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Writer and curator John Corbett gives his take on the sounds of What Nerve!
Maureen C. O’Brien, curator of paintings and sculpture, explains the historical misattribution of a portrait by John Singleton Copley.
Liz Glass, Getty OSCI Fellow at the Walker Art Center, gives her take on the sounds of What Nerve!
The Andrew W. Mellon Summer Internship Program provides an opportunity for undergraduate and graduate students to work on significant projects at the RISD Museum. The goal of the program is to provide an overview of museum functions as well as in-depth experience in conservation, curatorial, education, marketing, or publication departments. Several interns have shared their reflections on the experience.
Painting student Davis Lloyd recollects stumbling across an unlikely source of inspiration, and connection between ancient art and contemporary painting.
Why is an Etruscan situla, or pail, one of the most important objects in RISD’s ancient collection? We examine its form, decoration, and context to understand its unique place in European archaeology.
Safely stored away during gallery renovations, all 196 pieces of RISD’s Gilded Frost and Jet Chandelier by Dale Chihuly have been expertly reinstalled.
A jade lithophone from 18th-century China offers insight to the significant role of ritual music in ancient China—as an essential part of state rite to assert the legitimacy of reign.
How do you lay an Egyptian mummy to rest in a museum? Our curator considered a number of factors in orienting Nesmin, RISD’s Egyptian mummy, in his new case in the freshly renovated gallery, but found a strange coincidence in her final decision.
In the winter of 1886, the neighborhoods of Paris were transformed by an unusually heavy snowfall that lingered on the branches of trees and captured the imagination of the artist Berthe Morisot.
In response to questions posed by Graphic Design graduate students, designers and innovators debate the past, critique the present, and imagine the future of graphic design.
Knowing the exact opera depicted on the Meissen stand leads to the next question: could the musical notes depicted actually be played?
A portrait often raises questions, first among which is: who is portrayed? Join curator Gina Borromeo as she considers a portrait of a Roman empress.
By studying an abstracted female figure from 3000 BCE, what can we learn about ancient Egyptians? What can we learn about ourselves? What about abstraction provides more insight than a complete visual representation?
Books of hours made during the late Middle Ages and Renaissance were products of collaboration between scribes, illuminators, bookbinders, and, sometimes, the original patron or owner. A recent acquisition of a French book of hours made in Rouen around 1510 tells the story of this collaboration through the structure of its contents, iconography, and assembly.
Over the last 2,000 years, Nesmin has been a priest, a mummy, and a museum exhibit. RISD Museum intern Jonathan Migliori discusses Nesmin’s influence in his life.
Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition’s curator, Judith Tannenbaum.
This rare example of Gorham’s Mythologique flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.