Pacific Arts: The Journal of the Pacific Arts Association
Parent: UC Santa Cruz
eScholarship stats: History by Item for October, 2024 through January, 2025
| Item | Title | Total requests | 2025-01 | 2024-12 | 2024-11 | 2024-10 |
|---|---|---|---|---|---|---|
| 00w843tk | “Tattoo the Women, but Not the Men”: Female Tattooing in Tonga | 306 | 27 | 65 | 175 | 39 |
| 2gd9j917 | The Mataisau Clan of Fiji: Roles and Responsibilities | 187 | 51 | 56 | 35 | 45 |
| 9gq79727 | Curating Pacific Art in the United States: A Roundtable Discussion | 142 | 20 | 19 | 23 | 80 |
| 4bv6d581 | Creative Practice and Pedagogy with the Marshall Islands: Navigating a Critical Call-and-Response | 133 | 16 | 16 | 24 | 77 |
| 0fs8g50p | Exhibition Review: Project Banaba, Bernice Pauahi Bishop Museum | 121 | 23 | 16 | 22 | 60 |
| 81b2f26x | ʻĀina in Contemporary Art of Hawaiʻi | 118 | 37 | 26 | 24 | 31 |
| 1zc8p4dx | Photographing Matrilineal Power and Prestige in the Hawaiian Kingdom | 111 | 15 | 11 | 18 | 67 |
| 08r6w8pn | Partnership, Collaboration, and Community Engagement: Reflections on Applied Repatriation in a Small Museum | 110 | 21 | 10 | 19 | 60 |
| 6db23955 | Book Series Review: Pacific Presences, 9 vol., Nicholas Thomas (general editor) | 107 | 16 | 14 | 13 | 64 |
| 4t62m737 | Pacific Presences: A Retrospect | 106 | 10 | 15 | 15 | 66 |
| 7t16n5t9 | Exhibition Review: Ancestry and Kinship in Yolŋu Curation | 102 | 40 | 22 | 27 | 13 |
| 34w1g7x9 | Pacific Arts N.S. Vol. 24, No. 1 (2024) | 101 | 22 | 14 | 24 | 41 |
| 4r89j7k5 | Pacific Arts N.S. Vol. 24, No. 1 (2024) | 99 | 22 | 6 | 18 | 53 |
| 5zp727jr | Belatedly and Finally: The Early Time of the Indigenous in the Concurrent Contemporary | 99 | 25 | 24 | 22 | 28 |
| 9xg3292t | The Healer’s Wound (Exhibition and Artist’s Book) | 93 | 17 | 8 | 16 | 52 |
| 8z45x79s | Gestures of Survivance: Angela Tiatia’s Lick and Feminist Environmental Performance Art in Oceania | 92 | 24 | 9 | 35 | 24 |
| 6st508tf | The Āpuakehau Stream, its Role in Waikīkī, and Muliwai (2022) | 90 | 16 | 3 | 18 | 53 |
| 6sn1w9wt | Snail Paradise Trilogy: A Series by Chang En-man | 87 | 21 | 23 | 24 | 19 |
| 7vn3n7z9 | Obituary: Roger Boulay (1943—2024) | 87 | 20 | 12 | 12 | 43 |
| 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. | 82 | 27 | 18 | 15 | 22 |
| 8x36j9d3 | Learning to Surf (Seʻe) on a Wave, from Island to Urbanesia | 74 | 25 | 15 | 13 | 21 |
| 0cn206gx | Announcements | 72 | 10 | 8 | 16 | 38 |
| 2st0x4wj | Media Review: Whakapapa/Algorithms | 70 | 30 | 18 | 13 | 9 |
| 0xz7j5z0 | Mana i te Whenua: Relationships with Place and Sovereignty | 69 | 7 | 18 | 22 | 22 |
| 44f4d693 | Pacific Arts N.S. Vol. 22 No. 1 (2022) | 64 | 14 | 15 | 16 | 19 |
| 4b79w9v6 | Making Room for Earth in Hawaiʻi: Sean Connelly’s A Small Area of Land | 62 | 17 | 10 | 15 | 20 |
