Many people think of art curation in museum settings, involving long-term planning, large spaces, and curators who have full creative freedom. Allie Sena (Art History, French Studies 26) and Natalie Rasmussen (Comparative Studies MA 26) found themselves in very different circumstances when they were asked to curate a new art exhibit for BYUs Humanities Center. Working with a small room and a short deadline, the pair took on the complicated task and created an exhibit that displays unity across humanity.

Sena and Rasmussen received the assignment to curate this exhibit as part of their Studies in Curatorship class. Although neither had curated an exhibit before, they felt aligned in their ideas for the installation. They were both interested in the Garden of Eden, and they were also drawn to the idea of exploring human unity. As they brainstormed, they realized that the story of the Garden of Eden and Adam and Eve connects the whole human family, offering a unique take on unity.

They called their exhibit Heirs of Eden: Reuniting the Human Family, and focused on a central idea: Unity between peopleespecially unity in families, and the human family at large, Rasmussen explains. Sena and Rasmussen centered their planning process around finding works of art that communicated their theme, looking for pieces both online and in person at local art galleries.

The students had to be flexible throughout the process as their ideas changed and as the availability of certain pieces shifted. Even though the two sometimes hit dead ends, with every draft they felt that the exhibit was getting better and better. The curation process did take longer than they had planned, but Sena says, Im really grateful that we took the time to be very intentional, and even spiritual, in our process.

From the exhibit, Sena particularly enjoys

by Sarah Winegar, a woodcut print depicting a man and a woman embracing. It exemplifies a lot of what we wanted this exhibition to portray, this idea of cleaving to one another, Sena says, noting that it alludes to Adam and Eve and their need to cleave to one another and to God to make it through their challenges. That is something we wanted people to feel in the exhibition, that no matter whats going on in the world, we want to inspire people to choose unity and cleave to one another.

Rasmussen appreciates

by Arianne Reed, a ceramic piece that shows hands piled on top of each other. On a plaque describing the piece, Rasmussen and Sena wrote, Hands not only symbolize connection but also creation. A shared heritage of divine creation unites all of humanity, making each life sacred. Rasmussen says the piece represents the human family all working together. We all need each other.

This experience brought unity in more than one area of the exhibit. In placing the works of art, Rasmussen found it interesting to see how all the different styles of art, all the different time periods, and the influences theyve had can all come together into one beautiful show. She had a similar experience working with the artists, observing how they each created and interpreted unity in their art.

Both students hope that this idea of unity is evident for those who visit the exhibit. Sena says, We wanted people to be able to feel awe and love for other humans as part of Gods creation. They also hope the exhibit offers viewers a respite from the chaos and division of the world, prompting people to feel empowered, Rasmussen says, to create unity in their own lives, in their own spaces, and in their own families.

For Sena, the theme is a call to action. This is something that we can take into the world with us, beyond BYU, she says. We can all love each other and work to understand each other even when it feels hard.

Learn more about the Humanities Center here.

At BYU, the classroom is a space where faith and intellect meet. Embracing this unique aspect, the Philosophy Department recently launched the Undergraduate LDS Philosophy Workshopan opportunity for students to engage in mentored research that combines Latter-day Saint (LDS) beliefs with philosophical study. As a result, students strengthen both their personal faith and their futures as philosophers.

After Assistant Professor Taylor-Grey Miller (Metaphysics, Philosophy of Religion) noticed a growing interest in Latter-day Saint philosophy within the department, he and Department Chair David Jensen (Ethics and Value Theory) established the workshop. They saw it as an opportunity for students to engage in and contribute to the momentum around a developing area of study.

The Undergraduate LDS Philosophy Workshop gives students the chance to turn philosophical questions into polished research projects with the guidance of faculty mentors. To start, students propose an idea that explores either a philosophical concept through a Latter-day Saint perspective or a Latter-day Saint concept through a philosophical perspective. Then, over the course of six weeks, they meet with faculty to refine their idea, conduct research, identify a thesis, and develop a research paper grounded in both philosophical literature and religious texts.

The process provides hands-on experience into what real-life philosophical research looks like, all while engaging with the universitys commitment to faith. Students who participate in the workshop have the freedom to research nearly any topic they want, as long as its within the realm of Latter-day Saint philosophy. Recent topics include, alongside others, how Latter-day Saint teachings on the afterlife shape moral decision making and how Gods covenants with Adam and Noah relate to environmental stewardship.

Ethan Richardson (Philosophy, Applied Math 28) participated in the workshops first cohort. His project explored the concept of free will through a close reading of 2 Nephi 2 in the Book of Mormon. Richardson examined whether the text favors certain philosophical views on free will. He argued that it supports a reasons-responsive account of free will, suggesting that people are free when they can recognize and respond to reasons for their choices.

The design of the workshop allowed Richardson to explore his interests with the help of a mentor. It was perfect because I had the enthusiasm, they had the expertise, and we brought it together, says Richardson. He was mentored by Miller, who enjoys seeing the variety of interests students bring to the workshop. Miller says it gives him a chance to engage with topics he wouldnt normally have the time to research, and he likes seeing what students care about.

