Pacific Arts: The Journal of the Pacific Arts Association
Parent: UC Santa Cruz
eScholarship stats: History by Item for December, 2024 through March, 2025
| Item | Title | Total requests | 2025-03 | 2025-02 | 2025-01 | 2024-12 |
|---|---|---|---|---|---|---|
| 00w843tk | “Tattoo the Women, but Not the Men”: Female Tattooing in Tonga | 197 | 41 | 64 | 27 | 65 |
| 2gd9j917 | The Mataisau Clan of Fiji: Roles and Responsibilities | 187 | 33 | 47 | 51 | 56 |
| 7t16n5t9 | Exhibition Review: Ancestry and Kinship in Yolŋu Curation | 133 | 41 | 30 | 40 | 22 |
| 81b2f26x | ʻĀina in Contemporary Art of Hawaiʻi | 130 | 36 | 31 | 37 | 26 |
| 1hh6q0qm | Pacific Arts N.S. Vol. 25, No. 1 (2025) | 121 | 49 | 72 | ||
| 55g319t7 | Pacific Arts N.S. Vol. 25, No. 1 (2025) | 103 | 15 | 88 | ||
| 0wz8226k | The ASB Polyfest: The Construction of Transnational Pacific Cultural Spaces in Auckland, Aotearoa New Zealand | 100 | 34 | 39 | 13 | 14 |
| 2st0x4wj | Media Review: Whakapapa/Algorithms | 98 | 20 | 30 | 30 | 18 |
| 4r89j7k5 | Pacific Arts N.S. Vol. 24, No. 1 (2024) | 93 | 15 | 50 | 22 | 6 |
| 5zp727jr | Belatedly and Finally: The Early Time of the Indigenous in the Concurrent Contemporary | 93 | 24 | 20 | 25 | 24 |
| 15k0w0f6 | Announcements | 91 | 25 | 66 | ||
| 8x36j9d3 | Learning to Surf (Seʻe) on a Wave, from Island to Urbanesia | 87 | 25 | 22 | 25 | 15 |
| 1kt7k6t4 | nothing important happened today: An Interview with Vernon Ah Kee | 80 | 23 | 35 | 15 | 7 |
| 3w73k2mz | Exhibition Review Nā Māla: Layered Landscapes of Kona Coffee Heritage, curated by Mina Elison. Donkey Mill Art Center, Kona, Hawaiʻi, October 24, 2020 – December 12, 2020. | 77 | 16 | 16 | 27 | 18 |
| 6sn1w9wt | Snail Paradise Trilogy: A Series by Chang En-man | 76 | 14 | 18 | 21 | 23 |
| 8z45x79s | Gestures of Survivance: Angela Tiatia’s Lick and Feminist Environmental Performance Art in Oceania | 74 | 23 | 18 | 24 | 9 |
| 9gq79727 | Curating Pacific Art in the United States: A Roundtable Discussion | 72 | 12 | 21 | 20 | 19 |
| 0xz7j5z0 | Mana i te Whenua: Relationships with Place and Sovereignty | 70 | 28 | 17 | 7 | 18 |
| 2n55f7jn | ʻAmui ʻi Muʻa/Ancient Futures: An Artist Re-flection | 69 | 14 | 55 | ||
| 44f4d693 | Pacific Arts N.S. Vol. 22 No. 1 (2022) | 68 | 15 | 24 | 14 | 15 |
| 08r6w8pn | Partnership, Collaboration, and Community Engagement: Reflections on Applied Repatriation in a Small Museum | 67 | 19 | 17 | 21 | 10 |
| 4b79w9v6 | Making Room for Earth in Hawaiʻi: Sean Connelly’s A Small Area of Land | 66 | 18 | 21 | 17 | 10 |
| 4bv6d581 | Creative Practice and Pedagogy with the Marshall Islands: Navigating a Critical Call-and-Response | 65 | 16 | 17 | 16 | 16 |
| 0x75r98x | ʻAmui ʻi Muʻa/Ancient Futures Conference, Tonga, October 2019 | 64 | 17 | 47 | ||
| 0fs8g50p | Exhibition Review: Project Banaba, Bernice Pauahi Bishop Museum | 63 | 12 | 12 | 23 | 16 |
