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 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
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
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
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Morris Hirshfield and Art History in the Making	0
Impressionism After Impressionism	0
Notes on Contributors	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Notes on Contributors	0
American Monument: Racism and Class	0
Abstracts	0
Abstracts	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0

Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Making It Function Differently: TV Sculpture	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
The Sun Is God: Turner, Angerstein, and Insurance	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
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
The Unstable Lives of Monuments	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Abstracts	0
Tatlinism, or Dada’s Bluff	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0
Abstracts	0
Pick Your Picasso	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	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
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Body Talk	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Abstracts	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Beyond Revisionism	0
Women Artists Together	0
Art and the Actuarial Imagination: Propositions	0
Family Phantasmagoria: Antoine Claudet, Stereographs, and Middle-Class Dummies	0
On the Beaten Track	0
Priests Come and Go…	0
Entangled Histories of Art and Medicine	0
James Ensor, Animal Activist	0
City Seer: Alfred Stieglitz Circa 1900	0
Women Counted in Early Modern Bologna	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Abstracts	0
The Spectacle of Crime	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Concealing and Revealing the Face of Charles the Martyr King	0
Beyond Rehearsed Positions	0
Art and Insurance after the Era of Statistics	0
Correction to: Impotence and Incompetence: Edward Krasiński's Art and Writing	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
The Materialist Imagination: Essays in Honour of Caroline Arscott	0

Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
New Spatial Visions: Hadi Bara’s Critique of Architecture Formes Couleur	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
Photographic Power	0
Millais and Yellow	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
Please Eat!	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Ruskin’s Double Plots	0
Twists in Time: Apricots and Pomegranates by Albert Moore	0
Abstracts	0
Notes on Contributors	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Museum Conversations	0
Crafting ‘Craft’ in Japan	0
Vitality of Form in Ruskin and Pater on Michelangelo	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Abstracts	0
Morse’s Media	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Notes on Contributors	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
Abstracts	0
Fuck You, Angels. Artworks as Allies in Care	0
Contemporary Art and Class: Reassessing an Analytical Category	0
A Feminist Queering	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
What Makes Mina Loy Modern?	0
Wastelands: East End Bombsites in Postwar Photography	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Notes on Contributors	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Notes on Contributors	0
Notes on Contributors	0
Rococo Rubbish: Ornament and Waste in the Eighteenth-Century Paris Street	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Abstracts	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Notes on Contributors	0