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Rochester’s studio arts majors cap off their senior year with an art thesis exhibition that serves as the culmination of each student’s hard work and dedication as artists.

Erin Dong ’18 didn't start dancing until she came to college. Now as she graduates with a double major in biology and dance, she is combining her two fields to explore how the body experiences both the emotional and physical aspects of grieving.

As a classical guitarist, Juan Estrella ’18 chafes at the constraints traditional instruments place on artistic expression. As an engineer, he is attempting to create a “new electronic musical interface” that would set a new standard for instrument design.

Painstakingly searching through three colonial archives in Puebla, Mexico, assistant professor of history Pablo Miguel Sierra Silva reaches beyond traditional master-slave narratives in his latest study of afro-indigenous interactions in Mexico's urban centers.

The University's annual Three Minute Thesis competition challenges graduate students and postdocs to summarize their research with just three minutes and one slide.

Renowned Michelangelo expert and this year's Ferrari Humanities Symposia keynote speaker William Wallace has spent his career helping readers to find the familiar in the extraordinary artist’s day-to-day life.

On this annual observance by the United Nations, We're Better Than That—the University's anti-racism committee comprised of students, faculty, and staff—will sponsor a panel discussion and invite members of the community to sign a pledge to fight racism.

In 2017, nearly 10 percent of the total number of Arts, Sciences & Engineering graduates completed a math major, the highest percentage ever at the University, and one of the highest of any institution in the country.

From the post-Reformation trauma of Shakespeare's history plays, to the poignant scrapbooks created by the families of British soldiers killed in World War I, the fellowships sponsored by the Humanities Center this year focus on the interdisciplinary study of memory and forgetting.

The spring production We Don’t Live on Mars Yet never started out as your typical theater production. It’s what’s called a devised work — where actors, production artists, and even the director don't know what the final play will be.