OOIR: Observatory of International Research

Papers

(The TQCC 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
Mouth Work: Writing the Voice of the Mother Tongue in the Art of Theresa Hak Kyung Cha	1
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
Morris Hirshfield and Art History in the Making	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
Abstracts	0
Notes on Contributors	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Please Eat!	0
Thomas Cole’s Double View of Mount Holyoke	0
Fuck You, Angels. Artworks as Allies in Care	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Abstracts	0
Non-Aligned Visions	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
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
Pulverized Regions of Time	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
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Notes on Contributors	0
The Shopkeeper’s Renaissance	0
Photographic Power	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
‘With a Hem, Call Him In’: Human Authority and the Animal Gaze in the Flemish Trophy Piece	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Engendering the Buddhist State	0
Notes on Contributors	0
Making a Scene	0
Passionate Detachment	0
Thoroughly Modern Models	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
City Seer: Alfred Stieglitz Circa 1900	0
Notes on Contributors	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
Pick Your Picasso	0
Abstracts	0
Print and the Early Modern Playing Card	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
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
Introduction: Voice as Form	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
Review of Christopher Heuer Into the White	0
Correction to: 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
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Shot by the Artist	0
Notes on Contributors	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
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
Priests Come and Go…	0
What Makes Mina Loy Modern?	0
Fernand Léger’s Cinema of Pictorial Equivalence (and the Return to Disorder)	0
‘Here, in Her Hairs/The Painter Plays the Spider …’: Spider Metaphors in William Shakespeare and Nicholas Hilliard	0
Invisible enemies	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Notes on Contributors	0

Notes on Contributors	0
Notes on Contributors	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
Abstracts	0
Art Collectives, Progress, and Forgetting in European Art after WWII	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	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
Philip Guston Now	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
Beyond Rehearsed Positions	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
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Photographic Iconoclasm: Lee Friedlander’s The American Monument	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
The Body Beyond	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Abstracts	0
Museum Conversations	0
Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait	0
American Monument: Racism and Class	0
Migrant Mother: Histories and Mythologies	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	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
Abstracts	0
The Different Tenses of the Recent Past	0
Too Sexy for the nude	0
Abstracts	0
Why Does That Wolf Have Red On His Lips?	0
Figino’s Efficacy: Portraits, Votives, and their Makers after Trent	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Valuing the Work of Jaume Huguet: A Painter and his Materials	0
Impressionism After Impressionism	0
OUP accepted manuscript	0
Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages	0
Concealing and Revealing the Face of Charles the Martyr King	0
Possessing the Voice: Ventriloquism and Agency in Apichatpong Weerasethakul’s Cemetery of Splendour (2015)	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Notes on Contributors	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Ways of Seeing Impressionism circa 1968	0
‘Global’ Discourse and the Transcultural Field of Contemporary Art in China	0
On the Beaten Track	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
Toward a Horizon of Un-Knowing: Voice, Aurality, and the Politics of Identification in the Art of Vong Phaophanit and Claire Oboussier	0
Abstracts	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Notes on Contributors	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
Art histories of corporate imperialism and racial capitalism	0