One of the most rewarding aspects of the experience, Miller says, is getting to know the students in deeper ways than I would in the seminar room. I feel like I get to know them as people, which is really fun. Richardson also enjoyed getting to know faculty better, saying he feels comfortable knocking on his professors doors whenever he has a question or simply wants to chatsomething he wouldnt have done if it werent for the workshop.

In addition to connecting students and faculty, the workshop provides students with skills applicable to their futures. For Richardson, the hands-on experience gave him confidence in his ability to pursue philosophy beyond the classroom. He says that while working one-on-one with a professor, you start to pick up a lot of details of working as a philosopher just from being around them. Carefully going through the research process with a mentor allowed Richardson to dive into philosophy in a way that a class probably wouldnt, something he says has strengthened his work in subsequent classes.

That same careful approach also shaped how Richardson engages with his faith. He says the experience deepened his appreciation for scripture, allowing him to see more of the richness and beauty of the scriptures through careful study. Rather than separating his study of philosophy from his Latter-day Saint faith, the workshop brought the two together in a way that made both more meaningful. For Miller, that outcome reflects the broader purpose of the workshop, to get students to think about what disciple-scholarship looks like for them as philosophy majors.

Learn more about ways to get involved with the Philosophy Department here.

As an undergraduate philosophy student at BYU, Professor David Laraway (Hispanic Literature, Philosophy of Art) had no idea the journal he and other students created to showcase their work would become a lasting tradition. Yet more than three decades and dozens of student editors later, the

undergraduate journal for philosophy is not only still standing, but its also providing a unique experience for students worldwide to engage in thought-provoking discussion.

The year was 1991 when Laraway and a few other philosophy students had the idea to start their own journal. They felt they were writing strong and engaging papers in their philosophy classes, but they knew nobody except their professors would ever read them. We thought it would be nice if we had a way of sharing the work that we were doing, he says.

Laraway and a few other students approached James Faulconer, the Philosophy Department chair at the time, with a proposal to create a journal featuring student work, and Faulconer approved. Another professor, Dan Graham, suggested that Laraway and the other three founding editors title the journal

, which, in simple terms, represents a state of puzzlement. This title reflected the profound ideas the editors hoped to explore in their writing while also acknowledging their limitations as young philosophers.

With approval from Faulconer and a title from Graham, the students got to work and the journal took off. By the end of winter semester in 1991, the first edition rolled off the press, and

was born.

As an undergraduate student, Assistant Professor Mike Hansen (Rationalism, Philosophy of Mind, and Epistemology) worked as an editor for

Today, hes the faculty advisor for the journal. Hansen guides students throughout the editorial process, but he says they lead most of the production from start to finish. My guiding principle is that the undergraduates are making as many of the choices as possible, says Hansen.

Each semester, the journal sends out a call for submissions to undergraduates throughout the English-speaking world. The student editors then read submissions, select which ones to publish, and collaborate with authors to edit their work, which can cover a wide variety of philosophical topics. During the early years of the journal, papers were written solely by BYU students, but today,

publishes papers from students across the country and even overseas. The most recent issue, for example, features work from students in Scotland, England, and Australia.

Once each paper is finalized, the journal is published and sent out to readers all over the world. As

s reach expands, Hansen says the student-led journal speaks to the philosophy programs impact beyond campus, a growing presence made possible by the students who keep

running. Our student editors are really fantastic, says Hansen.

Rebekah Welling (Philosophy, German 26) first learned about

during her freshman year when she saw an ad on the departments website. Now, shes in her third year working on the staff. Welling values the opportunity to improve her own writing as she reads some of the best work from students around the world. The longer youre on the staff, the more you get a feel for which papers have good writing, she says. Being an editor has helped Welling recognize the qualities of a strong paper and apply that to her own work.

Aside from learning skills relevant to her field of study, Welling says joining the staff has helped her get to know other philosophy students. It really knits you together, she says. She enjoys meeting with the other editors not only to produce a journal but also to bond as fellow students of philosophy. Its a really fun time, says Welling.

Laraway says working on the journal as an undergraduate helped him become familiar with the publishing process, which ended up being really helpful for me when it came time to publish my own professional articles, he says. It really does give you an advantage.

After the first edition of

was published in 1991, Laraway and his fellow editors were hoping to have enough funding to produce a second. We had no idea that it would continue on, he says. Now, I guess its been 35 years. Looking back, Laraway is grateful to have been a part of

and remains optimistic for what lies ahead for the journal. We hope it remains a tradition at BYU for a long time.

Read the latest edition of

here.

After years of studying, nearly 500 humanities graduates gathered for one final moment of reflection before they bid farewell to their time at BYU. On April 24, 2026, the College of Humanities held its convocation at the BYU Marriott Center, honoring the graduates as they move forward in the next chapter of their lives. Drawing from lived experience, Dean Christopher Chip Oscarson (Interdisciplinary Humanities, Scandinavian Studies), student Kathryn Douglas (Korean 26), and Professor George Handley (Literature of the Americas, Ecotheology) shared messages encouraging the graduates to remain grounded in their faith.

