react/review: a responsive journal for art & architecture
Parent: UC Santa Barbara
eScholarship stats: Breakdown by Item for May through August, 2026
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 5328n741 | react/review vol. 2, "The Spirit in the Shadow" (2022) | 1,717 | 527 | 1,190 | 30.7% |
| 1d7530zh | react/review vol. 4, subversion zones: bodies and spaces at the threshold | 1,050 | 568 | 482 | 54.1% |
| 1sn1j0jk | Pagan Metal Gods: The Use of Mythology and White Supremacy National Socialist Black Metal | 859 | 98 | 761 | 11.4% |
| 5hg7q078 | At Home in the Wild: Race, Power, and Domesticity in the Transatlantic Wallpapers of Zuber & Co. | 678 | 347 | 331 | 51.2% |
| 2833367t | For Play and Pleasure | 656 | 568 | 88 | 86.6% |
| 2tc7f46v | Reflections on Haunting the Canon: The Super-phenomena in Art | 624 | 487 | 137 | 78.0% |
| 4ph3p3h2 | Surveillant Movements: Policing and Spatial Production in East German Housing | 581 | 412 | 169 | 70.9% |
| 27w7t1c8 | Black Magnolia: Counter-Narrating a Plantation Tourist Site | 576 | 320 | 256 | 55.6% |
| 9141d48p | react/review vol. 5, from ephemeral to obsolete: the vanishing historical object | 547 | 453 | 94 | 82.8% |
| 4481216x | You Can Be Sure of Shell: Oil, Empire, and Landscape in Interwar Britain | 542 | 302 | 240 | 55.7% |
| 3d06k66v | Trending Today, Forgotten Tomorrow: The Ephemerality of AI- Generated Art on Civitai | 538 | 111 | 427 | 20.6% |
| 80z3k2r4 | react/review vol. 1, "Representation, Materiality, & the Environment" (2021) | 510 | 454 | 56 | 89.0% |
| 9fw1z43z | Scans, Residues, Misrecognitions and Other Materialities of Loss | 454 | 355 | 99 | 78.2% |
| 3jk7r6g9 | An Archive within an Archive or, Archive as Repertoire | 452 | 79 | 373 | 17.5% |
| 2dt5k6sd | Confection and the Aesthetic of Collapse: Luis Vasquez La Roche’s Sugar Cane Field Performances | 444 | 340 | 104 | 76.6% |
| 5624k78q | Black Metal, White Supremacy, and Fraught Masculinity | 432 | 87 | 345 | 20.1% |
| 8jp105fm | “From Palestine with Art”: Dreams of Sovereignty and Acts of Resistance at the 2022 Venice Biennale | 379 | 292 | 87 | 77.0% |
| 95d700gg | Front matter | 374 | 319 | 55 | 85.3% |
| 5kb2t56m | react/review vol. 3, fields of force: navigating power in space, place, and landscape | 370 | 198 | 172 | 53.5% |
| 9hk2n4qb | Pineal/Perineal: The Anthropological Divide at Monkey Hill | 361 | 139 | 222 | 38.5% |
| 7mx6q84s | Introduction: Representation, Materiality, & the Environment | 329 | 271 | 58 | 82.4% |
| 0nb91316 | Saints and Zinesters: Fandom and Legacy in the Zine St. Sucia | 319 | 176 | 143 | 55.2% |
| 1wj5g2gf | In/Visibility: Beijing Queer Film Festival and Alternative Queer Space | 314 | 94 | 220 | 29.9% |
| 0fq4r01p | Crafting Interiority, or the Evolutionary Objectivity of Vibrating Worlds: An Introduction to Adolf Behne’s “Biology and Cubism” (1915) | 295 | 103 | 192 | 34.9% |
| 6h1115cp | All Along the Bell Tower: An Analysis of Surveillance and Affect on the Johns Hopkins University Homewood Campus | 278 | 149 | 129 | 53.6% |
