{"id":7675,"date":"2017-08-30T16:01:12","date_gmt":"2017-08-30T20:01:12","guid":{"rendered":"https:\/\/www.bu.edu\/haa\/?page_id=7675"},"modified":"2024-05-20T15:31:45","modified_gmt":"2024-05-20T19:31:45","slug":"ma-papers","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/haa\/academics\/graduate-program\/ma-program\/ma-papers\/","title":{"rendered":"MA Papers"},"content":{"rendered":"

2024<\/h3>\n
\n
\n

Genesis Cortez\u200b<\/strong><\/a>
\n“Eroticizing the Sacred: Rosso Fiorentino\u2019s Dead Christ<\/em> and the Painterly Language of Artifice”
\nFirst Reader: Cranston<\/a>
\nSecond Reader: Ribner<\/a><\/p>\n

\n

Michaela Dehning\u200b\u200b<\/strong><\/a>
\n“Uncovering Narratives with Material Culture: \u200bExploring New England Women’s Lives through the \u200bJohn Coney Sugar Box\u200b”
\nFirst Reader: Moore<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Isabella Dobson\u200b<\/strong><\/a>
\n“Folds: Female Sexuality in Artemisia Gentileschi’s\u00a0Dana\u00eb<\/em><\/span><\/span>”
\nFirst Reader: Zell<\/a>
\nSecond Reader: Ribner<\/a><\/p>\n

\n

Zeynep Elliot\u200b\u200b<\/strong><\/a>
\n“Narratives Unbound: Challenging Stereotypes Through the Art of Women from the Middle East and North Africa”
\nFirst Reader: Becker<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Sarah Harper\u200b\u200b<\/strong><\/a>
\n“Farid Belkahia: Making a Moroccan Modernism”
\nFirst Reader: Becker<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Zimi Li\u200b\u200b<\/strong><\/a>
\n“The Artistic Encounter Between China and Latin America During the Cold War Period \u2013 A Study of Yuan Yunsheng’s Beijing Capital International Airport Mural Water-Splashing Festival: An Ode to Life<\/em>”
\nFirst Reader: Feng<\/a>
\nSecond Reader: Reyes<\/a><\/p>\n

\n

Kelsey Lutchman\u200b (AMNESP)<\/strong>
\n“Silenced Voices: Gendered Violence in Bernini\u2019s Sculptures”
\nFirst Reader: Zell<\/a>
\nSecond Reader: Ribner<\/a><\/p>\n

\n

Amy Malach\u200b\u200b<\/strong>
\n“The Art of Aging: Evaluating the Evidence of Old-Age Style in the Nineteenth Century and Beyond”
\nFirst Reader: Ribner<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Marlo Morales\u200b\u200b<\/strong><\/a>
\n“Race and Revolution; Post-Revolutionary Racial Discourse in Cuba Through the Lens of Queloides<\/em>\u200b”
\nFirst Reader: Reyes<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Bailey Pekar\u200b\u200b<\/strong><\/a>
\n“\u201dReflecting on Cornelis De Man\u2019s Trompe L\u2019Oeil Frame with Putti: Vanity and Vision through a Seventeenth-Century Mirror\u201d\u200b”
\nFirst Reader: Zell<\/a>
\nSecond Reader: Atkins<\/p>\n

\n

Yutian Song\u200b\u200b<\/strong>
\n“Building Community: Field Studies of Alison and Peter Smithson and their Application in Design”
\nFirst Reader: Abramson<\/a>
\nSecond Reader: Alnajada<\/a><\/p>\n

\n

Graham Stopa\u200b\u200b<\/strong><\/a>
\n“Fashioning an Image: \u200bThe Insignia, Textiles, and Arms of Nanna Olomu”
\nFirst Reader: Becker<\/a>
\nSecond Reader: Clunis<\/p>\n

\n
\n

2023<\/h3>\n
\n
\n

Claire Bellanger
\n<\/strong>“The Art of Exhibiting Assault: Revisionism in Titian: Women, Myth and Power at The Isabella Stewart Gardner Museum”
\nFirst Reader: Ribner<\/a>
\nSecond Reader: Hall<\/a><\/p>\n

\n

Amy DeLaBruere<\/strong>
\n“Henri Matisse\u2019s Self-Portraits: Contemplating Selfhood, Performativity, and Evolving Identity”
\nFirst Reader: Ribner<\/a>
\nSecond Reader: Cranston<\/a><\/p>\n

\n

Rachel Griffith
\n<\/strong>“The Social Satire of Honor\u00e9 Daumier and F\u00e9lix Vallotton: Images of Crowds”
\nFirst Reader: Ribner<\/a>
\nSecond Reader: Barrett<\/a>
\n<\/strong><\/p>\n

\n

Isabel Hagberg
\n<\/strong>“Confronting Christiaen van Couwenbergh’s 1632 Painting: The Rape of a Black Woman<\/em>”
\nFirst Reader: Zell<\/a>
\nSecond Reader: Ribner<\/a><\/p>\n

\n

Sarah Hagglund<\/strong>
\n“Competing with Nature Herself? Vittoria della Rovere, Giovanna Garzoni, and Gender in a Seventeenth-Century Kunstkammer<\/em>”
\nFirst Reader: Cranston<\/a>
\nSecond Reader: Zell<\/a><\/p>\n

