Artmargins

Papers
(The TQCC of Artmargins 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 2022-06-01 to 2026-06-01.)
ArticleCitations
From the Editors4
Communitas : Gate Hill Coop and the Transitoriness of Bauhaus and Black Mountain College2
Residencies Unreflected in Papunya2
My Beautiful Picture Book1
Sanggar and Artist Collective in New Order Indonesia: An Introduction to “Sanggar and Art Group: A Method for Our Art? Paper f1
Abstract States: Modernism in Lebanon, Syria, and Turkey1
Art, Signs, and Cultures: Iba Ndiaye and Jean Laude in Conversation with Roger Pillaudin1
Only Massage1
Introduction: Art's Histories Without Art History1
On-Site in the City: Comparative Urban Aesthetics in Asia at the turn of the 21st Century1
Introduction to Tomás Maldonado's “The Abstract and the Concrete in Modern Art” and Alfredo Hlito's “Notes toward a Materialist Aesthetics”1
Introduction to “Back to the Site: Documentary as I Understand It”1
Ñandutí: Crossroads of Two Worlds: The Lineage and Magic of Ñandutí1
Complicating Narratives of Contemporary Chinese Art as Global Art through the Lens of Exhibition Histories1
Yugoslavia with Strings Attached: Boris Kralj's My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's There's Nothing Here (2020)0
New Direction for the Museum of Contemporary Art0
Revisiting Rasheed Araeen's Structures: 8bS at Manufactured Art, 19700
Socially Engaged Art, Direct Democracy, and Artistic Autonomy0
Modern Art, Indigeneity, and Nationalism in Paraguay: An Introduction to Josefina Plá's “Ñandutí Crossroads of Two Worlds”0
Editorial Statement0
Emergency Aesthetics: The Case of the Four Faces of Omarska0
Sanggar and Art Group: A Method for Our Art? Paper for Limited Discussion on Art Education Yogyakarta Cultural Park, August 11, 19860
Contributors0
From the Editors0
Ch'ixi Epistemology and The Potosí Principle in the 21st Century0
Bags of Stories: Thinking with Household Casebearers in the Anthropocene0
Minorities as Hubs of Cultural Transfer: The Bosch+Bosch Group0
Contributors0
Counting Quality, Seeing Patterns0
As the Nile Flows or the Camel Walks0
Contributors0
Militant Mappings: A Template Toolkit0
Black Artists’ Colonies in South Africa Pre-1994: Introductory Notes0
Contributors0
Retraction of Holmes, Ros. 2018. “Meanwhile in China … Miao Ying and the Rise of Chinternet Ugly.” Artmargins 7 (1): 31–570
Art History, Postcolonialism, and the Global Turn0
What Does Art History Have to Say About a Lebanese Sasquatch? The Body of Decolonial Struggle in Amanda Boulos's Art0
Barbad Golshiri's Acts of Alterity0
“We Need a Lighthouse Philosopher”: Filipa César and Louis Henderson's Sunstone (2018) and the Portuguese Genealogy of Lens-Based Media0
Chimneys and Electric Wires Conquering the Sky: The Great Transformation of Nature in Socialist Albania0
A Monument in Conflict: Transnational Resistance and the Politics of Commemoration in La Vaughn Belle and Jeannette Ehlers's I am Queen Mary0
The Silence That Words Hold0
Grounding the Global: Pathways to Elucidating Tensions in Chinese Contemporary Art0
Banal Cities: The Constructed Urban Landscape in Contemporary South Korean Photography0
Contributors0
Revolutionary Painting and the Palestinian Revolution0
Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship0
Southern Lights: Octavio Paz's “Glimpses of India” and the Art of Relation0
Informalism and The Aesthetics of Underdevelopment: Colombian Abstract Painting in the Cold War0
On the Aspirations of Architecture and Design in 20th-Century South Asia0
Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization0
Living Together: George Maciunas’s Collective Colonies and Migration Projects0
Equestrian Semiosis: Unpacking the Parodic Layers of Bahman Mohassess's Painting and Theater0
From the Editors0
Collectivity, Communities, Connectedness: Decolonizing Art Colonies0
Introduction to “Art, Signs, and Cultures” (1977)0
