Senior Theses

The senior thesis represents the most sophisticated original research and writing that you will undertake as an undergraduate at Princeton. In many cases, the area and topic that you select will influence the direction of your future professional career, and the relationship that you establish with your thesis adviser will be important for your admission to graduate and professional school and job placement. Even if you do not pursue a career in art history or archaeology, the skills that you develop in producing a thesis will be immensely useful in writing reports, evaluating data, problem solving, making policy evaluations, and so forth.

Independent Work offers advice regarding your thesis including picking a title, working with an adviser, and formatting the paper.


  • Daniel Bracho '21

    Isis and the Virgin Mary: Pictorial borrowing or religious syncretism?

  • Alex Serna Castillon '21

    The Last Noel

  • Diana Chen '21

    Performing healing: rituals & repetition

  • Alexander Deland '21

    “VROOM. VROOM.” - A Short Film Production Plan

  • Brooks Eikner '21

  • Victor Guan '21

    omg so good

  • Hyejin Jang '21

    Reassembling a Nation Through Art: Korea’s Political and Institutional Approaches to Cultural Heritage, from 1945 to the Present

  • Clare Lenihan '21

    Drawing Connections and Sculpting Identities: Exploring the Effect of Art Therapy on Mental Illness and Disability Through Case Studies of Adolf Wolfli and Judith Scott

  • Rachel Mrkaich '21

    refractory planes

  • Vic Panata '21

    Conceptualizations of the Indigenous Body in Response to the Columbus Quincentenary

  • Bhavani Srinivas '21

    Chaff & light trash

  • Luke Timm '21

    Piece of Pieces

  • Sophie Torres '21

    Seeing Through Google’s Eyes: Jon Rafman, Michael Wolf, and the Impact of Google Street View

  • Phoebe Warren '21

    From Cholera to COVID-19: A Framework for Analyzing the Visual Media of Communicable Disease Outbreaks

  • Nora Wildberg '21

    The Twilight of the Sublime: Museum Architecture and Identity in Daniel Libeskind’s Denver Art Museum and Jewish Museum Berlin

  • Christopher Wilson '21

    The Missing Form of Asclepius: An Analysis of the Remaining and Rare Material Culture Pertaining to the Ancient Greek God of Medicine



  • Cody Amescua de la Cueva '19

    Mortal Structures

  • William Banes '19

    "The Camera Speaks": Aaron Siskind, The Feature Group, and the Production of the Harlem Document

  • Anna Berghuis '19

  • MacLean Collins '19

    Canaries in a Coal Mine

  • Grace Cordsen '19

    The Art of the Toilette by Manet, Morisot, and Seurat

  • Julia Cury '19

    A Curated Life: Adolph De Meyer's Self-Fashioning into a Celebrity

  • Lloyd Feng '19

    "Where the Universe Sings": An Assessment of Lawren Harris's Nationalism and Spirituality in His Art

  • Kyra Gregory '19

    The Lady's Room

  • Brooke Hammarskjold '19

    Landscape Painting, Urbanization, and the California Imaginary

  • Catherine Jennings '19

    The Making of a Magdalene: Caravaggio's Reconfiguration of Mary Magdalene's Image in Counter-Reformation Painting

  • Helena Klevorn '19

    "The Devil Wears Dada": Commentary on Fashion and the Fashion System in Dada

  • Annika Lee '19

    From Patchwork to Plane: The Quilts and Quilters of Gee's Bend

  • David Lopera '19


  • Louisa Molson '19

    Van Gogh's Japan: Picturing an Unseen Land

  • Isaiah Nieves '19

  • Kate Northrop '19

    The Midnight

  • Charlotte Reynders '19

    Re-Visions of Violence: Taboo and Transformation in the Paintings of Contemporary French-Algerian Artist Dalila Dalléas Bouzar

  • Sanneh '19


  • Richard Swanton '19

    Made in Milan: Corporate Sponsorship in the Restoration of the Galleria Vittorio Emanuele II

  • Pearl Thompson '19

    Dazzle Camouflage / Cloak Cloak

  • Tamar Willis '19

    Perceptions and Rejections of Pop, Pornography, and Americanization in the Art of Tom Wesselmann

  • Rebecca Yuste-Golob '19

    Are We Postmodern?: The Architectural Exhibition in Late Twentieth-Century France

  • Yuanyuan Zhao '19


  • Eos Chase '18

    Ancient Greek Sculpture: How Has the Image Been Used in the Building of Societies?

