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 2020-05-01 to 2024-05-01.)

Article	Citations
David Medalla: Dreams of Sculpture	2
The Urge to Disappear: Janet Cardiff’s Audio Walks in London and New York	1
Never Still! Nonhuman Life in Charles Demuth’s Green Pears	1
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	1
Abstracts	1
Mouth Work: Writing the Voice of the Mother Tongue in the Art of Theresa Hak Kyung Cha	1
Contemporary Art and Class: Reassessing an Analytical Category	1
Sounds of Silence: Conducting Technology and Nature	1
Eloquence and Affect in Jacqueline Jung’s Eloquent Bodies	1
Photographic Iconoclasm: Lee Friedlander’s The American Monument	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	0
Philip Guston Now	0
The Body Beyond	0
Notes on Contributors	0
Migrant Mother: Histories and Mythologies	0
Museum Conversations	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
City Seer: Alfred Stieglitz Circa 1900	0
Art histories of corporate imperialism and racial capitalism	0
Shot by the Artist	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
between the voice between the words between the work between us	0

Valuing the Work of Jaume Huguet: A Painter and his Materials	0
Fernand Léger’s Cinema of Pictorial Equivalence (and the Return to Disorder)	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Fuck You, Angels. Artworks as Allies in Care	0
Please Eat!	0
Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages	0
Possessing the Voice: Ventriloquism and Agency in Apichatpong Weerasethakul’s Cemetery of Splendour (2015)	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
Non-Aligned Visions	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Ways of Seeing Impressionism circa 1968	0
Framing Transcultural Objects: New Approaches to Collecting in the Early Modern World	0
Marcel Broodthaers, Poet in the Pop Trap. Archival Notes on an Artist’s Narrative	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
Crafting ‘Craft’ in Japan	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Making a Scene	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Steinberg’s Other Criteria	0
Concrete Violence – Wolf Vostell’s Disasters of War	0
Beyond Rehearsed Positions	0
Women Counted in Early Modern Bologna	0
Photographic Power	0
Abstracts	0
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	0
Notes on Contributors	0
Engendering the Buddhist State	0
Pick Your Picasso	0
Hirschhorn’s Dilemma, or How Not to Ride Two Horses at Once	0
On the Beaten Track	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Morris Hirshfield and Art History in the Making	0
Toward a Horizon of Un-Knowing: Voice, Aurality, and the Politics of Identification in the Art of Vong Phaophanit and Claire Oboussier	0
Abstracts	0
Print and the Early Modern Playing Card	0
Thomas Cole’s Double View of Mount Holyoke	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Why Does That Wolf Have Red On His Lips?	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Abstracts	0
Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy	0
Abstracts	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Notes on Contributors	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Man in the Middle: Ingres’s Portrait of Louis-François Bertin at the Salon of 1833 and the Problem of the Juste Milieu	0
OUP accepted manuscript	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Notes on Contributors	0

Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
The Shopkeeper’s Renaissance	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Art History at the Water’s Edge	0
Pulverized Regions of Time	0
Notes on Contributors	0
What Makes Mina Loy Modern?	0
Abstracts	0
‘Here, in Her Hairs/The Painter Plays the Spider …’: Spider Metaphors in William Shakespeare and Nicholas Hilliard	0
Abstracts	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Thoroughly Modern Models	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Notes on Contributors	0
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
‘With a Hem, Call Him In’: Human Authority and the Animal Gaze in the Flemish Trophy Piece	0
A Box of Alabaster	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Passionate Detachment	0
‘A Show Opened to All Artists’: The 1970 Liberated Venice Biennale and the Production of Dissent	0
Notes on Contributors	0
Review of Christopher Heuer Into the White	0
Introduction: Voice as Form	0
Abstracts	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Priests Come and Go…	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
Abstracts	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait	0
Art Collectives, Progress, and Forgetting in European Art after WWII	0
American Monument: Racism and Class	0
Invisible enemies	0
Notes on Contributors	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
The Different Tenses of the Recent Past	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Abstracts	0
Too Sexy for the nude	0
Figino’s Efficacy: Portraits, Votives, and their Makers after Trent	0
Abstracts	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Rock-Bound: Fitz Henry Lane in 1862	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
‘Global’ Discourse and the Transcultural Field of Contemporary Art in China	0
Impressionism After Impressionism	0
Notes on Contributors	0
Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Notes on Contributors	0
Concealing and Revealing the Face of Charles the Martyr King	0
Affiliations of Postcolonial Art History	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
Notes on Contributors	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0