\n

E. Rosa Jang
\n<\/strong>“Imagining the Past, Touring the Colony: Kawase Hasui\u2019s Eight Views of Korea<\/em>”
\nFirst Reader: Tseng<\/span><\/a>
\nSecond Reader: Sunglim Kim<\/p>\n

\n

Joshua C. Johnson<\/strong>
\n“Like Flowers Beneath a Jackboot: Cadmus\u2019s Queerness and Forster\u2019s Beliefs”
\nFirst Reader: Barrett<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Rachael Nelson<\/strong>
\n“Evaluating the Classification and Presentation of Etruscan Artifacts in North American Collections”
\nFirst Reader: Martin<\/a>
\nSecond Reader: Haenraets<\/a><\/p>\n

\n

Leah Olivo<\/strong>
\n“Curating Dominicanidad: The Racialized Visual Culture of Dominican National Identity”
\nFirst Reader: Reyes<\/a>
\nSecond Reader: Becker<\/a><\/p>\n

\n

Erin Rosengren<\/strong>
\n“Identity Portals: Reading Cultural Resistance in the Works of Ra\u00fal de Nieves at the Institute of Contemporary Art \/ Boston”
\nFirst Reader: Reyes<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Caroline Strolic<\/strong>
\n“Absent Fathers and Absent Men: Eastman Johnson’s Writing to Father (1863) and the Effects of the Civil War on the Northern Family”
\nFirst Reader: Barrett<\/a>
\nSecond Reader: Moore<\/a><\/p>\n

\n

Jamie Rose Valera<\/strong>
\n“The Digital Era: The Crypto-Museum, A.I., and NFTs”
\nFirst Reader: Williams<\/a>
\nSecond Reader: Reyes<\/a><\/span><\/p>\n

\n

Yifei Wang
\n<\/span><\/strong>“Brush of Resonance: Exploring Intelligentsia Interactions in Early Edo Kyoto Through The<\/em> Ten Snow Incidents<\/em>”
\n<\/span>First Reader: Tseng<\/span><\/a>
\nSecond Reader: Feng<\/span><\/a><\/span><\/p>\n

\n

Adriana Weisdorfer<\/strong>
\n“”Pink is a Weapon of Mass Destruction”: Chicanx and Femme Aesthetics as Decolonial Tools in The Procession<\/em> and Other Works by Yvette Mayorga”
\nFirst Reader: Reyes<\/a>
\nSecond Reader: Williams<\/a><\/p>\n

\n
\n

2022<\/h3>\n
\n
\n

Toni Armstrong<\/strong>
\n“Samuel F. B. Morse\u2019s\u00a0The Goldfish Bowl<\/em>\u00a0(1835): Taste, Domesticity, and Early Nineteenth Century Fish-Keeping”
\n<\/span>First Reader: Barrett<\/a><\/span>
\nSecond Reader:\u00a0Moore<\/a><\/span><\/span><\/p>\n

\n

Claire K. Campbell<\/strong>
\n<\/span>“”Palpable Modernity, Intimately Japanese<\/em>“: Sakakura Junz\u014d’s 1937 Japanese Pavilion and Its Foreign Criticisms”
\nFirst Reader:\u00a0Tseng<\/a><\/span><\/span>
\nSecond Reader: Sichel<\/a><\/p>\n

\n

Alice P. Fung<\/strong>
\n“Camera of Resistance: Provoke<\/em> and the Conceptual Apparatus of Postwar Japanese Photography”
\n<\/span>First Reader:\u00a0Tseng<\/a><\/span><\/span>
\nSecond Reader: Sichel<\/a><\/p>\n

\n

Scarlett Hung<\/strong>
\n“Towards an Order of Non-standard: From Analog to Digital Concrete Shell Architecture”
\n<\/span>First Reader: Abramson<\/a>
\n<\/span>Second Reader:\u00a0Tseng<\/a><\/span><\/span><\/p>\n

\n

Hannah Jew<\/strong>
\n“Working From Home: The Rembrandt Domestic”
\n<\/span>First Reader: Zell<\/span><\/a><\/span>
\nSecond Reader: Cranston<\/a><\/span><\/span><\/p>\n

\n

Rachel Kline\u00a0<\/strong>
\n“Bravura in Blue: Ultramarine in the Works of Artemisia Gentileschi”
\n<\/span>First Reader: Cranston<\/a><\/span><\/span>
\nSecond Reader: Zell<\/span><\/a><\/span><\/p>\n

\n

Isaline Ana\u00efs Lefran\u00e7ois<\/strong>
\n“A Tale of the Norman Conquest: The Role of Gifts in the Bayeux Embroidery”
\n<\/span>First Reader: Kahn<\/span><\/a>
\n<\/span>Second Reader: Zell<\/span><\/a><\/span><\/p>\n

\n

Jillian Leigh Nichols\u00a0<\/strong>
\n“Inside Out: The Strange Made Familiar in Patricia Piccinini\u2019s Grotesque Creatures”
\n<\/span>First Reader: Williams<\/a>
\n<\/span>Second Reader: Barrett<\/a><\/span><\/p>\n

\n

Yutong Shi<\/strong>
\n“A Global City on Display: The 2000 Shanghai Biennale”
\n<\/span>First Reader: Williams<\/a>
\n<\/span>Second Reader:\u00a0Tseng<\/a><\/span><\/span><\/p>\n