Dean Oscarson opened the ceremony by recognizing the small and simple things that have brought each graduate to where they stand today. He shared a story of his grandfather, Roy Oscarson, who, at the height of the Great Depression, hitchhiked 1,000 miles from Salt Lake City to Seattle after hearing about a potential job in a shoe store. Upon his arrival, he found there was no job for him, but the manager let him work a 12-hour shift and told him he could return as an extra.

The next day, Oscarsons grandfather woke up and realized it was Sunday. He was in a new city, disheartened, and exhausted. He had every reason to stay in bed, but he decided to find a meetinghouse and go to church. A small and simple thing, that Sunday morning set a precedent that no matter how tired, penniless, or exhausted he might be, he would put the Lord first, said Oscarson. His grandfather later became one of the most successful senior executives of that shoe company, and he remained a devoted disciple of Christ.

Oscarson related this story to the graduates, who, like his grandfather, stood at a turning point in their lives. He urged them to place importance on the small and simple things and to seek . . . first the kingdom of God (Matthew 6:33) as they use their education for good. He said, Your education will be an amplifier that increases your capacity, and with your heart inclined toward the Lord and His righteousness, He will magnify you and your ability to spread light and truth in the world.

Kathryn Douglas spoke on the importance of having the courage to be a beginner. Douglas recalled her unconventional path to BYUstudying dance at a community college, working at a law firm, and teaching English in Korea, before returning to higher education. She noted the fear that accompanied each of these experiences. Before attending community college, I had never had any formal dance training. Before working at a law firm, I had never stepped foot in a legal office. Although I had dance teaching experience, I had never taught English before, let alone moved to a foreign country in the middle of a pandemic, she said.

Douglas especially had fears about attending BYU. She worried about how shed adjust to being back at school after spending five years away from higher education. She worried she would be too old as a 26-year-old and struggle to find belonging. However, she said, If my experiences have taught me anything, it is that the opportunities I want are locked behind the door of being a beginner, and the key to that door is courage. She encouraged the graduates, who stand in the hallway of lifes opportunities, to find the courage to be beginners. I hope you remember to be brave, to be strong, and to be of good courage as the Lord guides us to our next door.

Professor George Handley gave the last address. He introduced the Basque city of Guernica, which he visited while leading a study abroad program in Spain. Guernica was tragically bombed during the Spanish Civil War in 1937 by Spains soon-to-be dictator, Francisco Franco. After the bombing, Jos Antonio Aguirre y Lecube, leader of the Basque people, said, the Basque people do not ask for vengeance. Their overwhelming desire is for peace and justice.

Handley told of a museum in Guernica that presents the idea that although history is often written based on individuals like Franco, the true story of humanity is the story of peace. Similarly, Handley urged the graduates to seek peace as they navigate a world where political division is at an all-time high. We are a nation at war, he said, but our doctrine shows a better way. Handley quoted recent Church leaders like President Russell M. Nelson and President Dallin H. Oaks who have called us to be peacemakers who build bridges of understanding rather than walls of prejudice.

Handley pointed out the graduates unique ability as Latter-day Saints to live, listen, and work together as a single body. Additionally, he said, you in the humanities have been especially trained to begin to understand the diversity of beliefs, languages, and customs that make up our beautiful and plural society. With empathetic understanding of that diversity, you can help find and communicate a common ground.

Urging the graduates to use their education to unite, Handley said, the worst mistake you can make as a student of the humanities and as a disciple of Christ is to believe that it is more important to have correct ideas and beliefs than it is to have the integrity to act on them in your society. Although it may be difficult, he said, I believe each one of you is uniquely prepared to meet this moment, and that God will bless the adventurous among you who accept the call to bring this time of division to an end.

Read more about the graduates and speakers in the convocation program here.

Imagine working on a single project for 27 years straight, then having Michelangelo say the work is good enough to exist in paradise. This was the experience of Lorenzo Ghiberti, who created Florence Cathedrals famous baptistry doors called the

, replicas of which are on display at BYUs Museum of Art (MOA). On March 6, Associate Professor Elliott Wise (Eucharistic and Liturgical Imagery) gave a lecture at the MOA entitled Sacred Symbolism in the Gates of Paradise, explaining the origin of these historic doors and the way they symbolically point to Christ.

The original doors are preserved in the

in Florence, Italy. They were created during the Italian Renaissance, a time when Italy was comprised of self-governing cities that spoke different dialects of Italian. This diversity created rivalries, with cities like Florence trying to outdo all of its neighbors. Spurred on by this competitive spirit, Florence built a spectacular cathedral as an expression of the depth of devotion of the Florentine people, Wise said.

As part of the building process, a major guild held a contest to find an artist to create the most beautiful doors possible for the baptistry, a separate building adjacent to the cathedral. It was Lorenzo Ghiberti who won the competition and the commission for the doors.

