	0
Art histories of corporate imperialism and racial capitalism	0
Notes on Contributors	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
Abstracts	0
Museum Conversations	0
Morris Hirshfield and Art History in the Making	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
Abstracts	0
Abstracts	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
A Feminist Queering	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Impotence and Incompetence: Edward Krasiński’s Art and Writing	0
The Body Beyond	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Body Talk	0
The Different Tenses of the Recent Past	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Beyond Rehearsed Positions	0
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Notes on Contributors	0
Abstracts	0
Charles Meryon’s Graphic Risks	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
Colour Matters	0
Ways of Seeing Impressionism circa 1968	0
Fuck You, Angels. Artworks as Allies in Care	0
Abstracts	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Concrete Violence – Wolf Vostell’s Disasters of War	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Women Counted in Early Modern Bologna	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Crafting ‘Craft’ in Japan	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0

Art and the Actuarial Imagination: Propositions	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
Tatlinism, or Dada’s Bluff	0
Photographic Power	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Viewing Broken Things	0
Please Eat!	0
Invisible enemies	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Abstracts	0
Notes on Contributors	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Notes on Contributors	0
City Seer: Alfred Stieglitz Circa 1900	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
Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages	0
Impressionism After Impressionism	0
Notes on Contributors	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
The Spectacle of Crime	0
Why Does That Wolf Have Red On His Lips?	0
Wastelands: East End Bombsites in Postwar Photography	0
Print and the Early Modern Playing Card	0
Art and Insurance after the Era of Statistics	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
The Unstable Lives of Monuments	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
Priests Come and Go…	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Abstracts	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Abstracts	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
Never Still! Nonhuman Life in Charles Demuth’s Green Pears	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Abstracts	0
What Makes Mina Loy Modern?	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Pick Your Picasso	0
Notes on Contributors	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Concealing and Revealing the Face of Charles the Martyr King	0
Abstracts	0
On the Beaten Track	0