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 2020-03-01 to 2024-03-01.)
ArticleCitations
Red Power in the Black Panther10
Seeing the Survey Anew8
Uncivil Obedience2
Dancing in the Flames1
Christopher D’Arcangelo Speculates1
Artistic Process and Domestic Labor in Liza Lou’s Kitchen1
Add Bates, the 306 Studio, and Interlocking Modernisms in Mid-Twentieth-Century Harlem1
Georgia O’Keeffe’s Hawai‘i?1
Illuminating the Shadows of “Liberty”: George Washington and Blackness in American Art1
Where to Begin1
Reproducing the New Negro1
The Art Market as a System1
Melvin Edwards Decides1
Announcements1
The In/Visibility of Mourning1
Joshua C. Taylor (1917–1981)1
Front Matter0
Driving the American Dream0
Front Matter0
Picturing White Skin on Elephant Tusk0
Reframing Illustration0
Front Matter0
Front Matter0
Front Matter0
Covers0
Anisa̱lag̱a’s Claim to the “Seattle Pole”0
Marcel Duchamp, Copyright, and the Emergence of Art as Idea0
Covers0
Appendix0
Front Matter0
Out of the Shadows0
Of Murals and Men0
Introduction0
Front Matter0
“The Thirteenth Century Men”: Looking to the Past to Critique the Present0
Power and Portraiture in a Bolivian Mining Town0
Islam and the Middle East in the United States0
Front Cover0
Spinster Tales0
Covers0
Material Absence, Relational Presence0
About the Authors0
Sonja Sekula and “Art of the Mentally Ill”0
Remapping Resistance0
Announcements0
Front Cover0
Front Matter0
Poster Children of the Sun0
About the Authors0
Front Matter0
Announcements0
A Dissenting Realism0
Back Cover0
Visualizing Freedom0
Announcements0
Announcements0
About the Authors0
Front Cover0
Front Matter0
Seeing the Survey Anew0
Afro-Latinx Intersections0
An Addendum to Pop0
Drawing in the Daily News0
Copyright and Creative Practice0
Indexing Whiteness to American Design0
Parodying the Biotech Industry0
Donald Evans0
Unfolding Metamorphosis, or the Early American Tactile Image0
Dark Stars0
Front Matter0
Ruth Asawa’s Early Wire Sculpture and a Biology of Equality0
Announcements0
Feeling Brown or Acting White?0
Whose Expanded Field?0
Front Cover0
The Portrait of Hanadagá•yas; or,George WashingtonReconsidered0
Domesticating Jefferson Davis0
Radically Anti-Modern0
Many Hands Make Light-Fingered Work0
Islamic Architecture in New York Painting0
“The Requisite Local Coloring”0
Announcements0
Front Cover0
Portraiture in Indigenous London0
Covers0
Between the Lines0
Call for Papers0
Sinners All0
In Memoriam: David C. Driskell (1931–2020)0
The McKinley Bowl’s Services and Disservices, 1898–19010
Front Cover0
Charles C. Eldredge0
Covers0
Statement from the Secretary of the Smithsonian0
Visionaries and Stewards0
The International Origins of “Concerned Photography”0
Announcements0
Tonita Peña and the Politics of Pueblo Art0
“The Last Word in Direct Naive Realism”0
Plastic in Motion0
The Storefront Method0
Monumental Absence0
Image Rights, Proprietorship, and Precedent in Cedric Dover’s American Negro Art (1960)0
Whiteness and the West before the Transcontinental Railroad0
Laocoön in the Tropics0
Juan Sánchez’s Counter-Archive0
Floating on a Chemical Sea0
The Specter of Slavery in the British Art Museum0
Announcements0
Back Cover0
Covers0
Can Animals Own Copyright?0
How to Have Color in a Pandemic0
TheCemíand the Museum0
“I” is for “Italian”0
Seeing the National Museum of the American Indian Anew as a Diplomatic Assemblage0
An Artist in the Secular World0
A Means of Protection or Destruction?0
William Trost Richards’s “Real Drawing” and the Currency of Watercolor, ca. 1875–850
Conclusion0
Maya Modern0
Scholarship in the Museum0
Abstract Nationalisms0
Design Intervention0
The Clean, Open Air of John Sloan’s Tenement Paintings0
About the Authors0
Cartography as Collage/Collage as Cartography0
Announcements0
Indigenous Space0
Front Matter0
Designing Polaroid0
0.032683134078979