| 16m186zr | Traditional Amis Architecture and Its Environment in a Contemporary Context | 61 | 16 | 17 | 14 | 14 |
| 06c835v1 | The Future of our Roots and the Land: The Re-vival of the Atayal Weaving Material Ramie | 60 | 14 | 22 | 13 | 11 |
| 9mh3k7zk | Exhibition Review: Paradise Camp at the Aotearoa/New Zealand Pavilion of the 59th Venice Biennale | 59 | 18 | 21 | 10 | 10 |
| 2bz8j1cm | Return into Pacific Lights: The German “Welterkunder” Georg Forster on Captain Cook’s Second Voyage and his Tongan “Curiosities” | 58 | 12 | 46 | ||
| 54p491cm | Seeking Gender Identity in the Contexts of Atayal: An Art Project | 58 | 11 | 22 | 9 | 16 |
| 7vn3n7z9 | Obituary: Roger Boulay (1943—2024) | 56 | 12 | 12 | 20 | 12 |
| 350437g1 | History, Culture, and A Tale of Two Queens: Exploring the Ngatu in ‘Amui ‘i Mu‘a/Ancient Futures at Hastings City Art Gallery Te Whare Toi o Heretaunga, 2023, with a Preface by Elham Salari | 55 | 15 | 40 | ||
| 9bp1n9m2 | Duty-Free Paradise | 55 | 15 | 13 | 15 | 12 |
| 1rk5v8xq | Albert Wendt: Writing in Color | 52 | 18 | 10 | 9 | 15 |
| 1zc8p4dx | Photographing Matrilineal Power and Prestige in the Hawaiian Kingdom | 52 | 12 | 14 | 15 | 11 |
| 6st508tf | The Āpuakehau Stream, its Role in Waikīkī, and Muliwai (2022) | 52 | 23 | 10 | 16 | 3 |
| 0516q9rb | Artists Concern: Visualising Environmental Destruction in Papua New Guinea | 51 | 10 | 19 | 15 | 7 |
| 0gt342p9 | ʻAmui ʻi Muʻa/Ancient Futures: Fatu fala e fale lalanga (Weaving Threads) | 51 | 13 | 38 | ||
| 34w1g7x9 | Pacific Arts N.S. Vol. 24, No. 1 (2024) | 51 | 8 | 7 | 22 | 14 |
| 6db23955 | Book Series Review: Pacific Presences, 9 vol., Nicholas Thomas (general editor) | 50 | 10 | 10 | 16 | 14 |
| 73k4s2c9 | Special Issue "Grounded in Place: Dialogues between First Nations Artists from Australia, Taiwan, and Aotearoa" | 50 | 15 | 16 | 8 | 11 |
| 2pj6g8w4 | A Journey of Healing, Discovery, and Transformation: Hohou Te Rongo | 49 | 15 | 10 | 11 | 13 |
| 89s702ss | Canoe Carvings from Western Solomon Islands: The Operative Efficacy of Simultaneous Visual Presences | 49 | 10 | 18 | 15 | 6 |
| 9xg3292t | The Healer’s Wound (Exhibition and Artist’s Book) | 49 | 15 | 9 | 17 | 8 |
| 6rh9d5bh | Pacific Arts N.S. Vol. 23 No. 2 (2023-24) | 47 | 25 | 15 | 5 | 2 |
| 6x71k12k | Foreword: ʻAmui ʻi Muʻa/Ancient Futures—Back to the Future | 47 | 15 | 32 | ||
| 96k9b6c8 | Book Review: Women Photographers of the Pacific World, 1857–1930 | 46 | 6 | 24 | 10 | 6 |
| 3dj984zp | Project Banaba: A Dialogue on Exhibition Collaboration and Methods | 45 | 13 | 13 | 8 | 11 |
| 3pk3t76k | Introduction to “History and Sovereignty” | 45 | 9 | 18 | 12 | 6 |
| 5r57z76s | Coastal Cannibals: Industry and Occupation on Whangārei Te Rerenga Paraoa | 45 | 18 | 10 | 12 | 5 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.