  • Gabrielle Chen '18

    i have to be a lonely warrior, tonight

  • Sarah Cho '18

    "To be Great is to be Misunderstood": Reframing Gwen John's Portraits of Women from 1900–1914

  • Gabriella Chu '18

  • Charlotte Diamond '18

    More than Fashion: The Early History of the Metropolitan Museum of Art's Costume Institute

  • Logan Dziak '18


  • Emily Esser '18

    From Pottery to Polygons: A Reconstruction and Exploration of the Gigantomachy

  • Sophia Feist '18

    "The Fire and Vapour of Flame Within": Pozzolana from the Campi Flegrei in Roman Maritime Concrete

  • Gwyndolyn Goldfeder '18

  • Heather Grace '18

    I'm all Talk

  • Paulina King '18


  • Helen Lin '18

    Continuous Reward

  • Charlotte McMeekin '18

    Proconnesian Marble: Power Dynamics and Industry in Early Byzantium

  • Natalie Plonk '18

    From Pedestal to Playscape: Isamu Noguchi's Playground Designs as an Expanded Field of Sculpture

  • Katie Pratt-Thompson '18

    Winslow Homer and Cullercoats

  • Sarah Rapoport '18

    Surface Anxieties: Vulgarity in the London Paintings of James Tissot

  • Patrick Rooney '18

    Fishing the Short Run

  • Rachel Schwartz '18

    Can You Taste It?

  • Katherine Shifke '18

    "A PHENOMENAL PRESENCE THAT IS UNEQUIVOCALLY BLACK AND BEAUTIFUL": Redefining Beauty Through the Art of Kerry James Marshall

  • Julia Shin '18

    Continuing Chinese Shanshui Paintings in the West: 21st century artists Arnold Chang, Zhang Hongtu, and Xu Bing's Exploration and Transformation of Tradition

  • Aaron Stevens '18

    Collecting Alaska: Sheldon Jackson, Louis Shotridge, and the Pursuit of Northwest Coast Artifacts, 1879–1932

  • Angélica Vielma '18

    The Incorruptible Body

  • Beth Wang '18

    By the Many Protectors: Apotropaic Layering in Ancient Egyptian Fertility Objects

  • Mariah Wilson '18


  • Walker Carpenter '17

    Atlas of the Impossible: Mapping Commodity Forms in Still Life and Photography

  • Tiffany Cho '17

  • Nazli Ercan '17

    Martens Monoprint: Graphic Design as a ‘Ghost Discipline’

  • Dominique Fahmy '17

    objects w/feelings” with Simon Wu

  • Alexis Foster '17

  • Gabriella Garr '17

    View from a Balustrade: Martín Rico's Orientalist Vision in Spain, Venice, and France

  • Jacqueline Gufford '17

    Uncovering Devotion: Interactive Flap Prints and the Crafting of Experiential Space in the Descrizione del Sacro Monte della Vernia

  • Mairead Horton '17

    "Full of Company": The Cultivation of Social Identity and Structure in Thomas Gainsborough’s The Mall in St. James’s Park

  • Anna Kalfaian '17

  • Emily Kamen '17

    Finding Ground: Exploring the American Terrain of the Center for Land Use Interpretation