In 1984, BYUHawaii acquired a plaster cast of the doors, which was brought to Provo in 2016. The MOA has spent the past 10 years restoring the cast and adding a gold leaf finish to replicate the glory of the iconic bronze doors.

Ghibertis

contain 10 panels, each displaying a scene from the Old Testament. The first panel is a depiction of the story of Adam and Eve, with a number of scenes all coalesced into one, Wise said.

On the right of the panel is an image of Adam being created from the dust, with God grasping his hand. There is a second depiction of Adam in the middle of the panel, lying on the ground with his feet crossed, symbolizing Christ and His sacrifice on the cross. With Adam reclined, Eve is created from his side. God takes Eves hand in a way that is representative of marriage, evoking Christs analogy of the church as His bride. Just as Eve is born from Adams side and becomes his wife, explained Wise, so too the church is born from the side of Christ and becomes His wife.

Each panel depicts some form of waterin Adam and Eves panel, for example, a stream flows through the garden of Eden. Wise explained that Ghiberti incorporated water so prominently in the doors because this is a baptistry, and it is a collection of images that prophesy what baptism points to: a life aligned with Christ.

The baptistry is dedicated to John the Baptist, the patron saint of Florence, who famously foretold: Behold the Lamb of God, which taketh away the sin of the world (John 1:29). In Christian art, John the Baptist is recognizable because he is always pointing, and that action is symbolic of his prophecy. These baptistry doors, the

, are facing the cathedral, pointing with a series of images that are prophecies from the Old Testament to the Lamb of God, just as John the Baptist did.

These symbol-ridden doors serve as a visual prophecy of the fulfillment of all things in Christ. Through all 10 panels, Ghiberti demonstrated how God prepared the world for His Sons mission on the earth. The doors are invitations, Wise said, for viewers to look at the images and see in them shadows for the coming of the Lamb of God.

The doors will be on display until October 2026. Click here to learn more about this exhibit from the MOAs website.

Like most researchers, Lilia Bowers (Russian, Archaeology 27) began her Humanities Undergraduate Mentoring (HUM) Grant project with a question. She noticed a disparity in the life expectancies between men and women in countries formerly ruled by the Soviet Union and found herself asking, Whats happening here? In her quest to find an answer, Bowers discovered that true understanding doesnt come in statistics or numbers but from interacting with the people they represent.

Through her missionary service in the Czech Republic and Slovakia and her interactions with many of her Slavic-speaking friends, Bowers noticed a pattern: in Eastern European countries, men generally have lower life expectancies than women, but this disparity is even more profound in countries formerly ruled by the Soviet Union. She hypothesized that these variations were related to the ways major historical events in these countries impacted current living situations. Their healthcare system took a downturn in the 1960s and fell apart completely when the Soviet regime fell. Universal health care disappeared, which meant that people couldnt get the help that they needed when they needed it, Bowers says.

During this time of economic distress, alcohol and cigarettes were often used as rewards in the workplace, leading to an increased use of these substances especially among men. Bowers believed the continuation of these habits was a leading cause in the current health discrepancies she noticed between men and women in these regions.

She didnt have enough information to confirm her hypothesis, but an opportunity to find it would soon arise. Bowers heard that several BYU students would be traveling to Latvia during the summer of 2025 to participate in either a study abroad program or independent research projects, and she decided this was her opportunity to get answers to her question.

Bowers applied for a HUM Grant so she could analyze the problem in person. She received funding and worked with BYU Russian Professor Jennifer Bown (Second Language Acquisition) to draft interview questions for local residents in Latvia. Bowers was looking for insight on habits like drinking, smoking, and nutrition as well as how these habits varied between men and women.

While in Latvia, Bowers interviewed members of host families that were housing roughly 20 other BYU students. Additionally, she spoke with locals working at the BYU Baltic Center, where students went each day to study Russian. She hoped these conversations would help her determine if her hypothesis was correct.

Outside of her interviews, Bowers explored the history and culture of the area. One of these visits led her to dive deeper into the history of WWII at the old KGB headquarters and the Museum of the Occupation of Latvia, which brought her to tears. It was very spiritually strengthening because a lot of people made it through the difficult times because of belief in God or a higher power, Bowers says. I really loved that aspect of the tripthe history, and seeing the way that human beings are resilient.

In Riga, where the students spent most of their time, she witnessed a celebratory musical festival. Residents wore traditional clothing and danced to music, celebrating their heritage, lifestyle, and the Latvian language.

She also participated in day trips to Lithuania and Estonia. These experiences enhanced her ability to understand her research. There were things that I was learning that I was also seeing with the people that I was around, she says. I think you get a fuller picture by experiencing things with the people that youre researching.

Immersing herself in the culture helped Bowers look at more than just quantitative measurements and consider elements like habit, culture, genetics, and even personality. People arent numbers, she says. Spreadsheets can provide some insight, she adds, but when you meet people, thats when you see things and witness things for yourself. Thats when you get the full picture.

