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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.
Editor of publications Amy Pickworth, intern Joanna Cortez, and curatorial assistant of contemporary art A. Will Brown interview UuDam Tran Nguyen about his single channel video Waltz of The Machine Equestrians—The Machine Equestrians (2012).
Back Door @ the Pendleton: Shadows is a scored short film that constructs a lush unreality around Aaron Pexa’s installation for RISD Museum’s Sitings Competition.
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?
Isabella McCormick (Brown/RISD 2015) explores the intricacies of the Gorham Narragansett Salad Set and their reflections on Rhode Island culture, insights gained from her meticulous cleaning of the utensils as part of her Mellon Summer Internship in conservation.
RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg’s Elastic armchair.
RISD Museum summer intern Alex Goodhouse talks about Locally Made, Design the Night, anchor buttons, and confetti cannons.
Painting student Davis Lloyd recollects stumbling across an unlikely source of inspiration, and connection between ancient art and contemporary painting.
The process of mold-making and casting invites creative experimentation, but follows rules of precise timing and size. Artist Marisa Marofske (RISD BFA Painting, 2014) explains the steps involved in casting objects.
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.
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.
A glimpse into the lives of international merchants in Canton, China.
Artist Anya Ventura explains the context behind an audio tour and printed guide that she and Anther Kiley created illustrating episodes from the lives of seven objects from the Museum’s galleries. Their 2012 work “Fragments” was one of the winning projects in the RISD Museum’s annual Sitings competition for site-specific installations by RISD degree candidates.
In the flood of digital-ness that comprises our daily experience, it can be easy to forget that most of what all of our complex devices are doing is simply counting. It’s no coincidence that the word digital comes from digits, our fingers, that most elementary of counting machines.
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.
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.
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.
Garcia Sinclair and Nafis White (both RISD BFA 2015, Sculpture) reflect on the tortuous journey of the LGBTQ movement epitomized in their winning Sitings 2013 installation “Waiting for Godot” and on the equally tortuous process they used to create the steel sculpture.
This past summer, with a focus on design thinking, the students were asked What is useful? as a starting point for their group design.
Inspired by Joachim Antonisz Wtewael’s “The Marriage of Peleus and Thetis,” Josephine Devanbu (RISD/Brown 2015) uses the painting’s shapes and density in her newest work.