  • Sydney King '17

    us, in part

  • Adam Locher '17

  • Emily Madrigal '17

    Privacy Settings

  • Maddie Meyers '17

    Chasing Georgia

  • Yankia Ned '17

    Talking to You is Exhausting

  • Chanyoung Park '17

    MADAME CITRON, a film by Chanyoung Park

  • Charles Park '17


  • Alex Quetell '17

  • Malcolm Steinberg '17

    Culture Complex: Territory and National Memory in the Films of Roy Andersson

  • Janice Sung '17

    Place, Performance, and Possibility: Interconnectivity in William Sidney Mount's The Power of Music

  • Louisa Willis '17

    Lumpy Projector

  • Katie Woo '17

    Painting as Metaobject: Reading Meaning in Seventeenth-Century Dutch Still Life

  • Simon Wu '17

    Resistance Performed: Politics and Aesthetics in Myanmar

  • Margot Yale '17

    “Tell Them Everything”: Three Women Artists and the Northern Irish Conflict


  • Kiana Amirahmadi '16

    William Mills Ivins, Jr., and the Creation of the Prints Department at the Metropolitan Museum of Art

  • Emily Rong Chang '16

    Bulking is a Feminist Act

  • Lauren Elizabeth Frost '16

    For Your Eyes Only: The Integration of Monastery and Museum at Meteora, Greece

  • Cindy Johnson '16

    Engaging Dubois’s Veil as a Site of Black Agency from Ethnography, to Film, to Photography, and to Fashion

  • Katherine Mary Kanehann '16

    Content and Discontent: Locating the Viewer in the Work of Francis Bacon

  • Elizabeth Sue Lawless '16

    Understanding the Unfinished: An Investigation into the Value of Leonardo Da Vinci’s Incomplete Works and Drawings

  • Olivia West Lloyd '16

    Seriously Funny: Humor and Medium in William Wegman’s Videos, 1970–1999

  • Nicholas Scott McAfee '16

    Ruins of the Revolution: Egyptian Archaeology in the Wake of Arab Spring

  • Michaela Yazer Milgrom '16

    Sturtevant’s Feminist Reversals

  • Eliza Mott '16

    Loving Lenses: Photography and the Erotic in Duchamps's Oeuvre

  • Diana Clark Murphy '16

    The Natural Devolution of Man in Response to The Modern World: Technology and Nature in the Work of Lee Alexander McQueen

  • Hadley Morgan Newton '16

    It’s Lit: Light Sculpture in the 1960s and 1970s

  • Veronica Claire Nicholson '16

    Beautiful, Memory, Desserts

  • Neeta Patel '16

    Time is a floating point number

  • Carly Marie Pope '16

    The Development of Early Ceramic Traditions in the Americas: The Economic and Social Contexts of Valdivia, Ecuador; Monagrillo, Panama; and Puerto Marques, Mexico

  • Cemil Revan Purington '16

    Meaningful Beauty: Understanding Alfred Stevens’ Paintings

  • Grayson Douglass Shepperd '16

  • Lianyi Wang '16

    Modern Art in Modern Markets: Pablo, Paul, and the Marketing of the Avant-Garde

  • Bree White '16


  • Emily Jane Wiebe '16

    "A Redeemed City": The Plans, Politics, and Progress of Washington, D.C.’s Architecture and Urban Planning from 1790–1910

  • Rachel Wilson '16

    Hagiography as History: Creating Authority and Identity through Images of Anglo-Saxon Saints


  • Phway Su Aye '15

    Yangon's Heritage: Between Nostalgia and Critique

  • Joseph Bonura '15

    War Posters: The Definition, Evolution, and Modernization of American Visual Propaganda

  • Suhryoung Christine Chun '15

    The Context and Legacy of Michelangelo’s Genius of Victory

  • Tyler Coulton '15

    An Architecture of Relations: Typology and Narrative Art in Early Christian Rome

  • Margaret Craycraft '15

    Labor Against Waste

  • Alison Itzkowitz '15

    Nature and Artifice in the Arts of Japan

  • April Lee '15

    an exhibition

  • Kemy Lin '15


  • Annie McLaughlin '15

    If Boiseries Could Talk: A Comparative Study and Museological Debate of the Contemporary Period Room Display Through the Lens of Eighteenth‐Century French Decorative Interiors