Bowers found some aspects of her hypothesis confirmed but added that more research would be needed to establish a clear causal link between habits surrounding substance use and life expectancy. Though she didnt leave Latvia with a definitive answer, performing her research, she says, prepared her for future research on other public health topics. And more importantly, it taught her that answering questions about health takes looking deeper than the information found on a medical chart.

I am super grateful that I was able to go to Latvia. I loved the people that I spent time with there, and I learned a lot of lessons, Bowers says. I think everybody should traveland not travel for sightseeing, but travel for the people and for what you can learn from the people. Bowers says her studies helped her understand the complexity of humanity, and the balance of commonalities and distinctions between cultures and individual people. The more you learn from other people and the more you communicate with people from different cultures, the more you learn about humanity in general, and learn about yourself.

Learn more about humanities research grants on the College of Humanities website.

Behind the scenes of every art museum are many hands busy at work tending to the details that shape the museums atmosphere. BYU student interns at the Springville Art Museum gained experience in many of these roles, from dusting art to arranging exhibits for community shows. Along the way, they learned that museums are built on collaboration, care, and often-unseen work that brings each gallery to life; the skills they gained extend well beyond the museums walls.

The first thing Kelsey Barton (Art History & Curatorial Studies 26) learned from her internship was the value of strong leadership. During her welcoming tour on her first day, the group passed the office of museum director Emily Larsen (Art History & Curatorial Studies 12), who immediately came out to personally introduce herself to each new member of the team. That was a really good example of someone who is so dedicated to all things about the museum, Barton says. The experience inspired Barton in all aspects of her internship, whether writing online biographies of artists, giving tours, or setting up for annual showcases.

In addition to lessons in leadership, learning practical skills in museum worklike how to handle, clean, and hang arthas been significant for Barton because these skills are best learned in practice. Combining these practical skills with the principles she has learned in her coursework at BYU has prepared Barton to apply for an internship at a gallery in Europe.

For Brynne Petty (Art History & Curatorial Studies 26), the internship gave her the chance to teach younger audiences about the value of art. A unique aspect of the Springville Art Museum is their professional outreach program, which provides free resources and opportunities for K12 art education to schools in Utah. Petty worked in the museums education department, creating coursework and activities with younger students in mind.

Petty also gave tours to students who visited the museum. The students are really fun to work with, she says. I liked hearing what they had to say their perspectives and experiences. When giving tours, she learned how to direct at a good pace and change tack when needed to keep her group both engaged and informed. This experience taught her adaptability and critical thinking. These are skills that I can continue to build on and work with, and they apply even outside of my career; they apply to life in general, she says.

Kira Bundy (Psychology 26) worked for the education department as well, conducting research that combined art with her psychology education. One of the new exhibits falls right into psychology, because its all about social connection, she says. Im doing a lot of research for that, and how art museums can help people have social connection with each other.

Bundys other responsibilities included helping with the museums outreach program. She enjoyed visiting with students to help them get in touch with the art, and teach them that they can be artists.

This experience is valuable to Bundy as she prepares to start a masters program in instructional psychology and technology. I love teaching, and so its been really fun to teach high school students, she says. Ive gained the ability to talk to other people, work as a team, share my thoughts, and effectively listen to other peoples thoughts.

For each intern, the museum internship not only prepared them for their careers but also showed them that museums can become more than just a gallery: They can center a community. The culture at the museum is really great, Barton says. Everyone there is very dedicated to all things arts. Its a very fun place to be.

Learn more about Comparative Arts &Letters internships on the Comparative Arts & Letters website

History is shaped by storytellersbut how accurate are the narratives they tell? Associate Professor Cindy Brewer (19th-Century German Womens Literature) explored this complexity in her Frieda Olga Wunderly Lecture on Thursday, February 19. By sharing stories from the lives of 18th- and 19th-century German missionary women, as well as stories from her own life, Brewer demonstrated that the stories we tell are unruly, and we never quite tell them right.

Knowing that storytellers often frame their narratives using symbols, Brewer introduced the symbol of the Madonna and Child, an archetype in art which originally depicted the Virgin Mary and the infant Jesus. This symbol, she explained, is often adopted by storytellers who use a mother-and-child figure to represent idealized Christian love. One example of this symbols use is found in the mission literature of Maria Theresa Ledchowska, a countess-turned-nun who dedicated her life to missionary work in the 1890s and fought against slavery in Africa.

Ledchowska is known as Africas Mother, and in artwork from her beatification in 1975, she is depicted as a tall, European madonna surrounded by her adopted African children. Looking at one particular image, Brewer said, There is something a little condescending about this painting that makes my heart ache. This story is well meaning and yet somehow wrong. She pointed out that, despite the good Ledchowska did in her life, this artwork was self-aggrandizing, Eurocentric, and oversimplified.

