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 2020-11-01 to 2024-11-01.)

Article	Citations
Contemporary Art and Class: Reassessing an Analytical Category	2
David Medalla: Dreams of Sculpture	2
Eloquence and Affect in Jacqueline Jung’s Eloquent Bodies	1
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	1
The Urge to Disappear: Janet Cardiff’s Audio Walks in London and New York	1
Print and the Early Modern Playing Card	1
Never Still! Nonhuman Life in Charles Demuth’s Green Pears	1
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	1
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	1
The Body Beyond	0
Morris Hirshfield and Art History in the Making	0
Abstracts	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Migrant Mother: Histories and Mythologies	0
Notes on Contributors	0
Art and Insurance after the Era of Statistics	0
Abstracts	0
Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
Notes on Contributors	0

Abstracts	0
Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Too Sexy for the nude	0
Impressionism After Impressionism	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Art History at the Water’s Edge	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Notes on Contributors	0
Concealing and Revealing the Face of Charles the Martyr King	0
Steinberg’s Other Criteria	0
Notes on Contributors	0
Abstracts	0
Abstracts	0
Charles Meryon’s Graphic Risks	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
‘With a Hem, Call Him In’: Human Authority and the Animal Gaze in the Flemish Trophy Piece	0
Museum Conversations	0
Valuing the Work of Jaume Huguet: A Painter and his Materials	0
The Spectacle of Crime	0
Ways of Seeing Impressionism circa 1968	0
On the Beaten Track	0
Women Counted in Early Modern Bologna	0
Pick Your Picasso	0
Hirschhorn’s Dilemma, or How Not to Ride Two Horses at Once	0
Beyond Rehearsed Positions	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Art histories of corporate imperialism and racial capitalism	0
Art and the Actuarial Imagination: Propositions	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Abstracts	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Thomas Cole’s Double View of Mount Holyoke	0
The Different Tenses of the Recent Past	0
Please Eat!	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Figino’s Efficacy: Portraits, Votives, and their Makers after Trent	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Fernand Léger’s Cinema of Pictorial Equivalence (and the Return to Disorder)	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
The Shopkeeper’s Renaissance	0
Notes on Contributors	0
Framing Transcultural Objects: New Approaches to Collecting in the Early Modern World	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0

Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Rock-Bound: Fitz Henry Lane in 1862	0
Pulverized Regions of Time	0
Art Collectives, Progress, and Forgetting in European Art after WWII	0
Thoroughly Modern Models	0
Concrete Violence – Wolf Vostell’s Disasters of War	0
Notes on Contributors	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
Photographic Power	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	0
Notes on Contributors	0
Abstracts	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
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Crafting ‘Craft’ in Japan	0
Passionate Detachment	0
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Notes on Contributors	0
A Box of Alabaster	0
Abstracts	0
Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy	0
Notes on Contributors	0
American Monument: Racism and Class	0
Review of Christopher Heuer Into the White	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Fuck You, Angels. Artworks as Allies in Care	0
A Feminist Queering	0
Abstracts	0
Non-Aligned Visions	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Why Does That Wolf Have Red On His Lips?	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Marcel Broodthaers, Poet in the Pop Trap. Archival Notes on an Artist’s Narrative	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Invisible enemies	0
OUP accepted manuscript	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
What Makes Mina Loy Modern?	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Priests Come and Go…	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Abstracts	0
‘Here, in Her Hairs/The Painter Plays the Spider …’: Spider Metaphors in William Shakespeare and Nicholas Hilliard	0
Making a Scene	0
Abstracts	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Notes on Contributors	0
City Seer: Alfred Stieglitz Circa 1900	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
Viewing Broken Things	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Notes on Contributors	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
Photographic Iconoclasm: Lee Friedlander’s The American Monument	0
Philip Guston Now	0
‘A Show Opened to All Artists’: The 1970 Liberated Venice Biennale and the Production of Dissent	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0