  • Elise Rise '15

    Social Surrealism in the 1930s and 1940s: Locating Atypical Bodies in the American Scene

  • Kai Song-Nichols '15

    All My Things Are Hymns

  • Christopher St. John '15

  • Amber Stewart '15

    Black Balance

  • Melanie Szemis '15

    I'm Not Sure How I Got Here

  • Yael Wollstein '15

    Maurice Denis: Mythology and Modernity

  • Helen Wong '15

    Akhenaten and Two Daughters: A Fragment of an Amarna Period Column in the Princeton University Art Museum


  • Meghan Angelos '14

    Caught in the Window: A Photographic Study from the Other Side of the Glass

  • Raphaëlle Bénabou '14

    "On One Side of the Barricade": André Breton's Surrealism and the Arts of Africa

  • Kai On Cheung '14

    Back to the Future: Discourse in Contemporary Architecture and Cultural Identity in Hong Kong since the 1980s

  • Katherine Dubbs '14

    Beyond Le Corbusier's Chandigarh: The Lost Voices of a Frozen City

  • Hilary Edelstein '14

    A Critical Analysis of Mary Ellen Mark’s Ward 81 and Danny Lyon’s Conversations with the Dead

  • Maritza Juarez '14

    The Effects of War on Youth as Presented in Japanese Animation

  • Mary Lou Kolbenschlag '14

    From Wheat Paste to the World Wide Web: A Genealogy of Activist Art and the Development of Artist-as-Brand

  • Bernard Lagrange '14

    Painting from the Caves: Joan Miró and Prehistoric Cave Painting

  • Robert Lambeth III '14

    Roughened Language: Four Archetypes of 1970s American Architectural Sculpture

  • Megan Lui '14

    The Golden Mean in Dialogue: Xiao Lu’s Recasting of the Avant-Garde in Contemporary Chinese Culture

  • Oren Lurie '14

    Boston's Government Center: The Simultaneous Successes and Failure of Urban Renewal

  • Julia Meng '14

    Places 2 | Do, Things 2 | Be

  • Cara Michell '14

    Panama Canal

  • Henrietta Miers '14

    Confronting Death through Appropriation: The Art of Yinka Shonibare

  • Dina Murokh '14

    The Face of Painting: Images of the Artist in Early America

  • Anna Nilles '14

    Finis Ghetto? Architecture and the Afterlife of the Jewish Quarter in Prague

  • Maura O'Brien '14


  • Alexander Patton '14

    The Humor of the Bayeux Tapestry: It'll Leave You in Stitches

  • Grace Riccardi '14

    The Development of Views of Church Interiors in the Context of the Dutch Art Market during the 17th Century

  • Alexis Saunders '14

    Andrew Wyeth and the Matter of Time

  • Natthamon Wutilertcharoenwong '14

    Man think thai lady make house clean work love somuch cook everry time smile smile


  • Margaret Beimfohr '13

    Specifically For Us? An Evaluation of Permanent Public Art Installed During the 1970s and 1980s in Lower Manhattan

  • Tiffany Cheezem '13

    Entwined: Humans and Plants as Complementary Opposites in Maya Art

  • Kathryn Dammers '13

    Challenging the Edge: Analyzing Trisha Brown's Museum Commissions at the Whitney Museum of American Art and the Walker Art Center

  • Isabel Flower '13

  • Hana Garfing '13

    Vanbrugh's Ephemeral Style: Analyzing the Tradition of the English Baroque Country House

  • Katherine Gregory '13

    "Lack of Location Is My Location": The Impossibility of Black Identity in the Text Paintings of Glenn Ligon

  • Lily Healey '13

    Utopian for Beginners

  • Grayden Holubar '13

    The Office of the Digital Age: Contemporary Corporate Campuses as Agents of Organization and Domains of Elite Space