| 1kt7k6t4 | nothing important happened today: An Interview with Vernon Ah Kee | 61 | 15 | 7 | 13 | 26 |
| 0wz8226k | The ASB Polyfest: The Construction of Transnational Pacific Cultural Spaces in Auckland, Aotearoa New Zealand | 53 | 13 | 14 | 12 | 14 |
| 0516q9rb | Artists Concern: Visualising Environmental Destruction in Papua New Guinea | 52 | 15 | 7 | 11 | 19 |
| 51p8w8t6 | “Who Are We Without Land?”: Climate Change, Place, and Identity in the Work of Joycelin Kauc Leahy | 50 | 7 | 6 | 33 | 4 |
| 89s702ss | Canoe Carvings from Western Solomon Islands: The Operative Efficacy of Simultaneous Visual Presences | 50 | 15 | 6 | 9 | 20 |
| 9bp1n9m2 | Duty-Free Paradise | 49 | 15 | 12 | 12 | 10 |
| 54p491cm | Seeking Gender Identity in the Contexts of Atayal: An Art Project | 47 | 9 | 16 | 8 | 14 |
| 06c835v1 | The Future of our Roots and the Land: The Re-vival of the Atayal Weaving Material Ramie | 46 | 13 | 11 | 8 | 14 |
| 9mh3k7zk | Exhibition Review: Paradise Camp at the Aotearoa/New Zealand Pavilion of the 59th Venice Biennale | 44 | 10 | 10 | 7 | 17 |
| 16m186zr | Traditional Amis Architecture and Its Environment in a Contemporary Context | 42 | 14 | 14 | 3 | 11 |
| 2pj6g8w4 | A Journey of Healing, Discovery, and Transformation: Hohou Te Rongo | 42 | 11 | 13 | 3 | 15 |
| 3dj984zp | Project Banaba: A Dialogue on Exhibition Collaboration and Methods | 42 | 8 | 11 | 6 | 17 |
| 1rk5v8xq | Albert Wendt: Writing in Color | 41 | 9 | 15 | 10 | 7 |
| 92c161s7 | Watsonville is in the Heart: Documenting Histories of Transpacific Filipino Migration in the Pajaro Valley | 39 | 5 | 11 | 5 | 18 |
| 7gf8616w | Angels in West Papua. In Memoriam Donatus Moiwend | 38 | 10 | 6 | 8 | 14 |
| 73k4s2c9 | Special Issue "Grounded in Place: Dialogues between First Nations Artists from Australia, Taiwan, and Aotearoa" | 37 | 8 | 11 | 9 | 9 |
| 00c9c33q | About the Art: Carl Franklin Kaʻailāʻau Pao’s Kiʻi Kupuna: ʻO ʻAilāʻau (Ancestral Images: Forest Eater) Series | 36 | 14 | 7 | 7 | 8 |
| 5089m65p | Media Review: Kanohi ki te Kanohi: The Living Portrait (2021) | 36 | 12 | 5 | 7 | 12 |
| 1fg192dp | Adorning the Ears: On Marquesan Ear Ornamentation | 35 | 4 | 10 | 6 | 15 |
| 9jk6c4vz | From the Edge through the Vā: Introduction to “Pacific Island Worlds: Oceanic Dis/Positions” | 35 | 5 | 6 | 5 | 19 |
| 3z59s1ft | Between the Betweenness: Restoring the Vā | 34 | 4 | 8 | 6 | 16 |
| 8p41f4f8 | Natalie Robertson: Toxic Waters | 34 | 8 | 7 | 8 | 11 |
| 6cm3p20q | Across Country: Waterlines | 33 | 10 | 6 | 6 | 11 |
| 7dg4f4nq | Grounded in Place: Dialogues between First Nations Artists from Australia, Taiwan, and Aotearoa | 32 | 8 | 11 | 2 | 11 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.