History of Art
Offered by the Visual Art and History of Art department.

For any questions regarding History of Art, please contact the History of Art Chair, R. Tripp Evans.

The History of Art program at Wheaton examines the artistic traditions of a wide range of periods and places. While our curriculum is particularly strong in the history of architecture, printmaking, painting, and sculpture, it also encompasses the history of photography, decorative arts, and museum studies. To develop and sharpen students’ visual literacy we emphasize close, object-based study in Wheaton’s Permanent Collection and Gebbie Archives & Special Collections and in museum collections in Boston, Providence, and New York.

Our program’s emphasis on critical thinking and its strong commitment to interdisciplinary inquiry prepares students for a variety of professions, including architecture, museum and gallery work, conservation/preservation, graduate work in the history of art and architecture, as well as teaching, law, medicine and business.

The Major and Minor

The Major in History of Art offers the students the opportunity to discover many intellectual interests and to specialize in certain Areas of Inquiry if they wish to do so.

The History of Art Major consists of at least 11 courses detailed in Major in History of Art.

The History of Art Minor consists of at least 5 courses detailed in Minor in History of Art.

Related Programs

Student Work/Research

Read History of Art Blog Posts

Major requirements

History of Art major worksheet

The History of Art major consists of at least 11 semester courses, divided as listed below:

2 100-level History of Art courses

2 Visual Art courses (any)

*5 courses from categories A, B and C (see below)

*1 elective course (any category)

Senior Seminar ARTH 401

Among the 6 courses listed with an asterisk*, at least 2 need to be 300-level courses

2 from category A
700 BCE – 500
ARTH 255 Art and Ritual of the Ancient Americas’
ARTH 274 Visualizing Ancient Rome

ARTH 253 Castles and Cathedrals
ARTH 352 Early Medieval Art and Culture

ARTH 241 Northern Renaissance Painting 1400-1550
ARTH 242 Patronage and the Artist in Early-Modern Italy
ARTH 243 Early Modern Spaces
ARTH 244 Baroque Art
ARTH 261 Anatomies 1400-1600: Sexual, Forbidden and Monstrous
ARTH 270 The Art of the Print
ARTH 350 Ruling Families of the Renaissance

2 from category B
ARTH 263 African American Art
ARTH 270 The Art of the Print
ARTH 330 Picturing New York
ARTH 370 Women at Work: Art History and Feminism

ARTH 250 Modernism and Mass Culture in France, 1848-1914
ARTH 257 Photography and Knowledge (1830-1930)
ARTH 270 The Art of the Print
ARTH 300 French Art and Its Others (1830-1930)

ARTH 212 African Visual Cultures
ARTH 240 Art of the Avant-Gardes, 1900-1945: France, Germany, Italy and Russia
ARTH 245 Postwar and Contemporary Art: 1945-2000
ARTH 300 French Art and Its Others (1830-1930)
ARTH 312 Contemporary African Arts
ARTH 320 Matisse and Methods

1 from category C:
If a course from the above categories has a curatorial component, it may fulfill category C
Museum Studies
ARTH 230 Introduction to Museum Studies
ARTH 334 Exhibiting Africa: Past and Present
ARTH 335 Exhibition Design

Minor requirements

History of Art minor worksheet

A minor in History of Art consists of five courses, at least one of which must be at the 300 level, one 100-level course and three additional courses (only one of the courses can be another 100 level.)

The minor is designed to provide a cohesive chronological survey of the History of Art, augmented by in-depth study of three areas in which the student has a particular interest. Visual Art majors may minor in History of Art by taking three additional History of Art courses beyond the three required for the Visual Art major (for a total of six.)

For any questions regarding the History of Art minor, please contact the History of Art coordinator, R. Tripp Evans.

  • History of Art

    ARTH 098 – Experimental Course

    From time to time, departments design a new course to be offered either on a one-time basis or an experimental basis before deciding whether to make it a regular part of the curriculum. Refer to the course schedule for current listings.

  • History of Art

    ARTH 099 – Selected Topics

    An opportunity to do independent work in a particular area not included in the regular courses.

