American Art

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