Cupchik, G. C. (1972). Expression and impression: The decoding of nonverbal affect. Unpublished doctoral dissertation: University of Wisconsin.
Cupchik, G. C. (1974). An experimental investigation of perceptual and stylistic dimensions of paintings suggested by art history. In D. E. Berlyne (Ed.), Studies in the new experimental aesthetics (pp. 235-257).Washington, D.C.: Hemisphere.
Cupchik, G. C. (1976-1977). Perspective théorique et empirique sur la peinture impressioniste. Bulletin de Psychologie, 30, 720-729.
Cupchik, G. C. (1988). The legacy of Daniel E. Berlyne. Empirical Studies of the Arts, 6, 171-186.
Cupchik, G. C. (1992). From perception to production: A multilevel analysis of the aesthetic process. In G. C. Cupchik & J. Laszlo (Eds.), Emerging visions of the aesthetic process (pp. 83-99). New York: Cambridge University Press.
Cupchik, G. C. (1993). Observing the social world. Canadian Psychology, 34(2), 166-171.
Cupchik, G. C. (1995). Emotion in aesthetics: Reactive and reflective models. Poetics, 23(1-2), 177-188.
Cupchik, G. C. (2002). The evolution of psychical distance as an aesthetic concept. Culture and Psychology, 8(2), 155-188.
Cupchik, G. C. (2003). The ‘interanimation’ of worlds: Creative metaphors in art and design. The Design Journal, 6(2), 14-28.
Cupchik, G. C. (2013). I am, therefore I think, act and express both in life and in art. In T. Roald & J. Lang (Eds.), Philosophical and psychological essays (pp. 69-94). Amsterdam: Rodopi.
Cupchik, G. C., & Berlyne, D. E. (1979). The perception of collative properties in visual stimuli. Scandinavian Journal of Psychology, 20(1), 93-104.
Cupchik, G. C. & Gebotys, R. J. (1990). Interest and pleasure as dimensions of aesthetic response. Empirical Studies of the Arts, 8(1), 1-14.
Cupchik, G. C., & Gignac, A. (2007). Layering in art and in aesthetic experience. Visual Arts Research, 33(1), 56-71.
Cupchik, G. C., & Hilscher, M. C. (2004). The roots of life-narratives in personal and evolutionary contexts. Journal of Cultural and Evolutionary Psychology, 2(3-4), 321-336.
Cupchik, G. C., Hilscher, M. C., & Buttu, D. (2010). Recognizing odors associated with meaningful places. The American Journal of Psychology, 123(3), 281-293.
Cupchik, G. C., & Laszlo, J. (1994). The landscape of time in literary reception: Character experience and narrative action. Cognition and Emotion, 8(4), 297-312.
Cupchik, G. C., & Leonard, G. (1997). The two “I’s” of the aesthetic process. In L. Dorfman, C. Martindale, D. Leontiev, G. C. Cupchik, V. Petrov & P. Machotka (Eds.), Emotion, creativity, and art (pp. 81-100). Perm, Russia: Perm Institute of Culture.
Cupchik, G. C., & Leonard, G. (2001). High and popular culture from the viewpoints of psychology and cultural studies. In D. Schram & G. Steen (Eds.), The psychology and sociology of literature: In honour of Elrud Ibsch (pp. 421-441). Amsterdam: John Benjamins.
Cupchik, G. C., Leonard, G., Axelrad, E., & Kalin, J. (1998). The landscape of emotion in literary reception: Generating and receiving interpretations of James Joyce. Cognition & Emotion, 12(6), 825-847.
Cupchik, G. C., Oatley, K., & Vorderer, P. (1998). Emotional effects of reading excerpts from short stories by James Joyce. Poetics, 25(6), 363-377.
Cupchik, G. C., & Phillips, K. (2005). The scent of literature. Cognition & Emotion, 19(1), 101-119.
Cupchik, G. C., Phillips, K., & Truong, H. (2005). Sensitivity to the cognitive and affective qualities of odours. Cognition & Emotion, 19(1), 121-131.
Cupchik, G. C., & Shereck, L. (1998). Generating and receiving contextualized interpretations of sculptures. Empirical Studies of the Arts, 16(2), 179-191.
Cupchik, G. C., Shereck, L., & Spiegel, S. (1994). The effects of textual information on artistic communication. Visual Arts Research, 20(1), 62-78.
Cupchik, G. C., & Tassopoulos, M. (2005). Action and reaction themes in personal life-narratives. Journal of Cultural and Evolutionary Psychology, 3(2), 195-212.
Cupchik, G. C., Vartanian, O., Crawley, A., & Mikulis, D. J. (2009). Viewing artworks: Contributions of cognitive control and perceptual facilitation to aesthetic experience. Brain and cognition, 70(1), 84-91.
Cupchik, G. C., & Winston, A. S. (1992). Reflection and reaction: a dual-process analysis of emotional responses to art. In L. Y. Dorfman, D. A. Leontiev, V. M. Petrov & V. A. Sozinov (Eds.), Art and emotions (Vol. 2, pp. 65-72). Perm, CIS: The Perm State Institute of Culture
Cupchik, G. C., & Winston, A. S. (1996). Confluence and divergence in empirical aesthetics, philosophy, and mainstream psychology. In M. P. Friedman & E. C. Carterette (Eds.), Cognitive ecology (pp. 61-85). San Diego, CA: Academic Press.
Cupchik, G. C., & Wroblewski-Raya, V. (1998). Loneliness as a theme in painting. Visual Arts Research, 24(1), 65-71.
Medved, M., Cupchik, G., & Oatley, K. (2004). Interpretative memories of artworks. Memory, 12(1), 119-128.
Mureika, J. R., Cupchik, G. C., & Dyer, C. C. (2004). Multifractal fingerprints in the visual arts. Leonardo, 37(1), 53-56.
Mureika, J. R., Dyer, C. C., & Cupchik, G. C. (2005). Multifractal structure in nonrepresentational art. Physical Review E, 72(4), 046101.
Wang, T., Mo, L., Mo, C., Tan, L. H., Cant, J. S., Zhong, L., & Cupchik, G. (2014). Is moral beauty different from facial beauty? Evidence from an fMRI Study. Social Cognitive and Affective Neuroscience. doi:10.1093/scan/nsu123
Wang, T., Mo, L., Vartanian, O., Cant, J. S., and Cupchik, G. (2015). An investigation of the neural substrates of mind wandering induced by viewing traditional Chinese landscape paintings. Front. Hum. Neurosci. 8(1018), 1-10. doi: 10.3389/fnhum.2014.01018
Winston, A. S. & Cupchik, G. C. (1992). The evaluation of high art and popular art by naive and experienced viewers. Visual Arts Research, 18(1), 1-14.