Educators

What can we learn about life in ancient Egypt by examining protective symbols on the coffin of a priest named Nesmin?

How do Lynda Benglis and Shari Mendelson communicate ideas and messages through their sculptures’ forms and materials?

Aaron Douglas was inspired by ancient and contemporary architecture, visual art and poetry. By exploring his painting and finding connections to poetry, what can we learn about how artists use different artistic styles and art forms to represent the many kinds of work it takes to build societies, both in the past and today?

How does a landscape painting made in 1828 by English-American artist Thomas Cole both reinforce and intervene in settler-colonial ideas about the environment and Native American people?

Why is contemporary English artist Paul Scott interested in a ceramic technique and imagery from the 1700-1800s? How does he work with transferware to comment on environmental issues and systemic racism in the United States?

How does Liliana Porter use objects as playful characters in her prints? How can we create scenes using our own special objects and tell stories about them?

How did Japanese printmakers and poets of the 19th century express feelings and symbolic meanings through artworks depicting nature?

Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.

Construction with Central Anchor is an image that I return to frequently with students in K-12 classrooms and in the RISD Museum.

Artist educator Aja Blanc gives tips and strategies on looking at art with children.

Professor Jan Baker encouraged her letterpress class to become inspired by the Circus exhibition at the RISD Museum.

The RISD Museum looks back at 100 years of its docent program, and the program's origins and evolution.

Collaborative reflections on the making and meaning of absences and erasures.

LeWitt likened his instructions to musical scores, which are realized in a new way every time they're played, and it's possible for LeWitt's wall drawings to take slightly different forms, depending on how his directions are implemented.