Images of the United States: A Visual Research Exhibition
This fall, we will launch our first Images of the United States: A Visual Research Exhibition.
This event will give students with course-related research on the United States a chance to represent their research with a single image. The submission will also include a 250-word abstract tying the image to the student’s research project. A committee will award prizes to exceptional research. On November 20th, at 315 Bloor St, an exhibition will share these images with the Munk School community.
Submission Guidelines
Students are invited to submit a single, static, original image (specifications below) that creatively represents their research related to the United States. We welcome submissions for all undergraduate students at the University of Toronto conducting research related to the United States in any discipline. Your research should have been completed as a part of a course (ex. research essay or presentation) or under the supervision of a faculty member (ex. independent study course).
Image
Images must be static (i.e. able to be printed as a single frame), original (i.e. created entirely by the student researcher), and produced without the use of AI. Image submissions may take many forms, including—but not limited to—photographs, drawings, paintings, collages, or diagrams created entirely by the student researcher, as well as an images of creations such as pottery, dioramas, or 3-D printed objects created entirely by the student researcher.
Images should creatively represent some aspect of the student's research related to the United States: a research question, key concept, theoretical framework, empirical finding, or overarching argument. This research may have been conducted in any discipline, from the humanities to social sciences, to biological sciences, and beyond. Students' key challenge is to translate research that has previously been written into a visual form. Images should not include text as the focal point, though text may appear in the image (ex. photograph of graffiti).
Title
Students should title their image (max. 10 words). This title should identify the image and engage the prospective audience.
Caption
Images should be accompanied by a max. 250 word caption that explains the image and its relevance in the context of the research project. Whether the research is represented in a concrete or abstract way, the caption should clearly outline how the image engages with or what the image explains about the research project.
Application Procedure
Students can submit their image, title, and caption, as well as the Images of the United States application form and media release form linked in the button below. In the application form, students are asked to attest to their image's originality, their right to use the image, and the non-use of AI in the image's production.
Applications are due on October 13, 2026. Results will be announced in early November. The exhibition will take place on November 20, 2026 at 315 Bloor St in the Library.
Example Submissions
“Inequality from Above” | Sophie Bourret-Klein
This image draws on Blessing Mensah’s (2026) research into the legacy of redlining in Oakland, California. Redlining defined geographic neighbourhoods according to racialized assessments of their value, allowing government and financial institutions to limit access to mortgages and investment in predominantly Black and Hispanic communities. Redlining has shaped patterns of housing (dis)investment that have continued long after the policy was formally prohibited. For example, Mensah connects redlining to the later concentration of surveillance and policing in historically marginalized neighbourhoods.
Inspired by pointillism, this painting uses individual marks to construct an abstract urban landscape divided into two contrasting neighbourhoods. In the green sections, houses are more dispersed and surrounded by pools and greenery, which creates a sense of space and openness. In the red sections, the marks become increasingly dense: buildings appear crowded together and there is little greenery. Roads run through both areas, connecting them while also emphasizing their separation, as some roads even end without reaching the other side. Nevertheless, small traces of blue remain within the red landscape, suggesting persistence and resilience. By translating the history of redlining into an abstract visual form, the work asks viewers to consider how boundaries created through policy can become boundaries experienced in everyday life.
Protecting and Policing Motherhood: Women Activists and the Reproduction of Inequality in the Progressive Era | Amanda Sheely
During the Progressive Era (approximately 1890–1930), women reformers played a central role in advancing landmark legislative changes, including child labour prohibitions, mothers' pension programs, juvenile court systems, and maternal and child health protections. Yet while these reforms offered meaningful protections, they simultaneously reinforced existing hierarchies of gender, class, and race. Women activists strategically mobilized "maternalist" rhetoric, leveraging their claimed expertise as mothers to justify political engagement while carefully avoiding direct challenges to male authority. This dynamic is visible in the Instructive District Nursing Program, established by Los Angeles settlement house workers in 1898, in which nurses conducted door-to-door "friendly visits" to poor families. Though permitted to advise mothers on hygiene and housekeeping, nurses were prohibited from diagnosing illness or administering treatment, responsibilities reserved for male physicians. The program also reveals entrenched class and racial asymmetries: nurses, predominantly middle-class and white, targeted families of Mexican descent, and "friendly visits" carried coercive dimensions, as non-compliant families could be reported to authorities. As Ladd-Taylor (1995, 9) argues, these contradictions were central to Progressive Era reform: motherhood functioned simultaneously as "the point of oppression and the point of departure for women activists."
“Concertina Cacophony” | Noah Sokoloff
The neoliberal paradigm altered the very way in which labour, economic policy, and cultural sentiments were expressed in the post-1970s United States. Out of the covers of the welfare society, and in the midst of economic stagflation, unrest over unending wars, neoliberalism took hold in the form of laissez-faire economic policy and deregulation, leading to projects such as NAFTA. This picture, taken at the US-Mexico border, captures the confluences of such forces and their continuing effect today. The offshoring of industrial prowess to Mexico under NAFTA’s free trade zones, the resulting environmental impacts, have led to the rampant individualization and exploitation that corporations and capitalism require. Militarization, the logistics industry, and criminalization of the border converge in Southern California to create the geographical space in which neoliberalism becomes visible. What do we focus on when someone views this picture? Is it the concertina wire, a unique wiring system meant to inflict maximum damage on human flesh? Is it the Nike shoe, a symbol of capitalism's wider reach, suspended in midair, prompting the question, how did it get there? The manifold ways of interpreting this image speak to the myriad ways in which the neoliberal paradigm plays out on the ground level for human beings caught in its crosshairs, from labourers, to immigrants, to “citizens”.