The Problem with Film: Murayama Tomoyoshi's Variations on the Visible0
“Turksib Was Not Just a Railroad for Me”: Visualizing the Anthropocene as a Transit0
Developmental Dilemmas0
Introduction to “Cultural Offensive of the Working Classes”0
The Abstract and the Concrete in Modern Art0
Lend Me Your Eyes0
Contributors0
Palestinian Artists and the Biennial, from “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts”0
More Phemes0
The Artists Village in Singapore: Open Studios as Counter-Cartography and Critical Spatial Practice0
Introduction to “Revolutionary Painting and the Palestinian Revolution,” by Mohammed Chabâa, and “Palestinian Artists and the Biennial,” from Toni Maraini's “Baghdad 1974: A Summary of the First Arab 0
Decolonization, Heritage, And Problems of Forgetting0
Color Charts0
This Past Must Address Its Future: Uses of African Noncontemporaneity in Contemporary Art from the French Borderscape0
The Avant-Garde of Socialism in the Prehistoric Jungle: The Temporalities of Coal Mining in 1950s Upper Silesia0
From The Editors0
Erratum: The Persistence of Primitivism and The Debt Collectors0
Mega-Dams in the Hydrologics of the Socialist Anthropocene0
Roundtable on John Clark's The Asian Modern0
Socialism in Contemporary African Art: Butchering the End of Time0
“Real Time Story Telling”: A Performance-Art Festival in the Context of International Networks during the Transitional Period in Poland before and after 19890
Contributors0
The Politics and Aesthetics of Liberation: Revolution and Its Aftermath in Contemporary Artistic Practice from and about Lusophone Africa0
Cultural Offensive of the Working Classes0
“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico0
The Project and The (ART) Object: Conversations with Ješa Denegri and Benjamin Buchloh0
The Museum Forum: An Introduction to Walter Zanini's “New Direction for the Museum of Contemporary Art”0
Constellational Modernisms: “Socialist Humanism” and “Contextual Art” in Ion Bitzan and Wanda Mihuleac's Graphic Art of the 1970s0
Make Me a Picture of the Future: Massinissa Selmani's 1000 Socialist Villages (2015)0
The Aesthetics of “Northern Remnants” in Video Art from China0
The Photograph as Susceptible Material: An Introduction to “Reflection OR Creation” from Urszula Czartoryska's The Artistic Adventures of Photography0
Contributors0
Sadism to Solidarity: Notes on Art, Philosophy, and the Algerian War0
From the Editors0
The (Calli)graphic Regimes of Contemporary Vietnamese Art0
Degraded Objects, Harrowed Bodies: Roman Stańczak and Shock Therapy in Poland, 1990–960
What Kind of Thing is Art?0
Captain Cook’s Imaginary Machine0
Sublimating Socialist Construction Through Ink: Introduction to “When Thoughts Change, Brush and Ink Cannot Remain Unchanged”0
Back to the Site: Documentary as I Understand It0
Contributors0
“Reflection or Creation” from The Artistic Adventures of Photography0
Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art0
Memory Zero0
Decolonial and Anthropocene Discourses in Contemporary Art of Former Socialist Contexts0
Socialization of the Private? The Emergence of Polish Mail Art and the Ideas of Democratic Opposition0
Contributors0
Notes Toward a Materialist Aesthetics0
This is the Way: The Landmarks: Rethinking and Hacking Urban Planning through Walking: A Script from a Case Study of Tokyo0
When Thoughts Change, Brush and Ink Cannot Remain Unchanged0
The Mythography of Socialism in Contemporary Angolan Art0
“And What About Class?”0
Contributors0
The Missing Mountain0
Performative Pictures: Imai Norio's Moving Images0
The Persistence of Primitivism and the Debt Collectors0
An Aperture Toward Abstraction in Tejal Shah's Moving-Image Works0
Chronological Dyslexia: Remembering/Representing/Performing Aids0
The Socialist Anthropocene in the Visual Arts0
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