\n

Morgan Snoap<\/strong>
\n“Motifs in Motion: Fes Belts (Ahzima<\/em>) and Moroccan Design Innovation in the Early Modern Mediterranean World”
\n<\/span>First Reader: Becker<\/span><\/a>
\n<\/span>Second Reader: Barrett<\/a><\/span><\/p>\n

\n

Ateret Sultan-Reisler<\/strong>
\n“Autonomy and Leisure: George Bellows\u2019s Urban Waterfront”
\n<\/span>First Reader: Barrett<\/a>
\n<\/span>Second Reader: Sichel<\/a><\/span><\/span><\/p>\n

\n

<\/a><\/p>\n

\n

2021<\/h3>\n
\n
\n

Shannon Bewley<\/strong>
\n“Mary Miss, Suzanne Harris, and Alice Aycock: Sculptors in \u2018Crummy Spaces”
\n<\/span>First Reader: Williams<\/a>
\n<\/span>Second Reader: Abramson<\/a><\/p>\n

\n

Ziwei Che<\/strong>
\n“The Dacian Sculptures in\u000bthe Forum of Trajan”
\n<\/span>First Reader: Kleiner<\/a><\/span>
\n<\/span>Second Reader: Martin<\/a><\/p>\n

\n

Jasmine Shevell<\/strong>
\n“The Roman Fresco at Tel Dor”
\n<\/span>First Reader: Martin<\/a>
\nSecond Reader: Kleiner<\/a><\/span><\/span>
\n<\/span><\/span><\/p>\n

\n

Rachel Hannah Stewart<\/strong>
\n“Renowned to Mor\u00e9: Ambrosius Bosschaert and Flower Still Life in the Context of Seventeenth-Century Dutch Globalization”
\n<\/span>First Reader: Zell<\/span><\/a><\/span>
\nSecond Reader: Ribner<\/a><\/span><\/span><\/p>\n

\n

Bryan Stringer\u000b<\/strong>
\n“Salubrity and Design: Olmsted\u2019s Parks Along the Emerald Necklace”
\n<\/span>First Reader: Abramson<\/a>
\nSecond Reader: Bluestone<\/a><\/p>\n

\n
\n

2020<\/h3>\n
\n
\n

Candice Marie Driver<\/strong>
\n“Affinities to Music in Whistler’s Artworks”
\n<\/span>First Reader: Ribner<\/a><\/span><\/span>
\nSecond Reader: Cranston<\/a><\/span><\/span><\/p>\n

\n

Colleen Catherine Foran<\/strong>
\n“The Beautyful Ones are Born Building an Arts Ecosystem in Contemporary Accra”
\n<\/span>First Reader:\u00a0Becker<\/a><\/span><\/span>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Katherine Dulles Mitchell<\/strong>
\n“Eug\u00e8ne Atget\u2019s Parisian Riverscapes”
\n<\/span>First Reader: Sichel<\/a><\/span><\/span>
\nSecond Reader: Ribner<\/a><\/span><\/span><\/p>\n

\n

Francesca E. Soriano<\/strong>
\n“Ecological Aesthetics: Anne Brigman’s Long Beach Photographs”
\n<\/span>First Reader: Barrett<\/a><\/span>
\nSecond Reader: Sichel<\/span><\/span><\/a><\/p>\n

\n

Heather Marie Walker<\/strong>
\n“Beyond Still-Life: The Curious Case of the Paston Treasure”
\n<\/span>First Reader: Zell<\/span><\/a><\/span>
\nSecond Reader: Cranston<\/a><\/span><\/span><\/p>\n

\n

Myriam Isabel Walter<\/strong>
\n“Exercises in Color: Sonia Delaunay’s Fashion and Fabric Business in the 1920s”
\n<\/span>First Reader: Sichel<\/a><\/span><\/span>
\nSecond Reader: Ribner<\/a><\/span><\/span><\/p>\n

\n

Anna Zell<\/strong>
\n“Staging Interactions Between Figures of Power: Jean-L\u00e9on G\u00e9r\u00f4me’s Depiction of the Ancien R\u00e9gime”
\n<\/span>First Reader: Ribner<\/a><\/span><\/span>
\nSecond Reader: Zell<\/span><\/a><\/span><\/p>\n

\n
\n

2019<\/h3>\n
\n
\n

Hannah Gadbois<\/strong>
\n“Aleksandr Rodchenko & Vladimir Mayakovsky’s Pro Eto and the Struggle of the Artist in the Soviet Union, 1917-1930”
\n<\/span>First Reader:\u00a0Sichel<\/a><\/span><\/span>
\nSecond Reader: Williams<\/a><\/p>\n

\n

Xiaoqi Huang<\/strong>
\n“The Stony Brush: Investigation of Stele School’s Inter-media Influences in Jin Nong’s Caligraphy and Painting”
\n<\/span>First Reader:\u00a0Tseng<\/a><\/span><\/span>
\nSecond Reader: Huang<\/p>\n

\n

Allison Smith<\/strong>
\n“The Cultural Significance of the Intangible to the Tangible Representations of Roger Willliams in the Built Environments”
\n<\/span>First Reader: Haenraets<\/a><\/span><\/span>
\nSecond Reader:\u00a0Cranston<\/span><\/span><\/a><\/p>\n

