OOIR: Observatory of International Research

Papers

(The median citation count of Oxford 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 2022-01-01 to 2026-01-01.)

Article	Citations
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	2
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	1
Monet Remade	1
Notes on Contributors	1
William Holman Hunt’s Fantastic Magic Lantern	1
Getting Away and Going With	1
The Rhône and the Saône	1
Non-Aligned Visions	1
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	1
Carlos Cruz-Diez’s Ephemeral Painted Walkways and the Politics of Mobility in Mid-1970s Caracas	1
Notes on Contributors	1
Priests Come and Go…	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Abstracts	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Abstracts	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
The Body Beyond	0
Please Eat!	0
Twists in Time: Apricots and Pomegranates by Albert Moore	0
Rococo Rubbish: Ornament and Waste in the Eighteenth-Century Paris Street	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Correction to: Impotence and Incompetence: Edward Krasiński's Art and Writing	0
Museum Conversations	0
Beyond Rehearsed Positions	0

Abstracts	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
HIV, the Country, and the City: Helen Chadwick’s Viral Landscapes	0
Impressionism After Impressionism	0
A Box of Alabaster	0
American Monument: Racism and Class	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
Charles Meryon’s Graphic Risks	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Contemporary Art and Class: Reassessing an Analytical Category	0
Notes on Contributors	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
The Unstable Lives of Monuments	0
Abstracts	0
Crafting ‘Craft’ in Japan	0
Fuck You, Angels. Artworks as Allies in Care	0
Colour Matters	0
Making It Function Differently: TV Sculpture	0
Notes on Contributors	0
Coals for the Study: Reading Fire in William Westall’s Views of Australia	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Notes on Contributors	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0
Photographic Power	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Pick Your Picasso	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Morris Hirshfield and Art History in the Making	0
Ruskin’s Double Plots	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Abstracts	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
Notes on Contributors	0
Art and Insurance after the Era of Statistics	0
A Feminist Queering	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
Why Does That Wolf Have Red On His Lips?	0
On the Beaten Track	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Family Phantasmagoria: Antoine Claudet, Stereographs, and Middle-Class Dummies	0
Abstracts	0
City Seer: Alfred Stieglitz Circa 1900	0

Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
Realist Pastoral and the Painting of Modern Life	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Abstracts	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Women Counted in Early Modern Bologna	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
Wastelands: East End Bombsites in Postwar Photography	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Millais and Yellow	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Viewing Broken Things	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Abstracts	0
Notes on Contributors	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
Art and the Actuarial Imagination: Propositions	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Abstracts	0
Tatlinism, or Dada’s Bluff	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Morse’s Media	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
What Makes Mina Loy Modern?	0
Impotence and Incompetence: Edward Krasiński’s Art and Writing	0
Body Talk	0
Notes on Contributors	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Vitality of Form in Ruskin and Pater on Michelangelo	0
Concealing and Revealing the Face of Charles the Martyr King	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
The Spectacle of Crime	0
Abstracts	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Notes on Contributors	0
Ways of Seeing Impressionism circa 1968	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Notes on Contributors	0
The Materialist Imagination: Essays in Honour of Caroline Arscott	0