American Art

Papers
(The TQCC of American Art 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 2022-01-01 to 2026-01-01.)
ArticleCitations
Oil in the Archive9
Feeling Brown or Acting White?2
Front Matter2
Announcements2
Spirit Portraiture1
Front Matter1
Marcel Duchamp, Copyright, and the Emergence of Art as Idea1
Covers0
A Washington School “Thing”0
Whose Expanded Field?0
“Not Acceptable to the People”0
TheCemíand the Museum0
The Animacy of Objects0
Leveraging the Limited Edition0
Traces of Touch0
Cut and Sew0
Taxes, Tariffs, and the Creation of Isabella Stewart Gardner’s Fenway Court0
Front Matter0
The Turpentine State0
Covers0
Domesticating Jefferson Davis0
Abstract Nationalisms0
Material Absence, Relational Presence0
Announcements0
Extractive Ornament0
Appearing Asymptomatic0
The Portrait of Hanadagá•yas; or,George WashingtonReconsidered0
Front Matter0
Covers0
Seeing the National Museum of the American Indian Anew as a Diplomatic Assemblage0
2024 Patricia and Phillip Frost Essay Award; Invitations from the journal and SAAM’s fellowship program0
Crafting Territory in the Choctaw Homelands0
The International Origins of “Concerned Photography”0
Of Murals and Men0
Covers0
Covers0
Indigenous Space0
Covers0
Reframing Illustration0
Introduction0
Invitations and News from SAAM’s Fellowship and Scholarly Publishing Programs0
Amistad II0
Image Rights, Proprietorship, and Precedent in Cedric Dover’s American Negro Art (1960)0
Alma W. Thomas0
Visualizing Resource Extraction, 1840–19100
Copyright and Creative Practice0
Announcements0
Can Animals Own Copyright?0
Monumental Absence0
Operating on a Continuum of My Ancestors0
Inherent Vice0
Front Matter0
Islam and the Middle East in the United States0
Front Matter0
Tapping Canvases0
Announcements0
Front Matter0
Afro-Latinx Intersections0
Indexing Whiteness to American Design0
Harry Drinkwater and the Limits of Architectural Photography, 1966–690
Disarming Surveillance0
Covers0
Seeing the Survey Anew0
Front Matter0
Covers0
Felted Memories0
Visualizing Freedom0
Whither Black Art?0
Covers0
Covers0
Many Hands Make Light-Fingered Work0
Whiteness and the West before the Transcontinental Railroad0
Front Matter0
Artist as Arbiter0
Forging the Canon0
Covers0
Parodying the Biotech Industry0
Reclamations0
Announcements0
The McKinley Bowl’s Services and Disservices, 1898–19010
Islamic Architecture in New York Painting0
Mercury is a Messenger0
Excremental Miracles0
Introduction0
Juan Sánchez’s Counter-Archive0
Scene Painting0
Laocoön in the Tropics0
Poster Children of the Sun0
Nikkei Artist Collectives in Interwar California0
History in the First Person0
Playing the Long Game with Michael Jang0
Invitations and News from SAAM’s Fellowship and Scholarly Publishing Programs, including 2025 Charles C. Eldredge Prize Winner0
An Addendum to Pop0
Announcements0
The Storefront Method0
Drawing in the Daily News0
Plague Winds0
Portraiture in Indigenous London0
Announcements0
Power and Portraiture in a Bolivian Mining Town0
Plastic in Motion0
The Clean, Open Air of John Sloan’s Tenement Paintings0
Picturing White Skin on Elephant Tusk0
Christopher D’Arcangelo Speculates0
Front Matter0
Announcements0
“These cod factories”0
Conclusion0
Covers0
A Means of Protection or Destruction?0
From Acoma to the Bajío0
Donald Evans0
Crossing the Threshold0
Front Matter0
Sinners All0
The Specter of Slavery in the British Art Museum0
A Living Art0
Dark Stars0
Where to Begin0
Anisa̱lag̱a’s Claim to the “Seattle Pole”0
Announcements0
Front Matter0
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