The lecture will take place on November 5 at 11 a.m. in the Madsen Recital Hall and will be streamed online

Guest speaker Melissa Inouye outlined potential steps in the quest for anti-racism

Eliza and Taft Robinson are applying their BYU dance education to their current jobs as elementary school teachers.

The Design Kids competition encourages young designers like McCall Keller to create new designs and show off their talents

The research of new genre artist Tiana Birrell revolves around the intersection of materiality and immateriality, and the internet as a new type of consumerism

Group hopes online performance of “Sevilla” will be one of many

Meet alumni enriching their communities through service.

From fine craft to fine art, installation artist Pam Bowman has always been a maker of things

For artist Linn, drawing is more than a preparatory skill; it is a meditative state of mind and a process of trying to slow down time

Video Compilation of “Nearer, My God, to Thee” Breaks New Ground in Virtual Performance

Home builders. Survivors. Trend-setters. Fighters. Standing in the gallery of BYU’s Museum of Art, students can almost hear them whispering from the walls. They are 58 remarkable female artists, and their messages of inspiration and hope are featured in the MOA’s “A Studio of Her Own” exhibit, which closes this week. “We had no idea that 2020 would be such an unexpected and unprecedented year with the pandemic, and with earthquakes and fires and racial unrest,” exhibition curator Janalee Emmer said. But in the paintings, she said, “there’s a lot of relevance for today’s moment.” “A Studio of Her Own” celebrates 110 works by female artists of diverse backgrounds and faiths. Some of their pieces celebrate racial diversity, like the vibrant quilt “Subway Graffiti #3” by prominent Black artist Faith Ringgold, who grew up in Harlem. The piece features superstars like Diana Ross and Michael Jackson as well as the faces of Ringgold’s own friends and family members. Emmer said the unique piece “Blanket Stories,” which features a tower of colorful handwoven blankets, speaks to the universal struggle for identity through the experiences of its creator, Marie Watt, the daughter of a native Seneca mother and a rancher father.

Growing up on a small farm in Highland, Utah, Michael R. Workman (BFA ’86, MFA ’92) knew just what he wanted to do with his life: “Move to a rural area and paint the land. And I’ve been able to do exactly that.” Workman credits his BYU professors not only for teaching him the elements of art but for helping him believe he could make a living with his brush, which he does from his home in Spring City, Utah. “I approach landscapes with a poetic sensibility,” says Workman, who paints in the early-morning or late-evening light. “I’m trying to subtly communicate the spiritual qualities of the land.” Citing artists as eclectic as Rothko and Van Gogh as influences, Workman feels a special kinship with the tonalist painter George Inness, who felt the world was a profoundly spiritual place. “I never set out to be a tonalist, but that is what I seem to be,” he says. His treatment of landscapes shows a reverence for the places and subjects he depicts: “I hope my faith and belief in something beyond this life come through.” See the full article written by Andrew T. Bay at magazine.byu.edu.