| 8mv5w21w | Skating the Surrounds: Chemi Rosado-Seijo’s <em>El Bowl</em> in La Perla, Puerto Rico | 275 | 112 | 163 | 40.7% |
| 8bn3x7z6 | A Hybrid Avant-Garde: Kati Horna’s Balance between Artist Autonomy and Political Engagement | 261 | 148 | 113 | 56.7% |
| 1542j6p1 | Skyscraper Churches and Material Disestablishment at the Fifth Churches of Christ Scientist | 246 | 119 | 127 | 48.4% |
| 13p549gw | Painting Viciously: Antonio Saura’s Monsters and The Francoist Dictatorship (1939-1975) | 245 | 86 | 159 | 35.1% |
| 55h741bk | Dreaming Out Loud: Aphantasia and the Contingencies of Artistic Imagination | 232 | 95 | 137 | 40.9% |
| 8tq5s21z | Living documents: the role of audience members in the (after)lives of participatory and ephemeral art practices | 216 | 94 | 122 | 43.5% |
| 8fw7g7wj | Scallop-Bound Sea-Mosses and the Tensions of Local Sentimentality, Natural Theology, and Oceanic Imperialism | 214 | 68 | 146 | 31.8% |
| 5nv0h7jr | Collapsing Autopia: Feliza Bursztyn’s Chatarras | 210 | 72 | 138 | 34.3% |
| 19f2870f | Against 'Nomadism' as Analytic: Pilgrimage Tents at the Hajj Terminal and Mary of Victory, Wigratzbad | 208 | 108 | 100 | 51.9% |
| 1ws0d8f6 | react/review vol. 6, imagining the local | 205 | 62 | 143 | 30.2% |
| 8t63k6bz | Red Tide and the Anthropological Divide at Lake Merritt in Oakland, California | 198 | 82 | 116 | 41.4% |
| 95s7r33q | The Body and the City: Walking Barcelona with las Milicianas and Eileen O’Shaughnessy | 198 | 102 | 96 | 51.5% |
| 4744m5dr | Inefficient, Unsustainable, and Fragmentary: The Rauschenberg Combines as Disabled Bodies | 196 | 94 | 102 | 48.0% |
| 89t4v6wr | Introduction: the spirit in the shadow | 194 | 97 | 97 | 50.0% |
| 256159kd | Outside of Architecture: Between Mediating and Navigating the Air | 190 | 78 | 112 | 41.1% |
| 4zm818m5 | Diffracting Place: A Critical GeoExt Mapping of Glenferrie | 188 | 63 | 125 | 33.5% |
| 2701c3hr | Insights from Ecology for Health: Design Guide for Fostering Human Health and Biodiversity in Cities | 180 | 92 | 88 | 51.1% |
| 5f05n8vj | Churches in a Secular Skyline: Fields of Force and Urban Change | 176 | 49 | 127 | 27.8% |
| 3gh0g1f0 | Introduction: Inhabiting the Uninhabitable at Oakland’s Wood Street Encampment | 172 | 69 | 103 | 40.1% |
| 208939mx | The Lure of the Lash: Spectacular Violence and White Ethnonationalism at an Australian Convict Site | 169 | 65 | 104 | 38.5% |
| 5c13g1gh | Plenary Affections | 168 | 77 | 91 | 45.8% |
| 4rh898sp | Improvising Field Research in COVID-era Hackerspaces | 167 | 63 | 104 | 37.7% |
| 58h079pf | Memory, experience and consumption. The printed and illustrated ephemera of the Archivo Profumo (Buenos Aires, 1910-1980) | 163 | 78 | 85 | 47.9% |
| 1dw3k27x | Un-Mapping Water Labor: Quantitative Slippages in Occupied Cairo | 162 | 67 | 95 | 41.4% |
| 1pn3r04w | Housing Histories: Dreams Built Upon Dismantled Dreams | 160 | 44 | 116 | 27.5% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.