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 2021-06-01 to 2025-06-01.)

Article	Citations
Non-Aligned Visions	2
Notes on Contributors	1
Notes on Contributors	1
Marcel Broodthaers, Poet in the Pop Trap. Archival Notes on an Artist’s Narrative	1
Carlos Cruz-Diez’s Ephemeral Painted Walkways and the Politics of Mobility in Mid-1970s Caracas	1
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	1
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	1
Notes on Contributors	1
Notes on Contributors	0
Notes on Contributors	0
Notes on Contributors	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Art and Insurance after the Era of Statistics	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
Abstracts	0
Abstracts	0
Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait	0
Notes on Contributors	0
Monet Remade	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Figino’s Efficacy: Portraits, Votives, and their Makers after Trent	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
Why Does That Wolf Have Red On His Lips?	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0

Notes on Contributors	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Art and the Actuarial Imagination: Propositions	0
Abstracts	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0
What Makes Mina Loy Modern?	0
Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
Pick Your Picasso	0
Concrete Violence – Wolf Vostell’s Disasters of War	0
Tatlinism, or Dada’s Bluff	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0
Never Still! Nonhuman Life in Charles Demuth’s Green Pears	0
On the Beaten Track	0
Impotence and Incompetence: Edward Krasiński’s Art and Writing	0
Abstracts	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Notes on Contributors	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages	0
Impressionism After Impressionism	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Migrant Mother: Histories and Mythologies	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
Colour Matters	0
HIV, the Country, and the City: Helen Chadwick’s Viral Landscapes	0
The Body as Axis of History: Raphael and Michelangelo at Santa Maria della Pace in Rome	0
Coals for the Study: Reading Fire in William Westall’s Views of Australia	0
Ways of Seeing Impressionism circa 1968	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
Review of Christopher Heuer Into the White	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
Print and the Early Modern Playing Card	0
A Box of Alabaster	0
The Shopkeeper’s Renaissance	0
Women Counted in Early Modern Bologna	0
Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Making It Function Differently: TV Sculpture	0
Fuck You, Angels. Artworks as Allies in Care	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Morris Hirshfield and Art History in the Making	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0

Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Notes on Contributors	0
Abstracts	0
The Body Beyond	0
Abstracts	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Invisible enemies	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Abstracts	0
The Different Tenses of the Recent Past	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Abstracts	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0
A Feminist Queering	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
Wastelands: East End Bombsites in Postwar Photography	0
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	0
Abstracts	0
Priests Come and Go…	0
Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy	0
Getting Away and Going With	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0
Abstracts	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Art histories of corporate imperialism and racial capitalism	0
Correction to: The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
The Unstable Lives of Monuments	0
Charles Meryon’s Graphic Risks	0
Museum Conversations	0
Crafting ‘Craft’ in Japan	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
Abstracts	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	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
Viewing Broken Things	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
American Monument: Racism and Class	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
City Seer: Alfred Stieglitz Circa 1900	0
Concealing and Revealing the Face of Charles the Martyr King	0
Beyond Rehearsed Positions	0
Photographic Power	0
Notes on Contributors	0
Contemporary Art and Class: Reassessing an Analytical Category	0
Body Talk	0
Please Eat!	0
The Spectacle of Crime	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0