The image represents the story that German missionary women told themselves about their identity and purpose. It may not, however, portray the most accurate retelling of the story; in this case, the image excludes the perspectives of the African communities Ledchowska worked with and the truth about the consequences of her service, including an unintended boost in the slave trade. Imperfect as the image may be, it still serves an important purpose by preserving stories that would otherwise be lost to time.

Since most of history is recounted by people in positions of power, narratives easily become oversimplified and inaccurate. Brewer has faced this challenge herself as she tells stories from her own life. Like Ledchowska, Brewer is a mother of adopted children, but she is wary of portraying herself as another madonna. She knows she may upset her children if she tells their adoption stories for them. Navigating the complexity of authorship in this situation, she said, Im left asking myself, whose story is this anyway? Does it belong to the child, or does it belong to the mother who remembers it? Would my child even know her story if I did not tell it?

Despite the challenge, Brewer expressed that she is learning to share their family stories in a more inclusive way, considering her childrens perspectives and not just her own. The literature she studies made a similar shift later in the 19th century, as German missionaries got better at writing more inclusive narratives about global Christianity.

Displaying an illustration from an early 20th-century magazine, Brewer showed a multiracial group gathered around a Christmas tree. Another madonna and child

features in the illustration, but this time with an African mother figure and a European child. The art is still Eurocentric, as the people in the room are all dressed in European clothes, but it shows important progress in telling a more accurate, inclusive story.

No narrator will tell a story perfectly, but that doesnt mean the story shouldnt be told. Brewer said, Society has all sorts of ever-changing rules about whos allowed to tell what story, and when there are lines you should not cross or words you should not speak. Regardless of how one tells a story, it will be wrong at some pointif not now, then in future years. Brewers advice is to just be humble and do your best, because even stories told wrong are worth telling.

Reflecting on her own lecture, Brewer admitted that her presentation, much like Ledchowskas madonna portrait, had been self-aggrandizing, Eurocentric, and oversimplified. Asking herself whether the story shed told had been hers to tell, she said, I really dont know how to answer that question, so well just skip it. In the meantime, I intend to continue fantasizing about well-behaved narratives, even while I relish the ones that break out in new and surprising ways.

hum.byu.edu/frieda-olga-wunderly-lecture

Art comes in many formspaintings, sculptures, architecture, installations. For Katie Kresser, resident art historian at Seattle Pacific University, an understanding of art is defined by more than its form. In her Faith and Imagination lecture on March 19, 2026, Kresser argued that recognizing arts true meaning requires looking beyond the work of the paintbrush and into the mind of the artist who holds it.

Its easy for discussions about artistic frameworks to become bogged down in academic study, so Kresser suggests a simpler approach she compares to chasing butterflies. When a young girl runs after the fluttering, colorful creature, she is not concerned with labeling its exact species or capturing it for scientific study. Instead, Kresser said, she is just overwhelmed with admiration and wonder toward the butterflies. She wants to interact with them and receive them for the beautiful creature they are. When observing art, we can each tap into this feeling of curiosity, delight, and awe.

Whether were studying an ancient sculpture or a modern installation, this exploration can help us appreciate not only the form but also the artist behind it. And while the artists final product is the most visible commodity, their unseen efforts behind each work are just as important to understanding a pieces full scope. To help viewers find insight into the mind of the artist, Kresser presented three different models to describe an artists progression from inspiration to creation: the divine textbook, trial and error, and awe and wonder.

Kresser introduced the divine textbook model, citing artists like Leonardo da Vinci and Michelangelo Buonarroti who viewed themselves as great artistic geniuses who alone were able to see perfect beauty and perfect truth. The belief that their art came from divine inspiration was often widely accepted in their time and continues in our day. We think of them as having that process where theyre able to get access to this codified divine beauty up in some divine textbook somewhere, and they, alone, through their genius, are able to manifest it for us, Kresser said. In this model, the butterfly would be considered a heavenly symbol, and only a few artists are thought capable of comprehending its divine meaning. The rest of humanity simply learns of the butterflys divine truth through the artists depiction of it.

In contrast to this idea is the trial and error model. Kresser represented this philosophy with an image of someone figuring out how to spark fire for the first time; they dont believe their work has inherent meaning or divinity, but they are using the materials and ideas available to them to create something practical and new.

Artists who abide by the trial and error theory discover and determine their own meaning through their work, rather than waiting on divine inspiration. In this way, artists act more as innovators and produce work through adapting to and experimenting with the world around them. An artist applying the trial and error approach is much like a child who approaches a butterfly with practical curiosity, which, through experimentation, can be understood by any observer.

The purest way to view inspiration, Kresser said, is the awe and wonder model. Artists with this outlook borrow a belief in divine meaning from the textbook model, but rather than wait for a pinpointed moment of revelation, they believe in a gradual process of understanding truth. They value the disciplined process of trial and error but still see their work as more than just a practical exploration of how the world functions.

An artist with the awe and wonder outlook views the world with the unbiased curiosity of a child, simultaneously admiring and seeking to understand their environment. With the awe and wonder model, artists appreciate both the beauty and the scientific behavior of a butterfly, looking for both divine and objective truth.