\n

Evan Smith<\/strong>
\n“The Afterlife of Action: Photography, Collage, and Drawing in the Age of Gunter Brus and the Vienna Actionists”
\n<\/span>First Reader: Williams<\/a><\/span><\/span>
\nSecond Reader:\u00a0Sichel<\/a><\/span><\/span><\/p>\n

\n
\n

2018<\/h3>\n
\n
\n

Rachel Bonner<\/strong>
\n“A Vocabulary for the Ineffable: Strategies of Experimental Literature in the Work of Doris Salcedo”
\n<\/span>First Reader:\u00a0Reyes<\/a><\/span><\/span>
\nSecond Reader: Borinsky<\/p>\n

\n

Ann Cannon<\/strong>
\n“Distorted Impressions and the Art of Exaggeration: Monet’s Caricatures\u00a0”
\n<\/span>First Reader:\u00a0Ribner<\/a><\/span><\/span>
\nSecond Reader: Sichel<\/a><\/p>\n

\n

Carol Fabricant<\/strong>
\n“Making the Monumental Miniature: Architecture and Ornament in the French Renaissance\u00a0Dessins d’orfevrerie<\/em>\u00a0Print Series\u00a0”
\n<\/span>First Reader:\u00a0Cranston<\/a><\/span><\/span>
\nSecond Reader:\u00a0Ribner<\/a><\/span><\/span><\/p>\n

\n

I Hsuan Huang<\/strong>
\nReshaping Taiwanese Identity through National Museums and Their ”
\n<\/span>First Reader:\u00a0Tseng<\/a><\/span><\/span>
\nSecond Reader: Hall<\/a><\/a><\/p>\n

\n

Claire Kinder<\/strong>
\n“Pop-up Metropolis: Transportable Civilization and Albert Bierstadt’s Expandable Railcar”
\n<\/span>First Reader:\u00a0Moore<\/a><\/span><\/span>
\nSecond Reader: Barrett<\/a><\/span><\/p>\n

\n

Anna Kolesova<\/strong>
\n“Thawing Socialist Realism; Reformist Practices of the Severe Style Artists and Their Legacy, 1953-1982”
\n<\/span>First Reader:\u00a0Williams<\/a><\/span><\/span>
\nSecond Reader:\u00a0Sichel<\/a><\/p>\n

\n

Mary Morgan Williamson<\/strong>
\n“Out of the Shadows: Katsushika Oi and her Paintings of Women”
\n<\/span>First Reader:\u00a0Tseng<\/a><\/span><\/span>
\nSecond Reader:\u00a0Frederick<\/a><\/p>\n

\n
\n

2017<\/h3>\n
\n
\n

Bailey\u00a0Benson
\n<\/strong>“Munificence in the High Empire: The City Gate of Plancia Magna in Perge”
\n<\/span>First Reader:\u00a0Kleiner<\/a><\/span><\/span>
\nSecond Reader: Martin<\/a><\/p>\n

\n

Hannah\u00a0Braun
\n<\/strong>“Virtue and Vice: New York City, Prostitution and Commodity in the Work of John Sloan”
\n<\/span>First Reader: Barrett<\/a><\/span><\/span>
\nSecond Reader:\u00a0Moore<\/a><\/p>\n

\n

Kimber Chewning
\n<\/strong>“Material Girl: Queer Vision, Temporal Dissonance, and Haptic Repair in the Vernacular Photo Album, Martina Kubelk: Kleider – Unterw\u00e4sche<\/em>”
\n<\/span>First Reader:\u00a0Williams<\/a><\/span><\/span>
\nSecond Reader: Sichel<\/span><\/span><\/a><\/p>\n

\n

Aaron Cotton<\/strong>
\n“Problems of Provenance: The Impact of UNESCO’s 1970 Convention on the Euphronios Krater and the Weary Herakles from Perge”
\nFirst Reader: Hall<\/a>
\nSecond Reader:\u00a0Martin<\/a><\/p>\n

\n

Rachel Kase
\n<\/strong>“Domestic Interiors, Global Concerns: Women and Asian Trade Goods in Seventeenth-Century Dutch Genre Painting”
\n<\/span>First Reader: Zell<\/a><\/span><\/span>
\nSecond Reader: Cranston<\/a><\/span><\/span><\/p>\n

\n

Travis Kniffin
\n<\/strong>“New Homes and The New West: Robert Adams and the Visual Culture of Real Estate in Colorado Springs”
\n<\/span>First Reader: Barrett<\/a><\/span>
\nSecond Reader: Sichel<\/span><\/span><\/a><\/p>\n

\n

Cara Wolahan<\/strong>
\n“The Theology of Darkness: Caravaggio’s Images of Religious Conversion”
\n<\/span>First Reader: Zell<\/a><\/span><\/span>
\nSecond Reader: Cranston<\/a><\/span><\/span><\/p>\n

\n
\n

2016<\/h3>\n
\n
\n

Joy Xiao Chen
\n<\/strong>“Ambiguity, Loss, Nostalgia: Representing Female Zhiqing<\/em> in Post-Cultural Revolution China”
\n<\/span>First Reader:\u00a0Bai<\/span><\/span>
\nSecond Reader: Tseng<\/p>\n

\n

Hyunjin Cho
\n<\/strong>“Claiming Legitimacy as a Traditional Monarch of Iran: Qajar Postage Stamps of Nasir al-Din Shah 1868-1896”
\n<\/span>First Reader:\u00a0Fetvaci<\/span><\/span>
\nSecond Reader:\u00a0Tseng<\/p>\n