  • History of Art

    ARTH 110 – Introduction to Italian Renaissance Art

    This introductory course is meant to give students a survey of the arts in the Italian peninsula from the 13th century to the 18th century. The class will present a variety of works in diverse media made during what is commonly called the Renaissance. We will explore architecture, paintings, and sculptures by analyzing the historical, social, and cultural contexts in which they were produced. At the end of the course, students will be able to discuss early modern Italian art and to understand the particular concepts that drove artistic productions. Students will also learn the foundations of art historical methods and vocabulary; they will deploy these tools to analyze the works examined in class. Though the course is structured around lectures, students are strongly encouraged to bring their own comments and questions to class. No previous knowledge of art history is required.

  • History of Art

    ARTH 120 – Introduction to American Art and Architecture

    An introduction to American art and architecture from the colonial period through the midtwentieth century, this course examines the role visual culture has played in the formation of national identity. Students will consider a wide range of media, seeking to understand how artists, architects, and designers negotiated the rise of urban culture, industrial prosperity, sectional conflict, and the changing politics of race and gender.

  • History of Art

    ARTH 121 – Introduction to Modern Architecture

    In this introductory survey, we will study the evolution of Western architecture from the period of the Enlightenment to the twenty-first century. Examining the technological, political, and social contexts of key works throughout this period, we will consider the ways individual structures and the built environment have reflected modern Westerners’ greatest aspirations as well as their deepest anxieties.

  • History of Art

    ARTH 198 – Experimental Course

    From time to time, departments design a new course to be offered either on a one-time basis or an experimental basis before deciding whether to make it a regular part of the curriculum. Refer to the course schedule for current listings.

  • History of Art

    ARTH 199 – Selected Topics

    An opportunity to do independent work in a particular area not included in the regular courses.

  • History of Art

    ARTH 212 – African Visual Cultures

    This course provides an introduction to the rich, diverse and inspiring world of African art. We will examine the varied ways that African art has shaped and been shaped by the histories and cultural values of different African peoples, both in the past and during the present day. This course will strengthen the student’s ability to critically assess the role of art in Africa for the people who produce and use it, and will provide an understanding of the role of African art in the West for the people who collect, exhibit, view and study it. Topics of study will include social, political, religious, philosophical, gendered and aesthetic practices.

  • History of Art

    ARTH 230 – Introduction to Museum Studies

    This course introduces students to museum history and practice and to theoretical issues in museum studies. Students will explore the ways in which museums and like institutions represent people and cultures and will consider their missions, organizational structure and architecture, their role in the community and the contemporary challenges faced by museum practitioners.

  • History of Art

    ARTH 240 – Art of the Avant-Gardes, 1900-1945: France, Germany, Italy and Russia

    This course examines the artistic avant-gardes in France, Germany, Italy and Russia, during the first half of the 20th century. We study individual artists and their associated movements (Fauvism, Cubism, Futurism, Constructivism, Dada, Surrealism, for example) through select themes: appropriations from and critical responses to mass culture and emerging new media, to visual traditions outside of Europe; representations of sexual, racial, and class identity; and the relationships between modernism, nationalism, war, and revolution. Critical analysis of individual works of art, as well as primary texts, especially those by artists and critics articulating ideological theories of art-making and its social and political roles, forms the basis of the course.

  • History of Art

    ARTH 241 – Northern Renaissance Painting 1400-1550

    The effects of secular patronage on late Gothic painting in France and Flanders (Pucelle, the Limbourg brothers), followed by a thorough analysis of the realistic and mystical currents in northern culture and painting from Jan van Eyck to Hieronymus Bosch; a study of the spread of the Flemish style to Germany and France and the impact of humanism (Dürer, Grünewald, Brueghel).

  • History of Art

    ARTH 242 – Patronage and the Artist in Early-Modern Italy

    This course explores the relationship between various patrons and artists in Italy from circa 1400 until circa 1650. We examine the influence held by patrons such as churches, monasteries, and court rulers on art production and, in turn, how artists affected patrons’ taste. In addition, the class addresses issues of gender and politics to understand the process of art production and art reception in early-modern Italy. From fresco cycles, to museum collections, sacred decorations, and self-portraits, this course pays close attention to individual styles while contextualizing the works within their political, social, religious and economic settings.

  • History of Art

    ARTH 243 – Early Modern Spaces

    This course examines various spaces in Italy and France from circa 1400 until circa 1700. The students look at private residences such as palazzi and castles in terms of architecture, patronage, and domestic productions. The class determines the parameters of an established gendered space and the components of a socially constructed space. In addition, the course addresses the impact of urban public structures on politics and culture, as well as the drive behind the establishment of villas outside of city centers. From the gardens of Bomarzo to studioli and to the Chäteau de Chenonceau, this class pays close attention to aesthetic decisions contextualized within political, religious, economic and social settings.

