20 North Main St
(also enter on 224
Providence, RI 02903
The museum is closed today.
This issue of Manual pieces together works made out of practical necessity and others that marry dazzling embellishments for optimal effect, examining how history (or one version of it) was (and is) pastiched from disparate sources, how fashionable textile samples were collected, and more (always more).
Engaging with art objects to illuminate our mind at work, revealing vulnerabilities and pitfalls in thinking
For Yorùbá-speaking peoples in West Africa, cloth is equated with their most precious possession, children.
Curator Maureen C. O’Brien discusses American drawings and watercolors in the RISD Museum collection
This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians’ expectations of Inuit art.
A museum is a setting in which our desire to see is at its most heightened state. But are you actually seeing or merely looking at what has been presented to you? You see, looking is not quite the same as seeing…
Curatorial assistant A. Will Brown interviews artist Julien Prévieux about his videos What Shall We Do Next? (Sequence #2) and Patterns of Life.
RISD’s ancient art collection includes a vase that demonstrates how one Greek potter perfected international marketing and became one of the most prolific artisans in ancient Athens.
Lorén Spears (Narragansett Niantic), executive director of the Tomaquag Museum, provides important context for understanding this painting from 1700 of a Native leader.
This year the RISD Art Circle (RAC) journeyed together to New York City, an 18-hour adventure filled with incredible experiences.
Artist Mary Beth Meehan discusses work from her series Seen/Unseen
Todd Oldham speaks about the design processes, philosophies, and collaborations that informed the 1990s fashions on view in the retrospective All of Everything: Todd Oldham Fashion (RISD Museum, April 8–September 11, 2016).
Lorén Spears discusses how a 17th-century historical account was used to assemble a painting that served 19th-century politics.