\n

Alexander\u00a0Ciesielski<\/strong>
\n“Past, Present, Parade<\/em>: Classical Inflections of a Cubist Ballet”
\nFirst Reader:\u00a0Ribner
\nSecond Reader:\u00a0Williams<\/p>\n

\n

Tierney\u00a0Dickinson
\n<\/strong>“Ivory Crosses and the Image of Synagoga Transformed”
\n<\/span>First Reader:\u00a0Kahn<\/span><\/span>
\nSecond Reader: Backman<\/span><\/p>\n

\n

Kelley\u00a0Foley
\n<\/strong>“Inspired by a Nation: Felice Beato in Japan, 1863-1884”
\n<\/span>First Reader:\u00a0Sichel<\/span><\/span>
\nSecond Reader:\u00a0Tseng<\/p>\n

\n

Stephanie\u00a0Keating
\n<\/strong>“Marketing the Revolution: GRAV and A Day in the Street<\/em>”
\n<\/span>First Reader:\u00a0Williams<\/span><\/span>
\nSecond Reader:\u00a0Reyes<\/p>\n

\n

Kolodkin, Lauren
\n<\/strong>“A Hand to God: Spirituality and the Self in the Michael and Julie Hall Collection of American Folk Art”
\n<\/span>First Reader:\u00a0Moore<\/span><\/span>
\nSecond Reader:\u00a0Williams<\/p>\n

\n
\n

2015<\/h3>\n
\n
\n

Tina Barouti<\/strong>
\n“”Qui a Tu\u00e9 Qui” and “Who is Omar D?”: Photographing Algeria’s Post-War Culture of Anxiety in Devoir de M\u00e9moire”
\n<\/span>First Reader: Becker<\/span>
\nSecond Reader: Sichel<\/p>\n

\n

Natalia Bogatschow<\/strong>
\n“e-Flux: Art, Control, and the Internet”
\n<\/span>First Reader: Williams<\/span>
\nSecond Reader: Hall<\/p>\n

\n

Angelica\u00a0Bradley<\/strong>
\n“Mexican Good Taste: A Dialogue of Power Relations and the Female Body in Nineteenth and Early Twentieth Century Mexico”
\nFirst Reader: Reyes
\nSecond Reader: Ribner<\/p>\n

\n

Stephen Matthew\u00a0Burges<\/strong>
\n“Ottoman Costume and Class: Evidence for the Sub-imperial Textile Market in the Sixteenth and Seventeenth Centuries”
\nFirst Reader:\u00a0Fetvaci<\/span>
\nSecond Reader:\u00a0Kleiner<\/span><\/p>\n

\n

Kelsey\u00a0Gustin<\/strong>
\n“”The Most Unmanly, the Most Unheroic, the Most Unsatisfactory Examples of Art and Feeling”: The Civil War Paintings of George Cochran Lambin (1830-1896)”
\nFirst Reader:\u00a0Hills<\/span>
\nSecond Reader:\u00a0Morgan<\/span><\/p>\n

\n

Bridget\u00a0Hanson<\/strong>
\n“Visualizing Violence in Marevna’s Wartime Cubist Paintings”
\nFirst Reader: Sichel
\nSecond Reader: Ribner<\/p>\n

\n

Olivia J.\u00a0Kiers<\/strong>
\n“The Deadly Spectacle: Experiencing World War I through Woodcuts of F\u00e9lix Vallotton”
\nFirst Reader:\u00a0Ribner<\/span>
\nSecond Reader:\u00a0Sichel<\/span><\/p>\n

\n

Stacey\u00a0Leonard<\/strong>
\n“To Every Time Its Art, to Every People Their Philosophy: The Influence of Modern German Pholosophy on Gustav Klimt’s Secessionist Paintings”
\nFirst Reader:\u00a0Ribner<\/span>
\nSecond Reader:\u00a0Williams<\/span><\/p>\n

\n

David\u00a0Silvernail<\/strong>
\n“The Reproduction and Dissemination of Della Robbia in Boston around 1900”
\nFirst Reader:\u00a0Cranston<\/span>
\nSecond Reader:\u00a0Morgan<\/span><\/p>\n

\n

Samuel\u00a0Toabe<\/strong>
\n“Experiencing Surrealism: The Exposition Internationale du Surr\u00e9alisme”
\nFirst Reader:\u00a0Sichel<\/span>
\nSecond Reader:\u00a0Williams<\/span><\/p>\n

\n

Audrey\u00a0Williams<\/strong>
\n“The Lives of Pierre Huyghe’s Works: Individual and Collective Cosmopolitan”
\nFirst Reader:\u00a0Williams<\/span>
\nSecond Reader:\u00a0Sichel<\/span><\/p>\n

\n

Alexandria\u00a0Yen<\/strong><\/a>
\n“One Figure, Two Figure, Red Figure, Black Figure: Herakles versus the Triton and Sixth Century Black-Figure Aesthetics”
\nFirst Reader:\u00a0Kleiner<\/span>
\nSecond Reader:\u00a0Martin<\/span><\/p>\n

\n

Feier Ying<\/strong>
\n“The Value of Tradition in a Transitional time: A case study of the Dianshizhai Huabao’s Materiality and Visual Elements”
\nFirst Reader:\u00a0Bai<\/span>
\nSecond Reader:\u00a0Tseng<\/span><\/p>\n