  • History of Art

    ARTH 244 – Baroque Art

    This course surveys a selection of the arts in Italy from the middle of the sixteenth century to circa 1750. The works of major artists such as Caravaggio, Bernini, Gentileschi, Borromini, and the Carracci brothers are examined and contextualized within their political, social, religious and economic settings. A special emphasis is put on Rome, though Florence and Venice are discussed in relation to courtly productions and to the Grand Tour. Close attention to individual styles is emphasized in lectures, readings and class discussion. The class also looks at the intersections of art and science, and the ways in which the interest in the marvelous and the curious took visual forms during a time when questioning the supremacy of divine creation was prevalent.

  • History of Art

    ARTH 245 – Postwar and Contemporary Art: 1945-2000

    This course surveys the diversity of art making since 1945 through a thematic approach. We study postwar modernism—Abstract Expressionism, Art Informel, Neo-Dada, Pop, Minimalism, Conceptual art—in conjunction with more recent work, from a more global context, that challenges its discourses. By focusing on select concepts—body, gender and identity, consumerism, natural environment, cultural hybridity, historical memory, e.g— we
consider critical and creative relationships across periods, cultures, and media (painting and sculpture, photography, performance, installation, film and video). Analysis of individual works, museum visits, web resources, and writings by artists, art historians, and critics form the basis of the course.
(Previously ARTH 340)

  • History of Art

    ARTH 250 – Modernism and Mass Culture in France, 1848-1914

    This course studies the early movements of European modern art—Realism, Impressionism, Post-Impressionism, Cubism—with a focus on their interactions with mass culture. Beginning in the mid-19th century with Courbet and the impact of popular printmaking on his art, we study how other non-elite forms (lithographic posters, commercial photography, newspapers) shaped the subsequent development of modernist art, chiefly in France. In the second half of the course, we consider how new forms of leisure and commercial entertainment in Paris (café-concert, music hall, etc) impacted artists including Manet, Degas, and Seurat. We end in the early 20th century, with a consideration of cubist collage by Picasso and Braque and their adoption of the ephemera of mass culture: newspapers, song sheets, and department store advertisements. Why, if modernism can be traced through its appropriations from the commodity culture of capitalism, has it also been described as a critical alternative to it?

  • History of Art

    ARTH 253 – Castles and Cathedrals

    This course is a study of Gothic architecture and art from the 12th to the 14th century throughout Europe, but primarily in Medieval France, where the movement was “born.” Special attention at the outset of the class will be given to the art of the Romanesque period (11th-12th) for comparative analysis. Thus, we will move from Romanesque monastic pilgrimage sites (their architecture and sculpture), to the great cathedrals of Gothic France (their architecture, sculpture, and stained glass), to the castles of northern Europe (their construction, design, and life in a medieval castle), and to the Gothic art of the 14th century when two natural disasters occurred: The Little Ice Age and The Black Death. Social, political, and economic factors involved in the production of these works of art and architecture will be essential to our understanding of this art. Issues of materials, techniques of production, function, patronage, spectator/audience, historical context, and imbedded meanings for the art (its iconography) will be among the most important areas of inquiry.

  • History of Art

    ARTH 255 – Art and Ritual of the Ancient Americas

    A historical and cultural examination of the architecture, sculpture and allied arts of the ancient Andes and Mesoamerica. Spanning the first millennium B.C.E. to the time of the Spanish Conquest, this course considers the role of the arts in the establishment and maintenance of pre-Columbian political/religious authority.

Previously Pre-Columbian Art and Architecture

  • History of Art

    ARTH 257 – Photography and Knowledge (1830-1930)

    This course is a social history of photography which examines how the medium shaped categories of subjectivity in the 19th century (class, gender, race, nationality, for example). We study how photographic representations were a means to archive and classify fields of knowledge. The development of photography in this period intersected with the burgeoning sciences of ethnography and anthropology, and it was used in both topographical and expeditionary surveys. Faith in photography as a document made it a powerful witness to war, urban development, colonial expansion and social inequalities. While we study the work of photography’s more well-known practitioners from Europe and North America, our approach will not emphasize the aesthetic innovations of self-consciously artistic photography. Rather, we examine both professional and domestic photography as a means to produce knowledge about the world.



