Marley Reedy (Class of 2024) explores how artists in the current Limits of Visibility exhibition evoke the empowerment of being seen.
A rare anti-slavery medallion illuminates the complex relationships between the 19th-century abolitionist movement and the struggle for women’s rights.
Decapitation was a punishment for gender nonconformity, according to Ellie Reder (Class of 2025).
Eliza Browning (Class of 2022) examines a Bekom mask from Cameroon, and its appropriation by the German Dadaist Hannah Höch.
Using a Paris postcard as an ideological contrast, Whitney O’Reardon (Class of 2022) suggests how Pissarro embedded politics in his rendering of an urban crowd at Gare St. Lazare (1893).
How do we create more just and equitable arts organizations? How can we use the past to build a new architecture of ideas? On April 6, ARTHive helped sponsor an online conversation about these questions and more.
Emily Gray (Class of 2022) unpacks voyeurism and homoeroticism in two related images by the French artists Gustave Courbet and Achille Devéria
Eliza Browning (Class of 2022) explores the complex histories of a controversial Christopher Columbus statue and its site, in New London, CT. What can it tell us about race and the politics of Italian-American identity?
Calais Mustoe (Class of 2021) examines the sexual politics of looking in Mary Cassatt’s Antoinette at Her Dressing Table (1909)
Emi Cormier (Class of 2020) analyzes the racial politics of Margaret Bourke-White’s photographs of the 1937 Ohio River Flood.