\n
\n

2014<\/h3>\n
\n
\n

Kathryn\u00a0Babbs<\/strong>
\n“Filling the Gaps: Jesuits, Jahangir, and the CMA Mir’At al-Quds”
\nFirst Reader:\u00a0Fetvaci<\/span>
\nSecond Reader:\u00a0Moore<\/span><\/p>\n

\n

Beatrice Chan<\/strong>
\n“Transmitting Cultural Heritage: The National Palace Museum’s Role in International Cultural Politics”
\nFirst Reader:\u00a0Hall
\nSecond Reader: Bai<\/p>\n

\n

Heidi\u00a0Effenberger<\/strong>
\n“Reading Between the Registers: Balboa Park’s California Building and the Construction of San Diego’s Identity in the Early 20th Century”
\nFirst Reader:\u00a0Morgan
\nSecond Reader:\u00a0Reyes<\/p>\n

\n

Tessa Hite<\/strong>
\n“Occupied Paris: Photographs by Andre’ Zucca and Roger Schall”
\nFirst Reader:\u00a0Sichel
\nSecond Reader: Williams<\/p>\n

\n

Emily\u00a0Izer<\/strong>
\n“King Job: Carolingian and Ottonian Political Theory and Its Effects on the Iconography of Job”
\nFirst Reader:\u00a0Kahn
\nSecond Reader: Kleiner<\/p>\n

\n

Jordan Karney<\/strong>
\n“Political Statements: Unpacking the Politics of Lawrence Weiner’s Early Conceptual Art”
\nFirst Reader: Williams
\nSecond Reader: Hills<\/p>\n

\n

Keith\u00a0Kauppila<\/strong>
\n“Benjamin Russell: Whaleman-Artist and Entrpreneur ”
\nFirst Reader: Hills
\nSecond Reader: Morgan<\/p>\n

\n

Holly Moye<\/strong>
\n“Rembrandt’s Women on the Threshold”
\nFirst Reader: Zell
\nSecond Reader: Ribner<\/p>\n

\n

Amanda\u00a0Ouellette<\/strong>
\n“Apprehension and Exchange: The Representation of the Japanese Kimono in Seventeenth Century Dutch Art”
\nFirst Reader:\u00a0Zell
\nSecond Reader:\u00a0Tseng<\/p>\n

\n

Michelle Wilson<\/strong>
\n“The Most Interesting Sculptured High Crosses of Cambridge: The Celtic Cross Monuments of Mount Auburn Cemetary”
\nFirst Reader:\u00a0Kahn
\nSecond Reader: Hall<\/p>\n

\n
\n

2013<\/h3>\n
\n
\n

Iris\u00a0Cahill<\/strong>
\n“Soldiering On: G.I. Joe Action Soldier Masterpiece Edition and the Collector Culture”
\nFirst Reader:\u00a0Moore
\nSecond Reader:\u00a0Williams<\/p>\n

\n

Emma\u00a0Clute<\/strong>
\n“Architectural and Experimental Space in the Casa della Fortuna: A Case Study Applying the Methodologies of Bergmann and Allison”
\nFirst Reader:\u00a0Kleiner
\nSecond Reader:\u00a0Martin<\/p>\n

\n

Carolyn\u00a0Corrigan<\/strong>
\n“Reinterpreting Edmonia Lewis: Indian Combat<\/em> and The Representatil of Native Americans in the Nineteenth Century”
\nFirst Reader: Hills
\nSecond Reader: Moore<\/p>\n

\n

Jeffery\u00a0De Blois<\/strong>
\n“Becoming “Palermo”: The Repetition and Emulation of Beuysian Motifs in Blinky Palermo’s Objekte<\/em>”
\nFirst Reader:\u00a0Williams
\nSecond Reader:\u00a0Cranston<\/p>\n

\n

Carrie\u00a0Dedon<\/strong>
\n“Scientists, Housewives, and Sex Objects: Gelatin and the Many Roles of 1960s American Women”
\nFirst Reader:\u00a0Moore
\nSecond Reader:\u00a0Williams<\/p>\n

\n

Elisa<\/strong>\u00a0Germ\u00e1n<\/strong>
\n“FUNNY BUSINESS: Consumerism, Humor, and Critique in the Grafik des Kapitalistischen Realismus<\/em>”
\nFirst Reader:\u00a0Williams
\nSecond Reader:\u00a0Ribner<\/p>\n

\n

Ariel\u00a0Green<\/strong>
\n“Martyr, Satyr, Slave: Figures under the sign of Laoco\u00f6n<\/em>”
\nFirst Reader: Cranston
\nSecond Reader: Zell<\/p>\n

\n

Betsy\u00a0Griffin<\/strong>
\n“Agostino Chigi’s Villa As Picture Gallery”
\nFirst Reader: Cranston
\nSecond Reader:<\/p>\n

\n

Qiao Hu<\/strong>
\n“Masquerade and Portraying China: From Boucher’s Second La Tenture Chinoise<\/em> Series to Yongzheng’s Costume Portraits”
\nFirst Reader:\u00a0Cranston
\nSecond Reader:\u00a0Kleiner<\/p>\n

