The Back Side Story is a textile book/zine that, with cute and brightly-colored patchwork and embroidery, documents the civilians daily life, sufferings, and resilience under the Chinese government
Students in Mariela Yeregui's Decolonial E-Textiles class create radical, critical, situated, and anticolonial projects that combine textile techniques with simple and low-tech electronic mechanisms.
A summer intern meditates on the medium of murals and how they appear on RISD’s walls, using Photoshop to understand what is lost when seeing incomplete works out of context.
A summer conservation intern’s investigation into the uses of infrared photography in recording Samoan siapo and the significance of new visual information gained.
Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.
How do we describe images and the experience of looking at images? Student Grace Xiao reflects on the process of writing alt text for "Variance: Making, Unmaking, and Remaking Disability."
In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
Jane'a Johnson's students explore how blackness is created and recreated as a visual phenomenon in self-directed essays drawing on museum visits and course texts
Artist and student Jade Cannata creates a chart describing the racial demographics of three all-inclusive resorts in locations with strong historical connections to colonialism, showing the effects of history on the present
RISD student Tito Crichton-Stuart analyzes Robert Mapplethorpe’s exoticisation of the black body and proposes potential acquisitions that could serve as counterpoints in the collection