These models allow us to understand the meaning an artist is trying to convey through their work. And, whether or not we consider ourselves an artist, Kresser said we, too, can benefit from approaching art with a sense of awe and wonder. I think we all come into the world with a disposition toward awe and wonder, and I think thats the foundation upon which other ways of knowing are built. This view, Kresser said, is essential to understanding art, artists, and ourselves.

Learn more about the Humanities Centers Faith and Imagination lectures here.

Beneath the cobblestones and dirt roads of Herculaneum, Italy, countless ancient scrolls were lost after the eruption of Mount Vesuvius. These Roman scrolls lay buried for thousands of years before archeologists found a means of extracting them. With the help of scholars and technology at BYU, these artifacts are available to the academic world, and BYU students are gaining insight on this study from scholars across the globe.

When the scrolls were uncovered, scholars celebrated, but they still faced the challenge of reading the scrolls. The scrolls were carbonized and buried after the eruption of Mount Vesuvius in AD 79, which made them almost illegible. To say that nobody could read them at all is a bit of an overstatement, but its

an overstatement to say every one that was recovered was very, very difficult to read, says Professor Roger Macfarlane (Classical Studies). Macfarlane and other researchers at BYU came up with a solution: specialized imaging technology that made the scrolls discernible.

BYU has been the world leader in digitizing these scrolls, says Macfarlane, and the impact of this effort is felt worldwide. Countless scrolls have been made available to scholars who can analyze their contents. Macfarlane says, For 25 years, really, all the study of Herculaneum papyri has passed through Provo, and in fact, through the College of Humanities, right here, through our project.

This revolutionary Herculaneum research provided Macfarlane a unique opportunity to teach students about his passion. During the winter 2026 semester, he led a unique seminar class which focused specifically on the history of Herculaneum and current research about the ancient papyri scrolls discovered there.

Macfarlane taught the course with a partner instructor from UVU; both BYU classical studies and UVU philosophy students were enrolled. The class prepared students for a Herculaneum conference hosted by BYU and UVU, where scholars discussed how they are merging traditional papyrological scholarship with advanced imaging, computational analysis, and AI to recover the lost Herculaneum libraries.

To help his students prepare for the conference, Macfarlane invited six colleagues from around the globe to share their research with his class, allowing students to get an inside look at the world of Herculaneum research.

A volcanologist from Naples taught students how to interpret the volcanic debris covering Herculaneum. Other scholars shared their studies on papyri scrolls, the economic impact of the eruption, and the insight discovered sculptures provide into ancient Roman life. Macfarlane says, Students can ask questions that help the lecturers come and meet them halfway. That give-and-take with a qualified scholar is really valuable for undergraduates.

The Herculaneum seminar also gave students opportunities for experiential learning outside the classroom. At the beginning of April, students travelled to the Getty Villa in Malibu to get an immersive view of ancient Roman culture. J. Paul Gettys Villa is modeled after the very building where the Herculaneum scrolls were discovered, the

which was engulfed in AD 79. During their visit, students enjoyed special instruction by the villas curator.

Emma Dansie (Italian 26) says the visit to the Villa was thrilling. I loved being able to see what a villa would have looked like in ancient Rome in its most pristine state. It was so beautiful. It was so colorful. Everything was so intricate and alive. It meant something different than going to a ruin and being told about it by a tour guide.

Most of all, Macfarlane hopes the experiences both inside and outside of the lecture hall will help students open their eyes to the world of research and learning in the classics. These connections will really open up new vistas for students, Macfarlane says, even if they began with something as niche as lost papyri scrolls.

Learn more about BYUs resources for Herculaneum research here.

Professor Donald Parry (Hebrew Bible and Dead Sea Scrolls) ran a quick Google search in 2007 that revealed a major gap in Hebrew language learning. Parry was looking for an online tool that would help his Biblical Hebrew students practice using verbs, but all he could find was a single tool that included only 32 verbs, an amount Parry says students can master in just 10 minutes. Dissatisfied with the options available to his students to gain additional practice, he was inspired to create his own tool, now known as the Biblical Hebrew Learning Suite. The resource has since evolved to support thousands of students at BYU and beyond in every stage of their Hebrew journey.

Looking to address the gap in resources for his students, Parry teamed up with BYUs Office of Digital Humanities, who assisted him in developing a custom tool for study. His expertise in Biblical Hebrew paired with the offices resources for instructional design led to the creation of the Biblical Hebrew Learning Suite.

Lauryn Wilde, programmer in the Research Technology Group at the Office of Digital Humanities, is part of the team that helped Parry with designing a user-friendly interface. She says the learning suites interactive features create an engaging way for students to study the language. Additionally, because it draws from the most accurate translations of Hebrew, the suite ensures that students are studying with the best data available. The purpose of the suite, she says, is to be an aid to students who want to learn.

The learning suite is comprised of several elements, all geared towards helping students master Biblical Hebrew. One of the most defining features is the verb parsing elementthe very type of tool that inspired the project in the first place. The suite allows students to practice thousands of verbs, an amount that far exceeds the limits of the online tool Parry found in 2007.

