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 2020-04-01 to 2024-04-01.)

Article	Citations
David Medalla: Dreams of Sculpture	2
Contemporary Art and Class: Reassessing an Analytical Category	1
Never Still! Nonhuman Life in Charles Demuth’s Green Pears	1
Eloquence and Affect in Jacqueline Jung’s Eloquent Bodies	1
The Urge to Disappear: Janet Cardiff’s Audio Walks in London and New York	1
Sounds of Silence: Conducting Technology and Nature	1
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	1
Abstracts	1
Mouth Work: Writing the Voice of the Mother Tongue in the Art of Theresa Hak Kyung Cha	1
Fuck You, Angels. Artworks as Allies in Care	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
Abstracts	0
Non-Aligned Visions	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Abstracts	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Marcel Broodthaers, Poet in the Pop Trap. Archival Notes on an Artist’s Narrative	0
Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait	0
American Monument: Racism and Class	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
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
The Shopkeeper’s Renaissance	0

Purpose, Power, and Possibility: A History of Museums Past and Present	0
Too Sexy for the nude	0
Abstracts	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Notes on Contributors	0
Making a Scene	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Impressionism After Impressionism	0
Thoroughly Modern Models	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
City Seer: Alfred Stieglitz Circa 1900	0
Concealing and Revealing the Face of Charles the Martyr King	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Art History at the Water’s Edge	0
Women Counted in Early Modern Bologna	0
Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Pick Your Picasso	0
Abstracts	0
Notes on Contributors	0
A Box of Alabaster	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
Review of Christopher Heuer Into the White	0
Introduction: Voice as Form	0
Toward a Horizon of Un-Knowing: Voice, Aurality, and the Politics of Identification in the Art of Vong Phaophanit and Claire Oboussier	0
Shot by the Artist	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Notes on Contributors	0
Notes on Contributors	0
Art histories of corporate imperialism and racial capitalism	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
between the voice between the words between the work between us	0
Fernand Léger’s Cinema of Pictorial Equivalence (and the Return to Disorder)	0
Notes on Contributors	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Please Eat!	0
Invisible enemies	0
Notes on Contributors	0
Art Collectives, Progress, and Forgetting in European Art after WWII	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Abstracts	0
Framing Transcultural Objects: New Approaches to Collecting in the Early Modern World	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Concrete Violence – Wolf Vostell’s Disasters of War	0

Abstracts	0
Pulverized Regions of Time	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Affiliations of Postcolonial Art History	0
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	0
Abstracts	0
Photographic Power	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Rock-Bound: Fitz Henry Lane in 1862	0
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	0
Notes on Contributors	0
Engendering the Buddhist State	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Photographic Iconoclasm: Lee Friedlander’s The American Monument	0
‘With a Hem, Call Him In’: Human Authority and the Animal Gaze in the Flemish Trophy Piece	0
The Body Beyond	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	0
Passionate Detachment	0
Migrant Mother: Histories and Mythologies	0
Museum Conversations	0
Notes on Contributors	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Print and the Early Modern Playing Card	0
Abstracts	0
The Different Tenses of the Recent Past	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy	0
Why Does That Wolf Have Red On His Lips?	0
Figino’s Efficacy: Portraits, Votives, and their Makers after Trent	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Valuing the Work of Jaume Huguet: A Painter and his Materials	0
OUP accepted manuscript	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages	0
Possessing the Voice: Ventriloquism and Agency in Apichatpong Weerasethakul’s Cemetery of Splendour (2015)	0
‘Global’ Discourse and the Transcultural Field of Contemporary Art in China	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Ways of Seeing Impressionism circa 1968	0
Priests Come and Go…	0
What Makes Mina Loy Modern?	0
Steinberg’s Other Criteria	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Abstracts	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Notes on Contributors	0
‘Here, in Her Hairs/The Painter Plays the Spider …’: Spider Metaphors in William Shakespeare and Nicholas Hilliard	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
Crafting ‘Craft’ in Japan	0
Notes on Contributors	0
‘A Show Opened to All Artists’: The 1970 Liberated Venice Biennale and the Production of Dissent	0
Hirschhorn’s Dilemma, or How Not to Ride Two Horses at Once	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Abstracts	0
Morris Hirshfield and Art History in the Making	0
Philip Guston Now	0
Thomas Cole’s Double View of Mount Holyoke	0
Notes on Contributors	0
Beyond Rehearsed Positions	0