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.
Elisa McClear (Class of 2020) examines how anatomical models straddled the boundaries between art and science, the erotic and the educational.
Mackenzie Lewia (Class of 2020) explores what makes Berlin’s Places of Remembrance an especially powerful Holocaust memorial.
Annie Tucker (Class of 2020) links Claude Monet’s La Japonaise (1876) to French Japonisme as an advertising strategy.
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.
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.
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.
Walker Downey (Class of 2013) discusses the role of pain in portrayals of the male body.
Nadine Biss (Class of 2013) focuses on an image of an icon’s downfall as a representation of turn-of-the-century celebrity culture.
Emily Swalec (Class of 2014) conducts a visual analysis of an eighteenth century Piranesi etching in the Wheaton Permanent Collection.