American Art

Papers
(The median citation count of American Art 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.)
ArticleCitations
Front Matter19
Oil in the Archive9
Announcements2
Artistic Process and Domestic Labor in Liza Lou’s Kitchen1
Feeling Brown or Acting White?1
Front Cover1
Spirit Portraiture1
Front Matter1
Announcements0
Seeing the Survey Anew0
Covers0
Monumental Absence0
Donald Evans0
“These cod factories”0
Conclusion0
Front Matter0
The Specter of Slavery in the British Art Museum0
Of Murals and Men0
Covers0
Unfolding Metamorphosis, or the Early American Tactile Image0
Parodying the Biotech Industry0
Announcements0
Reframing Illustration0
Whose Expanded Field?0
Dark Stars0
Islamic Architecture in New York Painting0
Front Matter0
Operating on a Continuum of My Ancestors0
Scene Painting0
Introduction0
Laocoön in the Tropics0
A Washington School “Thing”0
The Animacy of Objects0
Afro-Latinx Intersections0
Announcements0
Cut and Sew0
Excremental Miracles0
A Dissenting Realism0
Covers0
Tapping Canvases0
Drawing in the Daily News0
Seeing the National Museum of the American Indian Anew as a Diplomatic Assemblage0
Front Cover0
The Turpentine State0
Power and Portraiture in a Bolivian Mining Town0
Disarming Surveillance0
Announcements0
Harry Drinkwater and the Limits of Architectural Photography, 1966–690
The International Origins of “Concerned Photography”0
Extractive Ornament0
Visualizing Freedom0
Christopher D’Arcangelo Speculates0
Where to Begin0
Covers0
Many Hands Make Light-Fingered Work0
Whiteness and the West before the Transcontinental Railroad0
Felted Memories0
Introduction0
Covers0
Announcements0
Visualizing Resource Extraction, 1840–19100
A Living Art0
Front Matter0
Forging the Canon0
Front Matter0
Amistad II0
Picturing White Skin on Elephant Tusk0
The Clean, Open Air of John Sloan’s Tenement Paintings0
Nikkei Artist Collectives in Interwar California0
The In/Visibility of Mourning0
The Portrait of Hanadagá•yas; or,George WashingtonReconsidered0
Inherent Vice0
Illuminating the Shadows of “Liberty”: George Washington and Blackness in American Art0
Islam and the Middle East in the United States0
Abstract Nationalisms0
Poster Children of the Sun0
Covers0
“I” is for “Italian”0
Announcements0
Announcements0
“The Thirteenth Century Men”: Looking to the Past to Critique the Present0
TheCemíand the Museum0
Covers0
How to Have Color in a Pandemic0
Red Power in the Black Panther0
Indigenous Space0
Front Matter0
Alma W. Thomas0
Sinners All0
Front Matter0
Covers0
Anisa̱lag̱a’s Claim to the “Seattle Pole”0
Covers0
Floating on a Chemical Sea0
“The Requisite Local Coloring”0
A Means of Protection or Destruction?0
Front Matter0
Image Rights, Proprietorship, and Precedent in Cedric Dover’s American Negro Art (1960)0
Announcements0
Artist as Arbiter0
Can Animals Own Copyright?0
Remapping Resistance0
Marcel Duchamp, Copyright, and the Emergence of Art as Idea0
Invitations and News from SAAM’s Fellowship and Scholarly Publishing Programs0
Copyright and Creative Practice0
Taxes, Tariffs, and the Creation of Isabella Stewart Gardner’s Fenway Court0
Mercury is a Messenger0
Front Matter0
Leveraging the Limited Edition0
Plastic in Motion0
Juan Sánchez’s Counter-Archive0
History in the First Person0
“Not Acceptable to the People”0
Announcements0
An Addendum to Pop0
Portraiture in Indigenous London0
Traces of Touch0
Radically Anti-Modern0
Indexing Whiteness to American Design0
Front Matter0
Covers0
The Storefront Method0
Announcements0
Domesticating Jefferson Davis0
Material Absence, Relational Presence0
Front Matter0
The McKinley Bowl’s Services and Disservices, 1898–19010
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