In addition, the learning suite helps students grasp the basics of the language, strengthening their vocabulary and grammar while providing exercises to practice. Recordings by native Hebrew speakers help students refine their pronunciation, and an interactive edition of the Hebrew Bible allows them to apply their learning to the text. Alongside the Bible, a frequency dictionary lists words that are most frequently used so students can focus on vocabulary that matters. Parry says that by learning the five most frequent words, students can already recognize about a third of the entire Bible. Together, these features offer a way for students to gain understanding and expertise in the language.

The Biblical Hebrew Learning Suite can help students at any point of their language learning journey. Whether a beginner student is just barely getting acclimated to vocabulary or an advanced student needs a quick refresher on grammar, the tool is designed to meet learners where they are.

The learning suite makes a noticeable difference for students who practice with it. The students doing well in the class are the ones spending time using it outside of class, says Erik Palmer (Ancient Near Eastern Studies, History 26), one of Parrys research assistants. When used alongside class instruction, the suite compliments what students learn, which Palmer says is the way to really gain expertise in Biblical Hebrew. Whitney Pickrel (Ancient Near Eastern Studies 27), another of Parrys research assistants, agrees. She says the suite really broadens students ability to interact with Hebrew outside of just what we can fit into a chapters length.

While the learning suite provides an opportunity for students to practice on their own time, Palmer says it has fostered collaboration among students, who often work through the suites exercises together. By their final year, almost every student uses it in their studies regularly.

Another unique element of the Biblical Hebrew Learning Suite is that its available to all. Its not just BYU students who have this privilege, but anyone in the world, says Palmer. Hundreds of students outside BYU are currently enrolled in an online version of Parrys class, where they, too, can study with the learning suite. And because the suite has no expiration date, students can continue to use it for years to come as they progress in their Hebrew journey.

As the number of users increases, Parry continues to seek ways to improve the learning suite and make it accessible for all. Parry is one of the leading Hebrew scholars, Wilde says, and he has put so much time and effort into making this resource. Pickrel adds, Its constantly in development, and its getting better and better.

Learn more about the Biblical Hebrew Learning Suite here.

A visit to the Navajo nation may be memorable for its iconic red rock, turquoise jewelry, or ancient cliff dwellings. For Aiden Jones (English, American Studies 27), it was the catalyst for an unexpected passion. After a field trip with her Native American Civil Rights class, she was inspired to investigate poetry written by Indigenous authors. Then, with the help of a Humanities Undergraduate Mentoring (HUM) Grant, Jones found a way to share her passion with the local community back in Provo, demonstrating the good that can come from learning others stories.

Mentored by Associate Professor Mike Taylor (Indigenous American literatures), Jones studied several works of Indigenous poetry. She then decided to organize two public poetry readings to create awareness about the difficulties faced by Indigenous peoples. Jones wanted her events to be insightful and inclusive, but she also knew that poetry feels out of reach for a lot of people. She says, Something that Im really passionate about is helping people to feel like poetry applies to them. So, instead of reading the poems herself, she enlisted the help of BYU students who have Indigenous family backgrounds to recite selected poems and share personal experiences.

One of the poetry readings was hosted in a charming local bookstore, and the other in a cozy caf, where, on a wooden stage under string lights, Jones stepped back and let her readers take the mic. I just needed to let them and the poetry do the work of bringing together the community and sharing the hard stories, she says.

Gabby Hinds (Human Resource Management 27), who is Ute, doesnt frequently read poetry, but Joness events made the poems feel accessible to her. She appreciated the platform Jones provided for her to read a poem and relate her own familys experiences. I think sharing our stories helped the poetry to be more meaningful, she says.

Emma Gaush (Exercise and Wellness 27), who is Navajo, also read at the events, and she valued being able to connect with other Native students who have felt removed from their community. I thought I was the only one, and so I felt out of place, she says. Knowing there are others who feel the same way helped Gaush to realize that shes not alone.

The poetry readings attracted diverse audiencesstrangers of all ages, backgrounds, and beliefswho, by the end of the night, became a connected community. The second event was so well attended that there werent enough seats in the caf to hold everyone, and people crammed inside to hear the students and the poetry. Hinds says the response from the community moved her. At both events, people would just come up to us and thank us for sharing our experience. Its easy to think that theres not that kind of support outside of our own community here, but its cool to see that there are people that care and genuinely appreciate us sharing our experience.

Gaush agrees, explaining that even people who didnt attend the event asked her about it later. That created an opportunity to keep talking about it and to keep sharing, she says. Its something that Ive been trying to do more, and I always receive really positive feedback.

Jones is grateful for the opportunity her HUM Grant provided for her to gain new perspectives and bring the community together. She says, This was a learning experience in so many ways, but it also showed me the good that the humanities can do, and the vessel that they can be for sharing peoples stories if were willing to let them.

Learn more about HUM Grant opportunities here.