Refract: An Open Access Visual Studies Journal
Parent: UC Santa Cruz
eScholarship stats: Breakdown by Item for June through September, 2026
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 9n15q89f | The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I | 903 | 135 | 768 | 15.0% |
| 0qk2z1c2 | Refract Journal, Volume 2: "Translation" | 860 | 300 | 560 | 34.9% |
| 2r4924w1 | Land, Water, Explorer: Place-Making “America” in the Early Modern Period | 489 | 336 | 153 | 68.7% |
| 15h4c86z | Refract Journal, Issue 1: "Refraction" | 464 | 286 | 178 | 61.6% |
| 71s0p8nf | Lupine Sensibilities: Dynamically Embodied Intersubjectivity between Humans and Refugee Wolves | 457 | 176 | 281 | 38.5% |
| 9ps74313 | Sensing Place | 449 | 373 | 76 | 83.1% |
| 5w56c6n3 | Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon | 438 | 170 | 268 | 38.8% |
| 3rb6n5q7 | BLAST RADIUS: No. 4 in a Series of Data Humanization Performances | 408 | 31 | 377 | 7.6% |
| 4q20b7qq | Synthesizing a Dual-Definition of Façade in the Western Palaces of the Yuanming Yuan: Art, Politics, and Place-making in the Garden of Perfect Brightness | 393 | 289 | 104 | 73.5% |
| 1z0340v4 | Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes | 387 | 141 | 246 | 36.4% |
| 24r1z37d | Refract Journal, Volume 4: Document/ary Full Issue | 367 | 319 | 48 | 86.9% |
| 3z87h5q9 | Strange Weather Forecast: Inside Santa Cruz Museum of Art and History’s New Exhibit | 364 | 331 | 33 | 90.9% |
| 0jz4t1c3 | Memory Matter(s) | 356 | 250 | 106 | 70.2% |
| 7s96s6kb | “If You’re Out There, Please Listen to Me…”: Voices of Mourning Through the Wind Phone (Kaze no Denwa) | 351 | 76 | 275 | 21.7% |
| 6j606941 | Halophilic | 349 | 273 | 76 | 78.2% |
| 316544kf | Review of An-My Lê: On Contested Terrain | 317 | 262 | 55 | 82.6% |
| 1n63968d | Public Displays of Affection | 313 | 255 | 58 | 81.5% |
| 9tt733sc | The Double Edge of Visibility and Invisibility: Cassils and Queer Exhaustion | 313 | 219 | 94 | 70.0% |
| 0p507033 | Denis Diderot’s “Salons” as Art Conservation in Eighteenth-Century France | 300 | 130 | 170 | 43.3% |
| 6cd60127 | Daisy Bell | 282 | 54 | 228 | 19.1% |
| 94q869s6 | (Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects | 270 | 55 | 215 | 20.4% |
| 39w6b0hx | Refract Journal, Volume 3: Hauntings and Traces Full Issue | 258 | 190 | 68 | 73.6% |
| 4dv7j9tv | Maurice Denis (1870–1943) and the Sacred Grove: Temporality in Fin de Siècle France | 233 | 69 | 164 | 29.6% |
| 6d00j8md | Olympic-Scale Subversion: Poster Art, Architecture, Performance, and the Afterlives of Mexico 1968 | 233 | 62 | 171 | 26.6% |
| 9w11p9st | Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire | 223 | 41 | 182 | 18.4% |
| 5jn548z0 | Thinking of Water as a Material Witness: An Attempt to Fill the Voids in the Archive of the Moscow Canal (1932–37) | 214 | 86 | 128 | 40.2% |
| 5r76v48z | I’m New Here: Black and Indigenous Media Ecologies: Curatorial Statement | 212 | 61 | 151 | 28.8% |
| 97z5x16t | “Tool of Enlightenment”: The Dreamachine’s Effects for Individual Autonomy | 204 | 36 | 168 | 17.6% |
| 2zf2p5tk | Traces, Fragments and Voids: An Artist Representing Detroit's Vanishing Homeland | 195 | 25 | 170 | 12.8% |
| 9ps0d7z3 | From a Native Daughter: Seeking Home and Ancestral Lines through a Dashboard Hula Girl | 189 | 134 | 55 | 70.9% |
| 2tx4j89p | A Catalog of American Things | 185 | 31 | 154 | 16.8% |
| 697345pn | Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space | 174 | 39 | 135 | 22.4% |
| 1gb5592r | Interview with Boreth Ly on Her New Book, Traces of Trauma | 173 | 35 | 138 | 20.2% |
| 50g5j00d | Images, Copyright, and the Future of Digital Publishing in the Arts | 169 | 23 | 146 | 13.6% |
| 73x8c0xw | Tito/Tata: Fiction and Factuality in Documentary Photographs of the Father Figure in Communist Yugoslavia | 169 | 87 | 82 | 51.5% |
| 0288q432 | Glimmers of Digital Publishing Innovation | 165 | 30 | 135 | 18.2% |
| 8z75g1k7 | Imagining the Future of Digital Publishing | 161 | 117 | 44 | 72.7% |
| 9053999t | White Shoals, White Shrouds: Reflections on the Ethics of Looking at Captive Bodies | 160 | 33 | 127 | 20.6% |
| 7wt7z8mx | Douce Mélancholie: Sonic Negotiations of Absence in the Works of Susan Philipsz and Félicia Atkinson | 157 | 112 | 45 | 71.3% |
| 2r58110h | The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa | 156 | 37 | 119 | 23.7% |
| 5tr219kd | Looking Backward into the Future: Thoughts on the Study of the Past, Ritual, and Women’s Eucharistic Experiences in Byzantium | 154 | 75 | 79 | 48.7% |
| 8k61f03t | Beyond Borders and Biology: Lisa Myeong-Joo’s Self-Portrait of a Circle (2016) | 152 | 43 | 109 | 28.3% |
| 3d78r1db | The Somatic and Textural Language of Patricia Belli: Recrafting Social and Political Bodies in 1990s Nicaragua | 147 | 51 | 96 | 34.7% |
| 8vc716rq | Visualizing Banaba: Art and Research about a Diffracted Pacific Island | 147 | 47 | 100 | 32.0% |
| 4259n982 | What is Radical Writing in Visual Studies? | 139 | 29 | 110 | 20.9% |
| 51v5j2xh | It's Like She Had Never Existed: The Family Story and the Assembly of Disability | 139 | 25 | 114 | 18.0% |
| 6x75v6kd | Happy Bullish 2011!!!: Olek’s Project B | 136 | 30 | 106 | 22.1% |
| 6rw5s8qh | Front Matter | 132 | 76 | 56 | 57.6% |
| 1n22g022 | The Heat is On | 131 | 29 | 102 | 22.1% |
| 78x622wh | The Televised Apocalypse | 126 | 44 | 82 | 34.9% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.