  • History of Art

    ARTH 260 – American Art and Architecture: Colonial to 1865

    An examination of the visual arts in North America from the 17th century to the era of the Civil War, considering their role in the formation of national identity. In addition to class readings and lectures, students will study original works and extant structures in Boston, Providence and Newport.

  • History of Art

    ARTH 261 – Anatomies 1400-1600: Sexual, Forbidden and Monstrous

    This course looks at the ways in which the body was understood and visualized in the early modern period. Focusing mostly on France and Italy, the class addresses topics such as: the perceived imperfections of the female body; the mystery held by reproductive organs and their function; the theological and physical challenges posed by human dissections; the production of illustrated anatomical treatises; the implication of artists and anatomists in exploring monstrous bodies; and the intellectual and physical fascination with hermaphrodites.

(Previously ARTH 311)

  • History of Art

    ARTH 263 – African American Art

    This course explores the contribution of African American artists to the visual culture of the United States, from the work of 18th- and 19th-century enslaved and free blacks to the production of contemporary African American artists. Students examine the various strategies that African American artists have used to establish an independent artistic identity and to provide a political voice for their audiences.

  • History of Art

    ARTH 270 – The Art of the Print

    The development of woodcut, engraving, etching, lithography, etc., from the 15th century to the present. Special attention to the work of Dürer, Rembrandt, Daumier, Whistler and Cassatt. Religious, social and/or political aspects of their work also considered. Print collections at Wheaton and the Museum of Fine Arts, Boston, will be highlighted. This course culminates in the organization and mounting of an exhibition of prints drawn from Wheaton’s collection of 1,000 impressions.

  • History of Art

    ARTH 274 – Visualizing Ancient Rome

    The Roman world may seem distant to many of you today. After all, its empire was formed over 2000 years ago, and choosing a career as a gladiator is certainly far from your mind. And yet, if you stop for a moment and examine the buildings you enter, the literature you read, the language you speak, and the art you admire, you will recognize much that the Romans left behind. Their legacy is found in the Wheaton Campus buildings (check out the façade of the library), in the laws that govern our land (“a man should have the right to face his accusers”), in the stadiums that house our favorite sports team (Romans cheered for the Whites, the Greens, the Reds or the Blues) and even in the American obsession for cleanliness (at one point there were nearly 1000 baths in the city of Rome, and the central building of the Baths of Caracalla covered 6 acres, the same size as the U.S. Capitol). After a brief introduction to the art of the Etruscans as a foundation for Roman art and a fascinating culture on its own, this course will examine the historical, political, and social structure of the Roman world in relation to the art of its three main periods: the Republic, the ‘Golden Age’ of the Roman Empire, and the declining years of the Late Empire in the third and fourth centuries A.D.

In this course we will look at the art of the copy and the penchant for collecting by the Roman elite. Studying fakes and forgeries, and questioning the ethics of reconstructing Roman portraits will also be covered. We will examine the sexual mores of the Romans in order to understand their more “risqué” – at least in twentieth-century American terms – subject matter. (What is pornographic to us would not be to them.) Although we will spend much of our time looking at the art of the Emperors and elites, we will also fix our attention, although to a lesser degree, on the art of the “average” Roman. All emperors created art primarily in service of the state, whether they were benevolent men or egomaniacal (one emperor made it a capital offense to look down upon his head from the upper story of a building when he paraded through town – Can you guess why?). We will begin the course by meeting a fictional Roman, Maximum, Russell Crowe’s character in Gladiator, and we will end by answering the essential question, “What is Roman about Roman art?”

  • History of Art

    ARTH 298 – Experimental Course

    From time to time, departments design a new course to be offered either on a one-time basis or an experimental basis before deciding whether to make it a regular part of the curriculum. Refer to the course schedule for current listings.

  • History of Art

    ARTH 299 – Selected Topics

    An opportunity to do independent work in a particular area not included in the regular courses.

  • History of Art

    ARTH 300 – French Art and Its Others (1830-1930)

    This seminar examines how a fascination with cultures outside of Europe motivated several artists and designers working in nineteenth- and early twentieth-century France. Modern art in France was profoundly shaped by a series of direct visual appropriations from African, Middle Eastern, and Asian artistic traditions, as well as a system of beliefs projected onto those “Other” cultures in question.

