Art Journal

Papers
(The median citation count of 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 2021-11-01 to 2025-11-01.)
ArticleCitations
African Art and Art History5
Horizons from Asian American Negation4
Title Page2
Reading and Witnessing Cage by Jade Montserrat and Webb-Ellis2
Fugitive Utterances in Modernity’s Song1
Polvo de Gallina Negra and the Visual Politics of Pregnant Performance in Mexico1
The Politics of Taking No Position: Jay Chung and Q Takeki Maeda1
Title Page1
Director's Letter1
Reveal, Revise, Recover1
Infrastructure/Aesthetics1
The Art of Law and Its Discontents1
Finding Mutuality1
Productive Confrontations0
Sitting with the Matter of Black Life0
Listening to Echoes: Racial Violence in Contemporary Art History0
Silent Voices and Absent Referents0
Body Configurations (Venice Portfolio)0
Funding Information0
Understanding the World through Our Windows: How Transparency Shapes Our Worldview0
Title Page0
War, Capitalism, and Remaindered Life0
Writing Time: The Shufa of Fung Ming Chip0
Editorial Board and Information for Authors0
Droids, Dreams, and Desires: Decoding Rajni Perera’s The Vessel with Two Mouths0
Editorial Board and Information for Authors0
Jan Sawka’s Screen Play0
Art and Feminism Unifying Yugoslavia0
Title Page0
Destigmatizing Art History0
Title Page0
In Conversation with Cildo Meireles0
Kay Sage, Modern Architecture, and the Tyranny of Geometry0
Looking Beyond European Publics0
Ruptured Envelopes, Double Shells: Skins in Art in the Age of Global Mobility0
Funding Information0
Title Page0
Editorial Board and Information for Authors0
Plural Imagination: Diversity in Mind and Making0
Table of Contents0
Table of Contents0
Director's Letter0
Another Way to Decolonize the Curriculum0
Archives in Endemic Time0
Title Page0
Devil’s Promenade0
Negotiating Art and Space in Midtown Manhattan0
Table of Contents0
Funding Information0
The Disposables : Critical Plastic for Art Reform0
Director's Letter0
Place, Space and Who0
National Identity, Ideology, and the American Landscape0
Feeling into Paula Dawson’s Holograms0
Funding Information0
Funding Information0
Title Page0
Our Restless Hearts0
Elusive Operations: Goldin + Senneby’s Headless and the Aesthetic Techniques of Offshore Finance0
Hitler Asleep in the Mercedes0
Director’s Letter0
Director's Letter0
Title Page0
Director's Letter0
Title Page0
Two Tales of Two Cities: Contemporary Art, Southeast Asia, Divergent Approaches0
Blackness, Death, and Visuality0
Chicago’s Sapphire & Crystals: Protest, Community, and Care during COVID0
Reading for Pleasure0
The Construction Mystique: The Revolution as Building Site in Contemporary Art from Cuba0
Table of Contents0
One Hundred Years of Revolutionary Experiments in Art Education0
Through the Guillotine Mirror: Claude Cahun’s Theory of Trans against the Void0
Nalini0
Table of Contents0
Other Than Art’s Sake0
Title Page0
Rotimi Fani-Kayode and Eikoh Hosoe: Surrealism and the Specter of Death in the 1980s0
Joan Logue’s Newly Rediscovered and Digitized Words, 1–50
An/Aesthetics of Infrastructural Ruination: On Jumana Manna’s Thirty Plumbers in the Belly0
A Small Matter of Agency0
Is the Global (Still) Art History’s Future?0
Touchstones: Lucy Lippard’s Overlay and the Politics of Prehistory0
When Seeing Expires: Art History and the Work of Alison Rossiter0
Table of Contents0
Editorial Board and Information for Authors0
Empathy, Mutuality, and the Potentialities of the Visual0
Petrit Halilaj’s Memory Objects0
Passing Through: Plains Indigenous Art and Hospitality in Glacier National Park0
Table of Contents0
Witness Trees: Ken Gonzales-Day Re-surveys the US West0
Witnessing Histories0
Expand | Contract: Fugitive Visualities0
Director’s Letter0
Institutional Antics0
Director's Letter0
National Parks in Prospect0
“Meet the Ranger Naturalist”: New Deal–Era Interpretation and National Park Service Posters0
Caring to Notice: Sera Waters’ Disentangled Pasts, Attentive Reparation and Truth-Telling Toward Survivable Futures0
Philosophy’s Illustrious Companions0
Dreaming of Childhood0
Condition—Contact—Conversation0
Funding Information0
Collective Consciousness in the Age of Crisis0
Director's Letter0
A Clamoring Revolt: Restaging, Reseeing, and Reteaching the Womb Chair0
Table of Contents0
Editorial Board and Information for Authors0
Editorial Board and Information for Authors0
“Who can do something, do what they can”0
Marbles0
The Challenge of the Peer Review0
Bridging the Cultures or Gazing from Outside: The Need to Revisit Eurasia in Art0
Art as Surgery: Hygiene Politics in Zhang Peili’s Glove Art, 1985–910
Title Page0
“Politics in Matter”: Concrete Expressions in Contemporary Palestinian Art of Resistance0
Family Tensions0
The Many Lives of Gandhi's Hut0
The Uncertain Body: Lin Tianmiao’s Mother Machine and Postsocialist Biopolitics0
Director’s Letter0
Director's Letter0
Returning to The Scene of the Crime: Gendered and Racialized Violence in Ana Mendieta’s Rape Scene0
“El cuerpo de verdad”: The Potency of Magali Lara’s Unpictured Bodies0
Editorial Board and Information for Authors0
Director's Letter0
