Curatorial intern Sam Nehila uses collage to create abstracted forms and explore the trans experience of engaging with the museum’s collection of male nude bodies.
Digital Initiatives intern Ariel Hirschhorn explores the “Maker” field in the museum’s database to examine the collection from a programmer’s perspective
Luca Cambiaso used iron gall ink and a quill pen to create this drawing in about 1570. RISD professor Andrew Raftery walks us through the making of iron gall ink and a quill pen, and explains how he copied Cambiaso's drawing.
In earlier decades, retouching (or “inpainting”) using reversible painting materials would have been employed where compositional elements were missing.
Marking the Museum’s entrance into online publishing, Altered States: Etching in Late 19th-Century Paris combines a scholarly collection of essays with a video glossary of printmaking techniques.
Richard Merkin was for decades the go-to authority for all things dandyish. As we see in the ephemera from his life and his tailored clothing on view in the exhibition "Artist/Rebel/Dandy", his personality and fashion sense live on at RISD.
In 1969, artist Andy Warhol was invited to curate an exhibition at the RISD Museum using works from the permanent collection that were not on view, but in storage.
This salad spoon and fork set, made by the Gorham Manufacturing Company ca. 1885, is named after the coastal town of Narragansett, Rhode Island. Replete with intricately detailed shells, seaweed, and sea creatures—including small fish and tiny crabs—these two sea-encrusted utensils were my point of inspiration for a set of five brooches. In the following article I will describe some of the basic processes used to create my Narragansett-inspired jewelry
As a curatorial intern for the Contemporary Art Department at the RISD Museum during the summer of 2016, I was introduced to the in-depth experience of museum work.
RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg's Elastic armchair.
A wooden “do not touch” partition usually separates the period room in Pendleton House from the public. But one Monday in June, that partition was removed, and museum staff peopled the room.
The future is an abstract concept, hard to decode and difficult to predict. A summer intern reflects on fashion and future in this creative writing piece.
Ceramics student Lindsay Savoie subverts traditional hierarchies that value painting and sculpture more highly than utilitarian art forms like pottery and photography.
