Refract: An Open Access Visual Studies Journal
Parent: UC Santa Cruz
eScholarship stats: History by Item for June through September, 2026
| Item | Title | Total requests | 2026-09 | 2026-08 | 2026-07 | 2026-06 |
|---|---|---|---|---|---|---|
| 9n15q89f | The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I | 903 | 197 | 349 | 207 | 150 |
| 0qk2z1c2 | Refract Journal, Volume 2: "Translation" | 860 | 165 | 307 | 257 | 131 |
| 2r4924w1 | Land, Water, Explorer: Place-Making “America” in the Early Modern Period | 489 | 56 | 149 | 110 | 174 |
| 15h4c86z | Refract Journal, Issue 1: "Refraction" | 464 | 200 | 127 | 46 | 91 |
| 71s0p8nf | Lupine Sensibilities: Dynamically Embodied Intersubjectivity between Humans and Refugee Wolves | 457 | 93 | 184 | 97 | 83 |
| 9ps74313 | Sensing Place | 449 | 73 | 100 | 104 | 172 |
| 5w56c6n3 | Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon | 438 | 70 | 179 | 110 | 79 |
| 3rb6n5q7 | BLAST RADIUS: No. 4 in a Series of Data Humanization Performances | 408 | 46 | 88 | 93 | 181 |
| 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 | 62 | 97 | 109 | 125 |
| 1z0340v4 | Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes | 387 | 145 | 88 | 58 | 96 |
| 24r1z37d | Refract Journal, Volume 4: Document/ary Full Issue | 367 | 90 | 93 | 76 | 108 |
| 3z87h5q9 | Strange Weather Forecast: Inside Santa Cruz Museum of Art and History’s New Exhibit | 364 | 37 | 89 | 90 | 148 |
| 0jz4t1c3 | Memory Matter(s) | 356 | 51 | 72 | 86 | 147 |
| 7s96s6kb | “If You’re Out There, Please Listen to Me…”: Voices of Mourning Through the Wind Phone (Kaze no Denwa) | 351 | 134 | 82 | 35 | 100 |
| 6j606941 | Halophilic | 349 | 52 | 80 | 77 | 140 |
| 316544kf | Review of An-My Lê: On Contested Terrain | 317 | 35 | 75 | 87 | 120 |
| 1n63968d | Public Displays of Affection | 313 | 30 | 78 | 75 | 130 |
| 9tt733sc | The Double Edge of Visibility and Invisibility: Cassils and Queer Exhaustion | 313 | 43 | 108 | 81 | 81 |
| 0p507033 | Denis Diderot’s “Salons” as Art Conservation in Eighteenth-Century France | 300 | 79 | 70 | 57 | 94 |
| 6cd60127 | Daisy Bell | 282 | 70 | 76 | 64 | 72 |
| 94q869s6 | (Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects | 270 | 59 | 68 | 51 | 92 |
| 39w6b0hx | Refract Journal, Volume 3: Hauntings and Traces Full Issue | 258 | 77 | 82 | 46 | 53 |
| 4dv7j9tv | Maurice Denis (1870–1943) and the Sacred Grove: Temporality in Fin de Siècle France | 233 | 47 | 76 | 47 | 63 |
| 6d00j8md | Olympic-Scale Subversion: Poster Art, Architecture, Performance, and the Afterlives of Mexico 1968 | 233 | 40 | 64 | 69 | 60 |
| 9w11p9st | Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire | 223 | 47 | 85 | 52 | 39 |
| 5jn548z0 | Thinking of Water as a Material Witness: An Attempt to Fill the Voids in the Archive of the Moscow Canal (1932–37) | 214 | 42 | 86 | 29 | 57 |
| 5r76v48z | I’m New Here: Black and Indigenous Media Ecologies: Curatorial Statement | 212 | 54 | 62 | 44 | 52 |
| 97z5x16t | “Tool of Enlightenment”: The Dreamachine’s Effects for Individual Autonomy | 204 | 52 | 55 | 72 | 25 |
| 2zf2p5tk | Traces, Fragments and Voids: An Artist Representing Detroit's Vanishing Homeland | 195 | 123 | 36 | 9 | 27 |
| 9ps0d7z3 | From a Native Daughter: Seeking Home and Ancestral Lines through a Dashboard Hula Girl | 189 | 53 | 44 | 33 | 59 |
| 2tx4j89p | A Catalog of American Things | 185 | 24 | 63 | 24 | 74 |
| 697345pn | Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space | 174 | 35 | 49 | 41 | 49 |
| 1gb5592r | Interview with Boreth Ly on Her New Book, Traces of Trauma | 173 | 32 | 39 | 36 | 66 |
| 50g5j00d | Images, Copyright, and the Future of Digital Publishing in the Arts | 169 | 40 | 54 | 25 | 50 |
| 73x8c0xw | Tito/Tata: Fiction and Factuality in Documentary Photographs of the Father Figure in Communist Yugoslavia | 169 | 72 | 46 | 18 | 33 |
| 0288q432 | Glimmers of Digital Publishing Innovation | 165 | 46 | 44 | 26 | 49 |
| 8z75g1k7 | Imagining the Future of Digital Publishing | 161 | 49 | 48 | 35 | 29 |
| 9053999t | White Shoals, White Shrouds: Reflections on the Ethics of Looking at Captive Bodies | 160 | 40 | 64 | 21 | 35 |
| 7wt7z8mx | Douce Mélancholie: Sonic Negotiations of Absence in the Works of Susan Philipsz and Félicia Atkinson | 157 | 32 | 51 | 33 | 41 |
| 2r58110h | The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa | 156 | 35 | 38 | 33 | 50 |
| 5tr219kd | Looking Backward into the Future: Thoughts on the Study of the Past, Ritual, and Women’s Eucharistic Experiences in Byzantium | 154 | 32 | 39 | 31 | 52 |
| 8k61f03t | Beyond Borders and Biology: Lisa Myeong-Joo’s Self-Portrait of a Circle (2016) | 152 | 25 | 51 | 35 | 41 |
| 3d78r1db | The Somatic and Textural Language of Patricia Belli: Recrafting Social and Political Bodies in 1990s Nicaragua | 147 | 47 | 37 | 21 | 42 |
| 8vc716rq | Visualizing Banaba: Art and Research about a Diffracted Pacific Island | 147 | 38 | 51 | 20 | 38 |
| 4259n982 | What is Radical Writing in Visual Studies? | 139 | 21 | 35 | 37 | 46 |
| 51v5j2xh | It's Like She Had Never Existed: The Family Story and the Assembly of Disability | 139 | 34 | 31 | 36 | 38 |
| 6x75v6kd | Happy Bullish 2011!!!: Olek’s Project B | 136 | 35 | 53 | 27 | 21 |
| 6rw5s8qh | Front Matter | 132 | 34 | 34 | 27 | 37 |
| 1n22g022 | The Heat is On | 131 | 29 | 35 | 24 | 43 |
| 78x622wh | The Televised Apocalypse | 126 | 25 | 45 | 24 | 32 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.