Calais Mustoe (Class of 2021) examines the sexual politics of looking in Mary Cassatt’s Antoinette at Her Dressing Table (1909)
No Way Like the American Way: But for Whom?
Emi Cormier (Class of 2020) analyzes the racial politics of Margaret Bourke-White’s photographs of the 1937 Ohio River Flood.
The Politics of a Carte-de-Visite
By focusing on a 19th-century photograph from Wheaton’s Permanent Collection, Phoebe Wu (Class of 2020) explores how one Polish émigrée used the medium to garner support for her family’s cause.
When Art and Science Meet
Elisa McClear (Class of 2020) examines how anatomical models straddled the boundaries between art and science, the erotic and the educational.
A Memorial to Everyday Oppressions
Mackenzie Lewia (Class of 2020) explores what makes Berlin’s Places of Remembrance an especially powerful Holocaust memorial.
Buying Japan in France
Annie Tucker (Class of 2020) links Claude Monet’s La Japonaise (1876) to French Japonisme as an advertising strategy.
Art Out of Conflict
Adi Shmerling (Class of 2022) proposes an exhibition idea: art made in Mozambique and Tanzania that tells the story of socialist activism in eastern Africa.
Servants of Illusion
Eliza Browning (Class of 2022) explores how stereoscopy was featured at the 1855 Universal Exhibition in Paris, focusing on a Disdéri photograph in the Wheaton Permanent Collection.
Class and Nostalgia in Atget’s Organ Grinder and Girl (1898-99)
Natasha Coleman (Class of 2016) uses a print from the Wheaton Permanent Collection to explore Atget ‘s efforts to document a vibrant working class street culture in Paris.
The Masculine Body: Staged Suffering
Walker Downey (Class of 2013) discusses the role of pain in portrayals of the male body.
