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 2021-11-01 to 2025-11-01.)

Article	Citations
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	2
Monet Remade	1
Notes on Contributors	1
Non-Aligned Visions	1
Getting Away and Going With	1
The Rhône and the Saône	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
Notes on Contributors	1
Tatlinism, or Dada’s Bluff	0
Museum Conversations	0
Abstracts	0
Notes on Contributors	0
Abstracts	0
HIV, the Country, and the City: Helen Chadwick’s Viral Landscapes	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
Notes on Contributors	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Invisible enemies	0
Morse’s Media	0
Abstracts	0
Notes on Contributors	0
Concealing and Revealing the Face of Charles the Martyr King	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0

The Spectacle of Crime	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Notes on Contributors	0
Please Eat!	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Notes on Contributors	0
Art and Insurance after the Era of Statistics	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Notes on Contributors	0
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	0
A Feminist Queering	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
Realist Pastoral and the Painting of Modern Life	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
The Body Beyond	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Abstracts	0
Wastelands: East End Bombsites in Postwar Photography	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
On the Beaten Track	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
Notes on Contributors	0
City Seer: Alfred Stieglitz Circa 1900	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Abstracts	0
Photographic Power	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Contemporary Art and Class: Reassessing an Analytical Category	0
Ways of Seeing Impressionism circa 1968	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Family Phantasmagoria: Antoine Claudet, Stereographs, and Middle-Class Dummies	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Abstracts	0
Abstracts	0
Abstracts	0

American Monument: Racism and Class	0
Crafting ‘Craft’ in Japan	0
Priests Come and Go…	0
Making It Function Differently: TV Sculpture	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
William Holman Hunt’s Fantastic Magic Lantern	0
Millais and Yellow	0
Abstracts	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
A Box of Alabaster	0
The Shopkeeper’s Renaissance	0
Charles Meryon’s Graphic Risks	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Pick Your Picasso	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
Art and the Actuarial Imagination: Propositions	0
Rococo Rubbish: Ornament and Waste in the Eighteenth-Century Paris Street	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0
What Makes Mina Loy Modern?	0
Notes on Contributors	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Viewing Broken Things	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
Vitality of Form in Ruskin and Pater on Michelangelo	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Body Talk	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Notes on Contributors	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Beyond Rehearsed Positions	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Impressionism After Impressionism	0
Ruskin’s Double Plots	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Coals for the Study: Reading Fire in William Westall’s Views of Australia	0
Colour Matters	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Women Counted in Early Modern Bologna	0
The Materialist Imagination: Essays in Honour of Caroline Arscott	0
Abstracts	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Abstracts	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
The Unstable Lives of Monuments	0
Why Does That Wolf Have Red On His Lips?	0
Art histories of corporate imperialism and racial capitalism	0
Morris Hirshfield and Art History in the Making	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Twists in Time: Apricots and Pomegranates by Albert Moore	0
Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
Fuck You, Angels. Artworks as Allies in Care	0