\n

Adrienne\u00a0Jacobson<\/strong>
\n“The Mystical Machine: Otto Piene’s Light Art in West Germany, 1957-1966”
\nFirst Reader:\u00a0Williams
\nSecond Reader: Ketner II<\/p>\n

\n

Tara\u00a0Keny<\/strong>
\n“Literature in Ivory A Ch\u00e2telaine de Vergi Casket at the Metropolitan Museum of Art”
\nFirst Reader:Kahn
\nSecond Reader: Fetvaci<\/p>\n

\n

Alexandra\u00a0Kittle<\/strong>
\n“”Low” Culture as High Art: Critical Response to Controversial Exhibitions and the Legacy of Alfred Barr at the Museum of Modern Art”
\nFirst Reader:\u00a0Hall
\nSecond Reader:\u00a0Williams<\/p>\n

\n

Mingqian\u00a0Liu<\/strong>
\n“Preserving “Old Beijing”: the City’s Central Axis and its Applcation for UNESCO World Hertiage Site”
\nFirst Reader:\u00a0Tseng
\nSecond Reader:\u00a0Bai<\/p>\n

\n

Abigael\u00a0MacGibeny<\/strong>
\n“From Sketch to Finish: Delacroix’s Art Theory and Practice in Scenes from the Massacre of Chios<\/em> (1824) and Lion Hunt<\/em> (1855) ”
\nFirst Reader: Ribner
\nSecond Reader: Hills<\/p>\n

\n

Sarah\u00a0Miller<\/strong>
\n“Domination and Packaging: Photographs in Charles de Tolnay’s Michelangelo”
\nFirst Reader: Sichel
\nSecond Reader: Cranston<\/p>\n

\n

Julia\u00a0Neal<\/strong>
\n“Racial Imaginings: Harriet Cany Peale’s Her Mistress’s Clothes<\/em>”
\nFirst Reader: Hills
\nSecond Reader: Moore<\/p>\n

\n

Rachel Flood Page<\/strong>
\n“Three Hebrews in the Fire: An Iconogrphic and Stylistic Study of the Plaque with Three Worthies in the Firey Furnace in the Museum of Fine Arts, Boston”
\nFirst Reader:\u00a0Kahn
\nSecond Reader:\u00a0Tseng<\/p>\n

\n

Abigail\u00a0Romanul<\/strong>
\n“Expressions of a Collector: Barnes Storming Paris and the Paintings of Chaim Soutine”
\nFirst Reader: Sichel
\nSecond Reader: Hall<\/p>\n

\n

Althea\u00a0Ruoppo<\/strong>
\n“Aesthetic Adaptation and Negotiation: Otto Dix’s Allegorical Paintings in Dialogue with Walter Benjamin”
\nFirst Reader:\u00a0Williams
\nSecond Reader:\u00a0Ribner<\/p>\n

\n
\n

2012<\/h3>\n
\n
\n

Henry Joyce<\/strong>
\n“Public Club? Commercialization and Feminization in the Algonquin Clubhouse, 1885-1919”
\nFirst Reader: Hall
\nSecond Reader: Morgan<\/p>\n

\n

Catherine\u00a0Kozelka<\/strong>
\n“The Photographic Review of Midicine and Surgery: Aesthetic Roots, Scientific, Aspirations and the Fascination with the Abnormal Early Medical Photography”
\nFirst Reader: Sichel
\nSecond Reader: Hills<\/p>\n

\n

Shayna\u00a0Nestor<\/strong>
\n“The Art of Comedy on the Portal of San Miguel de Uncastillo”
\nFirst Reader: Kahn
\nSecond Reader: Williams<\/p>\n

\n

Mary\u00a0Papows<\/strong>
\n“Tintoretto’s Queen of Sheba<\/em>: Orienting the Holy Lands in Sixteenth Century Venice”
\nFirst Reader: Cranston
\nSecond Reader: Fetvaci<\/p>\n

\n
\n

2011<\/h3>\n
\n
\n

Laura Ayad<\/strong>
\n“Sacred Borderlands of the Nile: The Role of Royal Patronage in Greco-Roman and Meroitic Temple Commissions in Upper Egypt and Meroe from the 3rd Century B.C. to the 1st Century A.D.”
\nFirst Reader: Becker
\nSecond Reader:Bard<\/p>\n

\n

Joshua\u00a0Basseches<\/strong>
\n“The Universal Expositions in Paris of 1867 and 1889 and their Impact on Late 19C American Painting”
\nFirst Reader: Hills
\nSecond Reader: Ribner<\/p>\n

\n

Mia \u010can\u010darevi\u0107<\/strong>
\n“The Nature of the Free and Un-free Woman in Ancient Athens: Considering the status of women in scenes of eros”
\nFirst Reader: Kleiner
\nSecond Reader: Westervelt<\/p>\n

\n

Jacquelyn\u00a0Canevari<\/strong>
\n“William Klein and the Photographic Book”
\nFirst Reader: Sichel
\nSecond Reader: Williams<\/p>\n

\n

Yue Hu<\/strong>
\n“Xu Bing’s Art of Characters: From the Elite to the People”
\nFirst Reader: Bai
\nSecond Reader: Tseng<\/p>\n

\n

Gina Iacobelli<\/strong>
\n“Identities in Flux: Globalization and the Construction of Subjectivities in the Work of Dias & Riedweg”
\nFirst Reader: Williams
\nSecond Reader: Hills<\/p>\n

