Artmargins

Papers
(The TQCC of Artmargins 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
From the Editors3
Residencies Unreflected in Papunya2
Communitas : Gate Hill Coop and the Transitoriness of Bauhaus and Black Mountain College2
Introduction: Art's Histories Without Art History1
Only Massage1
My Beautiful Picture Book1
Madness as a Form of Knowledge: Pavel Ivanovich Karpov's Creativity of the Mentally Ill1
Sanggar and Artist Collective in New Order Indonesia: An Introduction to “Sanggar and Art Group: A Method for Our Art? Paper f1
Art, Signs, and Cultures: Iba Ndiaye and Jean Laude in Conversation with Roger Pillaudin1
Introduction to “Back to the Site: Documentary as I Understand It”1
From The Editors1
Color Charts0
Mega-Dams in the Hydrologics of the Socialist Anthropocene0
This Past Must Address Its Future: Uses of African Noncontemporaneity in Contemporary Art from the French Borderscape0
Introduction to Tomás Maldonado's “The Abstract and the Concrete in Modern Art” and Alfredo Hlito's “Notes toward a Materialist Aesthetics”0
Erratum: The Persistence of Primitivism and The Debt Collectors0
From The Editors0
Complicating Narratives of Contemporary Chinese Art as Global Art through the Lens of Exhibition Histories0
The Silence That Words Hold0
Reassessing Moscow Conceptualism: The View from the Nest0
The Mythography of Socialism in Contemporary Angolan Art0
The Socialist Anthropocene in the Visual Arts0
Southern Lights: Octavio Paz's “Glimpses of India” and the Art of Relation0
Sublimating Socialist Construction Through Ink: Introduction to “When Thoughts Change, Brush and Ink Cannot Remain Unchanged”0
Roundtable on John Clark's The Asian Modern0
Contributors0
Modern Art, Indigeneity, and Nationalism in Paraguay: An Introduction to Josefina Plá's “Ñandutí Crossroads of Two Worlds”0
Revisiting Rasheed Araeen's Structures: 8bS at Manufactured Art, 19700
Between the Personal and the Political: On Marianne Wex's Let's Take Back Our Space0
Contributors0
The Missing Mountain0
Yugoslavia with Strings Attached: Boris Kralj's My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's There's Nothing Here (2020)0
Performative Pictures: Imai Norio's Moving Images0
Sanggar and Art Group: A Method for Our Art? Paper for Limited Discussion on Art Education Yogyakarta Cultural Park, August 11, 19860
Photography Against Reproduction: Željko Jerman's My Year, 19770
Miklós Erdély, Ernst Bloch, Kurt Gödel, and Hidden Green0
Introduction to “Cultural Offensive of the Working Classes”0
The Problem with Film: Murayama Tomoyoshi's Variations on the Visible0
What Kind of Thing is Art?0
Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art0
Developmental Dilemmas0
The Abstract and the Concrete in Modern Art0
Contributors0
Contributors0
Counting Quality, Seeing Patterns0
Retraction of Holmes, Ros. 2018. “Meanwhile in China … Miao Ying and the Rise of Chinternet Ugly.” Artmargins 7 (1): 31–570
The Aesthetics of “Northern Remnants” in Video Art from China0
When Thoughts Change, Brush and Ink Cannot Remain Unchanged0
Introduction to “Revolutionary Painting and the Palestinian Revolution,” by Mohammed Chabâa, and “Palestinian Artists and the Biennial,” from Toni Maraini's “Baghdad 1974: A Summary of the First Arab 0
Notes Toward a Materialist Aesthetics0
An Aperture Toward Abstraction in Tejal Shah's Moving-Image Works0
Socialization of the Private? The Emergence of Polish Mail Art and the Ideas of Democratic Opposition0
Abstract States: Modernism in Lebanon, Syria, and Turkey0
Contributors0
Dreams/Cinema/Palestine: Unoccupied Spaces in The Dream and My Love Awaits Me by the Sea0
Contributors0
Militant Mappings: A Template Toolkit0
Black Artists’ Colonies in South Africa Pre-1994: Introductory Notes0
Cultural Offensive of the Working Classes0
The Persistence of Primitivism and the Debt Collectors0
