20 North Main St
(also enter on 224
Providence, RI 02903
RISD Museum conservator Ingrid Neuman discusses the challenges in caring for objects made from this ubiquitous material
Indigo blue, ultramarine blue, cobalt blue, cerulean blue, zaffre blue, Facebook blue. The fourth issue of Manual is a meditation on blue.
Double Take looks at one object two different ways.
How a project designed to enhance pain management was born and made possible by the collaboration between RISD Museum and the Brown Emergency Medicine Residency.
Professor Jan Baker encouraged her letterpress class to become inspired by the Circus exhibition at the RISD Museum.
John Steuart Curry’s images of the circus provide us with an insider’s look at the Ringling Bros. and Barnum & Bailey Circus in the 1930s.
It’s impossible to know exactly what happened in prehistory, but we archaeologists have excellent tools to help us.
A rare female artist, Diana Mantuana’s engraving of Atilius Regulus in a Barrel plays an important role in the history of the practice of printmaking and its reception in Renaissance Italy.
A look at the graphic-design inspiration and challenges behind Circus.
Curator Gina Borromeo explains how unfinished pieces such as one give us insight into how ancient Egyptian sculptors worked.
Intern Margaret North finds that every successful treasure hunt has a moment of shining glory.
Using a questionnaire, curator Peter Selz—and the artists he queried—helped define a movement.
In this series, RISD Museum curator Dominic Molon considers the importance and setting of the studio, and calls on Rhode Island artists.
Curatorial assistant of contemporary art A. Will Brown interviews Turkish artist Aslı Çavuşoğlu about her film In Diverse Estimations Little Moscow (2011).
Artist Peyton North (RISD BFA 2015, Textiles) shows us how to create stripes on a knitting machine.
For many of us, a line is the first mark we make. It is a huge developmental milestone when a young child’s first scribbles are set to the page (or wall!).
This fall, artist and writer Mira Schor—known for her practice of and advocacy for painting in a post-medium culture as well as for her contributions to feminist art history—spoke about “Living between Visuality, Materiality, and Language.”