  • Maximilian Li '13

    Mirroring Nature: Examining the Idea of Ocular Power in Samuel van Hoogstraten's Trompe L'Oeil Paintings

  • Sarah Magagna '13

    Artist, Subject, Beholder: Restaging Manet's A Bar at the Folies-Bergère

  • Mohit Manohar '13

    The Baburi Mosque in Ayodhya: A Study in Religion, History, and Architecture in Sultanate and Mughal India

  • Elizabeth Metts '13

    Beyond the Walls: Locating "Community" in American Muralism Since 1930

  • Nicholas Piacente '13

    Daring to Breed the Horse with the Cow: The Repaint Shan Shui Series by Zhang Hongtu

  • Laura Preston '13

    Avoid Toetal Loss

  • Micol Spinazzi '13

    The Church of Monreale: A Golden Perspective into William II's Rule in Sicily

  • Ugochukwu Udogwu '13


  • Amy Achenbaum '12

    An Aesthetic War: The Sino-Japanese War of 1894–95 through Japanese Woodblock Prints

  • Liliana Meropi Aslanidou '12

    Garry Winogrand’s Women Are Beautiful: Revisiting the Feminist Critique

  • Lex Brown '12

    Inside that thing that is and is and isn't

  • John Matthew Butler '12

    The Crucifix and the Pen: Archbishop Federico Borromeo and the Catholic Reformation

  • James Cole '12

    The Quinoa Quandary: A Deconstruction of a Documentary

  • Eleanor Elbert '12

    The Postclassic Maya Diving Maize God

  • Alexandra Epps '12

    Art Stronger than Stone: Marble Imitation in the Audience Hall of the Umayyad Palace at Bālis

  • Louisa Ferguson '12

    Envisioning England's Unconscious: An Investigation of the Surrealist Movement and Mass-Observation from 1935 to 1947

  • Genevieve Fish '12

    Repositioning the Image in Postwar America: Wallace Berman, Andy Warhol, Bruce Conner

  • Sarah Gerth '12

    A Hidden City Emerges: Picturing the Industrial Identity, Civic Topography, and Urban Ethos of Newark, NJ, from 1800 to 2009

  • Christopher Green '12

    Between Two Worlds: Norval Morrisseau as a Case Study for the Shaman Artist

  • Alexis Johnson '12

    Queering George Bellows and the Question of "Gay Art"

  • Sarah Kinter '12

    Between Extremes: The Middle Class in Gustave Doré’s London, A Pilgrimage

  • Yu-Jun Koh '12

    Moan: The Monstrous Sublime

  • Eliza Kontulis '12

    N. C. Wyeth’s Kidnapped Illustrations: From Bedtime Story to Fine Art

  • Clare Kuensell '12

    The Here and Now: How Stuart Davis Painted His Present

  • Talia Kwartler '12

    Painting the Child of the Neapolitan Streets: Antonio Mancini's Urchins and Entertainers (1865–1885)

  • Elliot Lopez-Finn '12

    Cultural Alliance and Political Display: The Distribution and Function of Ballcourts in the Petén Lakes Region

  • Isaiah Miller '12

    The Menagerie and Passenger

  • Hillary Moss '12

    The Art of Collaboration: An Analysis of the Group Studio Model in Kampala, Uganda

  • Emma Scully '12

    Chinese Armorial Porcelain for the British Market

  • Ariel Sibert '12

    Warp Time: Amateurs and Obsolescence in the Digital Art of Cory Arcangel and Olia Lialina

  • Aislinn Smalling '12

    A Celtic Knot: Unraveling the Presentation of Irish Ringforts in Archaeology, Museums, and Sites

  • Mary C. Thierry '12

    Beakers for the Dead: Glass Unguentaria from Nemea

  • Anne Weinmann '12

    The House of Tomorrow That Never Was: American Postwar Modern Houses in Promotion and Defeat

  • Catherine Zaragoza '12

    Conquering the Wall: The Impact of David Alfaro Siqueiros's 1932 Los Angeles Mural