On the Aspirations of Architecture and Design in 20th-Century South Asia0
Minorities as Hubs of Cultural Transfer: The Bosch+Bosch Group0
The Politics and Aesthetics of Liberation: Revolution and Its Aftermath in Contemporary Artistic Practice from and about Lusophone Africa0
Equestrian Semiosis: Unpacking the Parodic Layers of Bahman Mohassess's Painting and Theater0
Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization0
Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship0
Introduction to “Art, Signs, and Cultures” (1977)0
Ñandutí: Crossroads of Two Worlds: The Lineage and Magic of Ñandutí0
From the Editors0
In The Vortex of Institutional Lives0
Bags of Stories: Thinking with Household Casebearers in the Anthropocene0
From the Editors0
Scenes of Access, Politics of Difference0
As the Nile Flows or the Camel Walks0
Collectivity, Communities, Connectedness: Decolonizing Art Colonies0
Degraded Objects, Harrowed Bodies: Roman Stańczak and Shock Therapy in Poland, 1990–960
“Turksib Was Not Just a Railroad for Me”: Visualizing the Anthropocene as a Transit0
Contributors0
Captain Cook’s Imaginary Machine0
Contributors0
Decolonial and Anthropocene Discourses in Contemporary Art of Former Socialist Contexts0
What Does Art History Have to Say About a Lebanese Sasquatch? The Body of Decolonial Struggle in Amanda Boulos's Art0
Hidden Green by Miklós Erdély0
Memory Zero0
Emergency Aesthetics: The Case of the Four Faces of Omarska0
Palestinian Artists and the Biennial, from “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts”0
Revolutionary Painting and the Palestinian Revolution0
Barbad Golshiri's Acts of Alterity0
Erratum: Introduction to Jalal Al-e Ahmade “To Mohassess, for the Wall”0
Art History, Postcolonialism, and the Global Turn0
On-Site in the City: Comparative Urban Aesthetics in Asia at the turn of the 21st Century0
“We Need a Lighthouse Philosopher”: Filipa César and Louis Henderson's Sunstone (2018) and the Portuguese Genealogy of Lens-Based Media0
The Artists Village in Singapore: Open Studios as Counter-Cartography and Critical Spatial Practice0
Chimneys and Electric Wires Conquering the Sky: The Great Transformation of Nature in Socialist Albania0
Editorial Statement0
Socialism in Contemporary African Art: Butchering the End of Time0
Chronological Dyslexia: Remembering/Representing/Performing Aids0
“Real Time Story Telling”: A Performance-Art Festival in the Context of International Networks during the Transitional Period in Poland before and after 19890
Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s0
Grounding the Global: Pathways to Elucidating Tensions in Chinese Contemporary Art0
The Heresy of Didactic Art0
Contributors0
Make Me a Picture of the Future: Massinissa Selmani's 1000 Socialist Villages (2015)0
“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico0
The (Calli)graphic Regimes of Contemporary Vietnamese Art0
The Photograph as Susceptible Material: An Introduction to “Reflection OR Creation” from Urszula Czartoryska's The Artistic Adventures of Photography0
Sadism to Solidarity: Notes on Art, Philosophy, and the Algerian War0
Living Together: George Maciunas’s Collective Colonies and Migration Projects0
The Notebook0
Banal Cities: The Constructed Urban Landscape in Contemporary South Korean Photography0
Lend Me Your Eyes0
Contributors0
Ch'ixi Epistemology and The Potosí Principle in the 21st Century0
Back to the Site: Documentary as I Understand It0
Learning on the Run: From Psycho-Modernism to Fugitive Sociality0
Decolonization, Heritage, And Problems of Forgetting0
Contributors0
More Phemes0
Socially Engaged Art, Direct Democracy, and Artistic Autonomy0
The Avant-Garde of Socialism in the Prehistoric Jungle: The Temporalities of Coal Mining in 1950s Upper Silesia0
“Reflection or Creation” from The Artistic Adventures of Photography0
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