Through close study of select artists (Delacroix, Gérôme, Renoir, Gauguin, Picasso, Giacometti) and case studies from the visual culture of French colonialism, we examine the relationship between art and the political structures of imperialism, and the role of visual representation in shaping constructions of exoticism, race, nation, and sexuality. Readings will introduce students to the various methodologies that art historians, anthropologists, and postcolonial theorists have used to unpack the complex questions surrounding Orientalism and modernist primitivism.

  • History of Art

    ARTH 312 – Contemporary African Arts

    This course will explore contemporary African art and the discourses that frame its production, reception and history. Issues considered include authenticity, tradition, modernity, nationality and African diasporic art. We will also examine the complex relationship of African art to colonialism, European art and its discourses, and the influence of globalization and popular culture. We will focus on several artists or artistic traditions as case studies, including the art scene in Dakar (Senegal); artistic production in post-Apartheid South Africa; and the revival of “traditional” forms through studio art markets. We will also explore the collection and display of contemporary African art. Readings include debates over the nature of representation in the postcolonial world, critiques of the place of African art in the symbolic and monetary economies of the Western metropolis, African feminism as expressed in the arts, and studies of the new contexts of so-called ethnographic objects.

Students are not expected to have prior knowledge of African art, but some background in either Africana studies (theoretical discourses) or art history (historical and stylistic traditions) is recommended. The emphasis in this course will be on honing visual observational skills as well as techniques of theoretical analysis.

(Previously Resistance, Memory and Hope in African Arts.)

  • History of Art

    ARTH 320 – Matisse and Methods

    This seminar will focus on Henri Matisse (1869-1954) using his work as a lens to explore the methods of art history. The vast literature on Matisse provides us with a range of writers asking different questions of the artist’s work. After a critical consideration of methodologies that have been used to interpret Matisse’s work (formalist, structuralist, psychoanalytic, feminist, postcolonial, for example) we will focus in on one art historical question in particular, surrounding sources and their possible influences on Matisse. How have scholars and curators interpreted Matisse’s studio sources, and his appropriations from other media (photography, for example) and other cultural traditions (African and Islamic for example)? Have these approaches adequately addressed the complex relationships between Matisse’s paintings and sculpture, and the critical concepts about representation which inform them?

  • History of Art

    ARTH 330 – Picturing New York

    In this course we will explore artists’ attempts to capture the essence of New York City, from its origins in the 17th century to the 9/11 period and beyond. Considering architecture, prints, photography, painting, sculpture, and film, we will examine the conditions under which New York gave rise to a uniquely American form of urban imagery, attempting to understand the roles that geography, politics, capitalism, race, and gender have played in New York’s development. In addition, we will investigate how these images and designs broke from traditional practices/forms, seeking to understand what “Modernism” means in its New York context.

  • History of Art

    ARTH 334 – Exhibiting Africa: Past and Present

    This course explores the ways in which Africa and its animals, peoples and material culture have been represented by museums. We will study how economic, political and social change influence the collection and display of Africa and Africans and how debates over cultural heritage and repatriation apply to the African continent.

  • History of Art

    ARTH 335 – Exhibition Design

    This course introduces students to the history, practice and theory of exhibition design. In this course, we will engage in all aspects of the exhibition design process through reading, in-class discussions, site visits, and guest lectures as well as the design and installation of an exhibition. We will consider the visitor experience and how objects and ideas are interpreted by and for different audiences, as well as how museums use technology to engage the public. Students will gain an understanding of the history of exhibition design as well as the challenges museums/like institutions face in making their collections accessible to the communities they serve. Students will be required to participate fully in the practical component of the course, which involves the research for and the design and installation of an exhibition for Wheaton’s Beard and Weil Galleries.

  • History of Art

    ARTH 350 – Ruling Families of the Renaissance

    The need to assert power, the struggle to maintain it through different political rules, and the results of visualizing it in effective ways will be the central themes of this course. The students will examine: the establishment of rulership in several Italian city states and duchies; the rise of families and their contiguous visual assertions; the links between commanding European families such as the Valois and the Medici; the creation of absolutist authority through legible media; and the exuberance of rococo as
a political and social statement.

  • History of Art

    ARTH 352 – Early Medieval Art and Culture

    This course covers the art of the early medieval world ending with the first millennium. It takes as its point of departure the legacy of the late antique world and then explores the development of medieval secular and religious art as it is touched by diverse influences and as it evolves in response to the changing needs of two newly formed Christian cultures – one from the East (the Byzantines) and one from the West. Further enrichment of the period from the 7th century to the year 1000 will be achieved by exploring the early years of Islamic art, in particular, its existence in medieval Spain. All media will be represented with special attention paid to questions of materials, techniques of production, function, patronage and context.