When Is Japanese Cinema?0
Sensing, Sensitizing, and Speculating: The Work of Artworks in the Climate Crisis Era0
When the Dust Has Settled: What Was the Archival Turn, and Is It Still Turning? 10
Landscapes of Despair: Book Covers and the Visual Culture of the Opioid Crisis0
The Built and the Grown: Charles Simonds’s Memorial to Stanley Tankel at Gateway0
Vistas0
Director's Letter0
Casta State of Mind: Michael Menchaca and the Graphic Revolution of Caste0
Submerged Narratives: Memorializing Enslavement in Eve Sandler’s Mami Wata Crossing0
Funding Information0
Facing Photographic Acts (After Allan Sekula)0
Altar, Tender: Sitting with devynn emory’s can anybody help me hold this body0
Between Land and a Raised Foot : Thania Petersen Stands Her Ground0
Taking, Breaking, and Re-Making0
Sonic Bodies and Specific Machines: Henri Chopin’s Experimental Sound/Cinema0
Formalist Solidarity: Nikki Luna and Resquicio Colectivo against Gendered Violence0
Experience as Art History0
Editorial Board and Information for Authors0
Jannis Kounellis: An Epic Journey With No Return0
Visualizing Surveillance: Between Transparency and Opacity0
Visualizing Animal Trauma and Empty Forest Syndrome in the Moving Imagery of Tuấn Andrew Nguyễn0
Table of Contents0
Director’s Letter0
Transatlantic Correspondence: The Calligraphic Traces of Emilia Beatriz and Sofía Gallisá Muriente0
Funding Information0
Parochial Modernism0
The Curatorial Art of Karin Higa0
Title Page0
Table of Contents0
The Color of Joy: Reconsidering Critical Race Visual Culture0
Two Art Hubs: Berlin and Istanbul0
A Tale of Two Exhibitions0
Histories “Made out of Pictures and Words Just Kept”0
Table of Contents0
Editorial Board and Information for Authors0
Ovoidism in Lenape Land0
Body Count: The Critical Matrices of James Rosenquist’s Growth Plan0
Title Page0
Director's Letter0
Funding Information0
Editorial Board and Information for Authors0
Song Dong’s Performative Futility: Action, Impact, and Efficacy in Contemporary Chinese Performance Art0
Black Op Art0
Spatial Orders for the Masses0
Avant-Garde Redux: McLuhan and the Art of Media0
Environment at War: Capturing Global Conflict in Arab Geographies0
Race, Whiteness, and Absence in Studio Practice0
Editorial Board and Information for Authors0
It’s the Pleasure Principle0
Cashing in the Intangible Assets of Whiteness0
Critique and Engagement in America’s National Parks0
The Baton Passed0
Pictures for Charis0
The Camera vs. the Brush: Photography, Art, and the Contested Representation of the American West0
“The Senses Pointing towards a New Transformation”: On Touch, Collectivity, and Lygia Clark’s The I and the You at the First International Tactile Sculpture Symposium, 19690
Plundered Loot0
Protest City0
Patterns of Possession: H. R. Mallinson & Co.’s “American National Park” Silks0
An Oral History Interview with Carnival Knowledge0
Editorial Board and Information for Authors0
Beyond a Politics of Location: On Asian/American Art Workers and Art0
To an Always Knowing0
Pennington County, SD, May 1936: Arthur Rothstein’s Steer Skull and Badlands National Monument0
Container of Memory: Ideas, Methods, Images0
Table of Contents0
SCAB: Honoring the Memory of Mr. Fred Rouse0
Funding Information0
No Man Can Serve Two Masters: A Critique of Mastery in Charles White’s Sound of Silence0
Editorial Board and Information for Authors0
The Ties That Bind0
Repose: Black Nightmares, Black Dreams0
Robert Blanchon: AIDS and the Question of Conceptualism0
Title Page0
A Suitable Distance? Revisiting a Millennial Approach to Curating Art in the Caribbean0
The Black Joy Archive0
Funding Information0
Funding Information0
Art, Feminism, and Religious Rituals: Ecofeminism and Helène Aylon’s Court Trial0
Funding Information0
Reflections on Black0
Table of Contents0
Foundation of Kindness, Shared Experiences, Shared Burden0
Paperwork: Conceptual Art and the Pink-Collar Worker0
Table of Contents0
Breaking Out of the Known0
Editorial Board and Information for Authors0
When Images in Haiti Fail: The Photograph of Charlemagne Péralte0
Funding Infomration0
Table of Contents0
Unearthing Mexico City0
A Beyond-Human Biennale0
Modern Turkish Art: Domestic Networks, Foreign Funds0
Resonant Presence: Materiality and Memory in the Work of Suchitra Mattai0
Engaging Audiences through Artistic Collaborations in National Parks0
Archiving the Future0
Funding Information0
Bronze Head of a Black Woman: Renaming and Reframing a Brâncuși Series0
DRC No. 12: A “Migratory” Site of Glocal Specificity0
Pangs of Intimate Recognition0
Reappropriating Gauguin in Contemporary Polynesian Photography0
Pantéon: When the Saints Go Marching! Envisioning an Afro-diasporic Cosmology0
Constellatory Blackness0
Visionary or Voyeur: Lionel Wendt and the Contradictions of Late Colonial Modernity in Ceylon0
Lynda Benglis’s Materials0
Queer World Making: Contemporary Middle Eastern Diasporic Art0
Editorial Board and Information for Authors0
The Beauty of an Empty Plinth0
Balancing Perfectly: Binh Danh in Conversation with Shana Lopes0
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