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 2021-11-01 to 2025-11-01.)

Article	Citations
A Feminist Critique of Capitalism: Class, Gender, Work, and Unrest in Women’s Art after 2008	2
Monet Remade	1
Notes on Contributors	1
Non-Aligned Visions	1
Getting Away and Going With	1
The Rhône and the Saône	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
Invisible enemies	0
Morse’s Media	0
Rescue Politics: Richard Mosse’s Thermal Imaging and the Containment of Migration	0
Abstracts	0
Concealing and Revealing the Face of Charles the Martyr King	0
Knowing and Not Knowing: Addressing Chinese Objects in the Art Museum	0
Notes on Contributors	0
Environment and Emotion – Dual Pathways to the Art History of the Subcontinent	0
The Great Escape: The Visibility of Class in Tracey Emin’s Margate	0
Notes on Contributors	0
The Spectacle of Crime	0
Please Eat!	0
The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855	0
Art and Insurance after the Era of Statistics	0
Notes on Contributors	0
Against the Canon: The Unresolved Dispute between Carla Lonzi and Giulio Carlo Argan	0

A Microhistory of Heritage Creation Processes: The Impressionists Exhibited at the Orangerie (1930–1937)	0
The Morbid Symptoms of Capitalist Culture: Stuart Brisley’s Placement with Hille & Co. Furniture Factory (1970–1972)	0
Placing the Visual in Participatory Art: Tele-Vecindario and the Chicago Grid at Street Level	0
White Skin, Silvered Plate: Encountering Jonathan Walker’s Branded Hand in Daguerreotype	0
Emiria Sunassa’s Citational Paintings: ‘Like a Boil on a Virgin’s Lips’	0
A Feminist Queering	0
Notes on Contributors	0
Architecture as Enemy: Felice Beato’s Photographs of Lucknow	0
‘Dogs of the World Unite’: Keith Haring and New York’s Canine Imaginary	0
Impressionism in the Land of the Bolsheviks: Questions of Art, Reality, and Ideology in the Interwar Soviet Union	0
Purpose, Power, and Possibility: A History of Museums Past and Present	0
Realist Pastoral and the Painting of Modern Life	0
Envisaging Dada: Facial Legibility and Illegibility in Sophie Taeuber’s Dada Head	0
Naomi Mitchison, Sam J. Ntiro, and Modern African Art in Rural Scotland	0
Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina	0
Impressionism and Post-Impressionism: The Controversial Reception in China (1910–1950)	0
The Revolutionary Symbolism of Angelo Herndon: Photography, Race, and Communism in 1930s America	0
Joshua Reynolds and Deafness: Listening, Hearing, and Not Hearing in Eighteenth-Century Portraiture	0
The Body Beyond	0
Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence	0
Wastelands: East End Bombsites in Postwar Photography	0
Voracious Images, Forgotten Images: Notes on the Visual Culture of the Polish Solidarity Movement	0
The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia	0
Abstracts	0
Impotence and Incompetence: Edward Krasiński’s Art and Writing	0
Senga Nengudi, the Fetish, and the Urban Growth Machine in 1970s Los Angeles	0
On the Beaten Track	0
Notes on Contributors	0
Hauntings: An Ink Painter and a Coal Mine in 1960s China	0
Abstracts	0
City Seer: Alfred Stieglitz Circa 1900	0
Photographic Power	0
Contemporary Art and Class: Reassessing an Analytical Category	0
Ways of Seeing Impressionism circa 1968	0
Queer-Feminist Hospitality: Ewa Partum’s Indifferent Body in the Public Sphere of Socialist Poland	0
Modernity and Freedom: Lionello Venturi’s Impressionism	0
Family Phantasmagoria: Antoine Claudet, Stereographs, and Middle-Class Dummies	0
Abstracts	0
Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought	0
Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens	0
American Monument: Racism and Class	0
Abstracts	0
Abstracts	0
Making It Function Differently: TV Sculpture	0
Priests Come and Go…	0
Crafting ‘Craft’ in Japan	0
Complicities with the Camera: The Performance and Installation Art of Carlos Leppe	0
Millais and Yellow	0
William Holman Hunt’s Fantastic Magic Lantern	0
A Fascist Tango in Argentina: Exhibiting Novecento Italiano in Buenos Aires, 1930	0

Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing	0
The Shopkeeper’s Renaissance	0
A Box of Alabaster	0
Abstracts	0
Avant-Garde Co-option and the Phenomenological Opening of Possibilities	0
Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget	0
Charles Meryon’s Graphic Risks	0
Pick Your Picasso	0
Surface Tension: Equations of Difference between Architecture and Sculpture	0
Art and the Actuarial Imagination: Propositions	0
Past and Present: Competing Ideologies of Impressionism in France, c. 1930–1950	0
Rococo Rubbish: Ornament and Waste in the Eighteenth-Century Paris Street	0
Ars Longa, Vita Brevis: The Fine Art & General Insurance Company, Ltd	0
What Makes Mina Loy Modern?	0
Viewing Broken Things	0
Notes on Contributors	0
‘Infidelity, Imposture, and Bad Faith’: Reproducing an Insurance Bubble	0
Beyond the Screen: Joan Jonas’s Television by Other Means	0
Body Talk	0
Vitality of Form in Ruskin and Pater on Michelangelo	0
Sculpting the ‘Idea of Insurance’: John Quincy Adams Ward’s Protection Group and the Rise of the American Life Sector	0
Memory as an Ever-present Past: Photographic Representations of US Military Presence in South Korea	0
Notes on Contributors	0
Cultural Transfer and Its Discontents: Recent Scholarship on the Mobility of Early Modern Prints	0
The Sun Is God: Turner, Angerstein, and Insurance	0
Sites of Memory and Forgetting: Gyula Derkovits’s Woodcuts of the 1514 Peasant War	0
Beyond Rehearsed Positions	0
Stalin’s Collectivisation as Zombie Apocalypse: Images of the Undead in 1930s Russia	0
Avant-Garde Co-Optation and the Phenomenological Opening of Possibilities	0
Impressionism After Impressionism	0
Absolutism, the Royal Body, and the Origins of Mythologie Galante: Charles de La Fosse at the Trianon	0
Ruskin’s Double Plots	0
Meyer Schapiro on the ‘Content’ of Impressionism: The Standpoint of Subjective Freedom	0
Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England	0
Colour Matters	0
Coals for the Study: Reading Fire in William Westall’s Views of Australia	0
Abstracts	0
The Materialist Imagination: Essays in Honour of Caroline Arscott	0
Women Counted in Early Modern Bologna	0
Abstracts	0
Between Equal Rights: Representing Class and Other Struggles in the Image Field	0
Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent	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
Art histories of corporate imperialism and racial capitalism	0
Why Does That Wolf Have Red On His Lips?	0
Morris Hirshfield and Art History in the Making	0
Fuck You, Angels. Artworks as Allies in Care	0
Twists in Time: Apricots and Pomegranates by Albert Moore	0
Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle	0
Modernity’s Children: Form as Authority in the Films and Photobooks of Helen Levitt	0
Notes on Contributors	0
Museum Conversations	0
Tatlinism, or Dada’s Bluff	0
Abstracts	0
HIV, the Country, and the City: Helen Chadwick’s Viral Landscapes	0
Retrospeculation: Tom Burr’s 42nd Street Structures	0
Abstracts	0
Notes on Contributors	0