\n

Jeong Hye Kim<\/strong>
\n“The Space of Experience: The Intellectual Sources of Frank Lloyd Wright’s Organic Architecture”
\nFirst Reader: Morgan
\nSecond Reader: Sewell<\/p>\n

\n

Erin Nolan<\/strong>
\n“The Ottoman Self-image: Multi-culturalism and the Photograph in Les Costumes Populaires de la Turque en 1873<\/em>”
\nFirst Reader: Sichel
\nSecond Reader: Fetvaci<\/p>\n

\n

Alexandra\u00a0Polemis<\/strong>
\n“Henry Louis Stephens and the Iconography of Emancipation in The Slave in 1863<\/em>”
\nFirst Reader: Hills<\/p>\n

\n

Laura\u00a0Thiel<\/strong>
\n“Vermeer’s Exceptions and The Art of Painting<\/em>: Framing Images of Science, Gender, and Art”
\nFirst Reader: Zell
\nSecond Reader: Cranston<\/p>\n

\n

Rachel\u00a0Tolano<\/strong>
\n“”Becoming Public Property”: Representations of Frederick Douglass in Nineteenth-Century Visual Culture”
\nFirst Reader: Hills
\nSecond Reader: Sichel<\/p>\n

\n
\n

2010<\/h3>\n
\n
\n

Christina An<\/strong>
\n“Love Letters to Art: Vermeer\u2019s Epistolary Works as Meditations on Representation”
\nFirst Reader: Zell
\nSecond Reader: Ribner<\/p>\n

\n

Hannah\u00a0Blunt<\/strong>
\n“”He Shall Cut Pathways East and West”: The Landscapes of Edward Mitchell Bannister”
\nFirst Reader: Hills
\nSecond Reader: Morgan<\/p>\n

\n

Lynn Cooney<\/strong>
\n“Between Erotic Fantasy and Ancestral Memory: The Photography of Rotimi F\u00e0n\u00ed-K\u00e1y\u00f2d\u00e9”
\nFirst Reader: Becker
\nSecond Reader: Williams<\/p>\n

\n

Jamie\u00a0DeAngelo<\/strong>
\n“Staging Authority: Presentations of Zulu Kings in the Early Colonial Period, 1835-1873”
\nFirst Reader: Becker
\nSecond Reader: Wylie<\/p>\n

\n

Jenny\u00a0Ernst<\/strong>
\n“Nordic Classicism in Denmark, 1910-1926: The Culmination of a Nineteenth-Century Danish Neoclassical Heritage”
\nFirst Reader:
\nSecond Reader:<\/p>\n

\n

Melanee\u00a0Harvey<\/strong>
\n“Benny Andrews and The Revival Series: Making the Black Southern Protestant Church Visible”
\nFirst Reader: Hills
\nSecond Reader: Morgan<\/p>\n

\n

Amy\u00a0Huang<\/strong>
\n“The Life and Collecting Practice of a Courtier: Gao Shiqi (1645-1704) and his Art Collection”
\nFirst Reader: Bai
\nSecond Reader: Tseng<\/p>\n

\n

Lili\u00a0Mugnier<\/strong>
\n“Belle Donne: Sanctioned Sexuality”
\nFirst Reader: Cranston
\nSecond Reader: Ribner<\/p>\n

\n

Sarah Parrish<\/strong>
\n“Looking Both Ways: Takashi Murakami’s Eyes”
\nFirst Reader: Tseng
\nSecond Reader: Williams<\/p>\n

\n

Natania\u00a0Remba<\/strong>
\n“Zones of Contact: The Transformation of Cuba’s Artistic Production and Practices from the Special Period to the Era of Globalization”
\nFirst Reader: Williams
\nSecond Reader: Hills<\/p>\n

\n

Deborah Stein<\/strong>
\n“Franklin Webster Smith: An Unsung Pioneer of American City Planning”
\nFirst Reader: Morgan
\nSecond Reader: Hills<\/p>\n

\n

Jing\u00a0Sun<\/strong>
\n“Garden of Poetry and Painting: A Case Study of Paintings of Juan Garden<\/em>”
\nFirst Reader: Bai
\nSecond Reader: Tseng<\/p>\n

\n

Deanna Deanna
\n“Cultural Crises and Historic Houses: The Paul Revere House and Broadhearth and their Relevance in the Early 20th Century”
\nFirst Reader: Morgan
\nSecond Reader: Hall<\/p>\n

\n
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2024 Genesis Cortez\u200b “Eroticizing the Sacred: Rosso Fiorentino\u2019s Dead Christ and the Painterly Language of Artifice” First Reader: Cranston Second Reader: Ribner Michaela Dehning\u200b\u200b “Uncovering Narratives with Material Culture: \u200bExploring New England Women’s Lives through the \u200bJohn Coney Sugar Box\u200b” First Reader: Moore Second Reader: Williams Isabella Dobson\u200b “Folds: Female Sexuality in Artemisia Gentileschi’s\u00a0Dana\u00eb” First […]<\/p>\n","protected":false},"author":2318,"featured_media":0,"parent":5300,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/7675"}],"collection":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/users\/2318"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/comments?post=7675"}],"version-history":[{"count":48,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/7675\/revisions"}],"predecessor-version":[{"id":16575,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/7675\/revisions\/16575"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/5300"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/media?parent=7675"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}