  • History of Art

    ARTH 360 – American Art and Architecture: 1865-1945

    Between the Civil War and World War II, American art and architecture demonstrated an unprecedented sense of confidence. Examining the roles of empire building, commerce and the rise of urban culture, this course will chart the development of American art from the American Renaissance to the triumph of the midcentury New York School.

  • History of Art

    ARTH 370 – Women at Work: Art History and Feminism

    This course considers the ways feminist scholarship has transformed the discipline of art history, examining the rediscovery of exceptional women artists from the 1970s onward, as well as recent feminist critics’ efforts to redefine the structure of the field. Students examine two overlapping categories of work; the production of women artists and patrons, and the textual contributions of feminist scholars and critics. The rationale for this new course is to strengthen the department’s ties to women’s studies and to broaden the theoretical focus of the art history major.

  • History of Art

    ARTH 371 – Masculinity and American Art

    In this seminar we will explore the intersection between the United States’ visual culture and its historical constructions of masculinity, seeking to understand the ways gender, race, sexuality, and class have shaped both. Throughout the semester we will seek to understand how artists and critics have presented masculinity and American character — however an age may have defined them — as synonymous, and to examine the ways in which challenge others have challenged this assumption.

  • History of Art

    ARTH 398 – Experimental Course

    From time to time, departments design a new course to be offered either on a one-time basis or an experimental basis before deciding whether to make it a regular part of the curriculum. Refer to the course schedule for current listings.

  • History of Art

    ARTH 399 – Selected Topics

    An opportunity to do independent work in a particular area not included in the regular courses.

  • History of Art

    ARTH 401 – Seminar

    The study of particular periods, special topics or individual artists. A list for the following year is announced each spring. Subjects are chosen to meet the needs and interests of the particular group of art history majors.

Fall 2017

Bodies: Dead or Alive

This seminar explores issues related to the image and display of the human and monstrous body (in particular, the Devil). Key questions follow: Is there a nexus between the representation of humans and devils? At what point does one end and the other begin? To what extent does psychology and physiology determine the fashioning of bodies and how are these perceptions linked to historical, social and cultural differences as a prelude to the creation and performance of one’s identity(ies)? How is appearance tied to essence? Conversely, to what extent do fakes and forgeries miss this essential link?

Finally, how have issues of display and conservation enhanced or detracted from our appreciation of the representation of the body, dead or alive, in situ or in a museum? Methodological perspectives used to inform our discussions will be wide-ranging, including gender studies, reception theory, semiotics, social art history, iconography, problems in connoisseurship/conservation, formal analysis and psychoanalytical theory. Objects will be drawn almost exclusively from Northern Europe, from the Middle Ages through the Early Modern period and into the Nineteenth Century. Media will include manuscripts, sculpture, prints, stained glass, and painting in order to assess the influence of materials on representation and to ground our discussions in the object. The theme for this seminar and its construction was derived from a co-mingling of the many art historical and theoretical interests of each of the senior art history majors enrolled in the course.

  • History of Art

    ARTH 499 – Independent Research

    Offered to selected majors at the invitation of the department.

  • History of Art

    ARTH 500 – Individual Research

    Selected majors are invited by the department to pursue individual research in preparation for writing an Honors Thesis.

R. Tripp Evans

Professor of the History of Art

Touba Ghadessi

Associate Professor of the History of Art / Associate Provost for Academic Administration and Faculty Affairs

Ellen McBreen

Associate Professor of the History of Art

Kim Miller

Jane Oxford Keiter '64 Professor of Women's & Gender Studies and History of Art; Women's & Gender Studies Program Coordinator; Peace & Social Justice Studies Coordinator

Leah Niederstadt

Associate Professor of Museum Studies, History of Art; Curator of the Permanent Collection

Evelyn Ruth Staudinger

Professor of the History of Art


Vicki Toppses
Faculty Assistant

Jessica F. Kuszaj
Associate Director, Arts Events & Publicity
Associate Director, Visiting Artist Program and Arts in the City, 508-286-3644

Lauren Pendergast
Assistant, Arts Events & Publicity, 508-286-5412