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 2022-08-01 to 2026-08-01.)
ArticleCitations
Covers9
Oil in the Archive4
Feeling Brown or Acting White?2
Front Matter2
Front Matter2
Ansel Adams at Union Carbide1
Spirit Portraiture1
Operating on a Continuum of My Ancestors1
The Tip of the Iceberg1
A Means of Protection or Destruction?0
Forging the Canon0
Announcements0
Covers0
Front Matter0
Covers0
Covers0
Invitations and News from SAAM’s Fellowship and Scholarly Publishing Programs0
Indigenous Space0
LaToya Ruby Frazier and the Promise of Class Dynamism0
Remembering the Ladies in George Caleb Bingham’s Election Series0
Announcements0
Invitations and News from SAAM’s Fellowship and Scholarly Publishing Programs, including 2025 Charles C. Eldredge Prize Winner0
Juan Sánchez’s Counter-Archive0
Announcements0
Front Matter0
Islam and the Middle East in the United States0
Traces of Touch0
Cut and Sew0
“Not Acceptable to the People”0
Nikkei Artist Collectives in Interwar California0
The Turpentine State0
Harry Drinkwater and the Limits of Architectural Photography, 1966–690
Playing the Long Game with Michael Jang0
Plague Winds0
Material Absence, Relational Presence0
From Acoma to the Bajío0
Front Matter0
Alma W. Thomas0
Invitations and News from SAAM’s Fellowship and Scholarly Publishing Programs, including 2025 Patricia and Phillip Frost Essay Award0
Appearing Asymptomatic0
Disarming Surveillance0
2024 Patricia and Phillip Frost Essay Award; Invitations from the journal and SAAM’s fellowship program0
Reclamations0
Occlusion0
Front Matter0
Of Murals and Men0
Whiteness and the West before the Transcontinental Railroad0
Seeing the National Museum of the American Indian Anew as a Diplomatic Assemblage0
Full Sets Demand Full Lives0
Parodying the Biotech Industry0
Front Matter0
Covers0
Where to Begin0
Dark Stars0
Anisa̱lag̱a’s Claim to the “Seattle Pole”0
Image Rights, Proprietorship, and Precedent in Cedric Dover’s American Negro Art (1960)0
Visualizing Resource Extraction, 1840–19100
Front Matter0
Front Matter0
History in the First Person0
Introduction0
Saving the Free Market’s Victims0
Copyright and Creative Practice0
Tapping Canvases0
Announcements0
Inherent Vice0
Taxes, Tariffs, and the Creation of Isabella Stewart Gardner’s Fenway Court0
Indexing Whiteness to American Design0
An Addendum to Pop0
Front Matter0
Seeing the Survey Anew0
Whither Black Art?0
Afro-Latinx Intersections0
David Alfaro Siqueiros’s Indictment of the New York Market for Mexican Art and Antiquities0
Visualizing Freedom0
Crafting Territory in the Choctaw Homelands0
Excremental Miracles0
Plastic in Motion0
Many Hands Make Light-Fingered Work0
Covers0
Felted Memories0
Extractive Ornament0
Artist as Arbiter0
Covers0
Donald Evans0
A Living Art0
Crossing the Threshold0
Announcements0
Monumental Absence0
Amistad II0
Covers0
Scene Painting0
Capitalism and the History of United States Art0
The McKinley Bowl’s Services and Disservices, 1898–19010
The Animacy of Objects0
A Washington School “Thing”0
Covers0
Can Animals Own Copyright?0
Mercury is a Messenger0
The Storefront Method0
Drawing in the Daily News0
Leveraging the Limited Edition0
Marcel Duchamp, Copyright, and the Emergence of Art as Idea0
Announcements0
Reframing Illustration0
Announcements0
Picturing White Skin on Elephant Tusk0
Front Matter0
Covers0
Domesticating Jefferson Davis0
“These cod factories”0
Conclusion0
The Clean, Open Air of John Sloan’s Tenement Paintings0
Covers0
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