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 2022-06-01 to 2026-06-01.)

Article	Citations
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	2
William Holman Hunt’s Fantastic Magic Lantern	1
Getting Away and Going With	1
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	1
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	1
Notes on Contributors	1
Notes on Contributors	1
Monet Remade	1
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	1
Charles Meryon’s Graphic Risks	1
A Box of Alabaster	1
Carlos Cruz-Diez’s Ephemeral Painted Walkways and the Politics of Mobility in Mid-1970s Caracas	1
The Rhône and the Saône	1
Why Does That Wolf Have Red On His Lips?	1
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	1
Abstracts	0
Contemporary Art and Class: Reassessing an Analytical Category	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
A Feminist Queering	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Notes on Contributors	0
Wastelands: East End Bombsites in Postwar Photography	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0

Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Notes on Contributors	0
Rococo Rubbish: Ornament and Waste in the Eighteenth-Century Paris Street	0
Women Artists Together	0
Abstracts	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Priests Come and Go…	0
Notes on Contributors	0
Impressionism After Impressionism	0
Women Counted in Early Modern Bologna	0
Morris Hirshfield and Art History in the Making	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Notes on Contributors	0
Correction to: Impotence and Incompetence: Edward Krasiński's Art and Writing	0
American Monument: Racism and Class	0
Abstracts	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
HIV, the Country, and the City: Helen Chadwick’s Viral Landscapes	0
Ways of Seeing Impressionism circa 1968	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
Touching Stone: Rembrandt’s Aristotle with the Bust of Homer	0
New Spatial Visions: Hadi Bara’s Critique of Architecture Formes Couleur	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Notes on Contributors	0
Abstracts	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
Photographic Power	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Please Eat!	0
Abstracts	0
Pick Your Picasso	0
Ruskin’s Double Plots	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Coals for the Study: Reading Fire in William Westall’s Views of Australia	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Body Talk	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Abstracts	0
Beyond Revisionism	0
Notes on Contributors	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Fuck You, Angels. Artworks as Allies in Care	0
Art and the Actuarial Imagination: Propositions	0
Family Phantasmagoria: Antoine Claudet, Stereographs, and Middle-Class Dummies	0

Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
On the Beaten Track	0
Entangled Histories of Art and Medicine	0
James Ensor, Animal Activist	0
What Makes Mina Loy Modern?	0
City Seer: Alfred Stieglitz Circa 1900	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Abstracts	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
The Spectacle of Crime	0
Concealing and Revealing the Face of Charles the Martyr King	0
Beyond Rehearsed Positions	0
Notes on Contributors	0
Art and Insurance after the Era of Statistics	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
The Materialist Imagination: Essays in Honour of Caroline Arscott	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Realist Pastoral and the Painting of Modern Life	0
Viewing Broken Things	0
Notes on Contributors	0
Colour Matters	0
Monument to? Kara Walker’s Fons Americanus and the Commemorative Entanglements of the Present	0
Abstracts	0
Millais and Yellow	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
Making It Function Differently: TV Sculpture	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Twists in Time: Apricots and Pomegranates by Albert Moore	0
Abstracts	0
The Unstable Lives of Monuments	0
Notes on Contributors	0
Museum Conversations	0
Crafting ‘Craft’ in Japan	0
Tatlinism, or Dada’s Bluff	0
Vitality of Form in Ruskin and Pater on Michelangelo	0
Abstracts	0
Morse’s Media	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Impotence and Incompetence: Edward Krasiński’s Art and Writing	0
Wonders: Guide Culture and Narrative Detail in Western Images Related to Pilgrimage in the Holy Land	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0