The history of the Gorham Manufacturing Company is intertwined with that of Providence and Rhode Island. This uniquely local story has provided the opportunity for the RISD Museum to learn from the experiences of community members who have intersected with Gorham's legacy.
Faculty member Rosa Weinberg reflects on the relevancy of art analysis as a starting point for exploring form in design and as a powerful habit of mind for beginning designers.
How are museum collections constructed? Producer Emma Vecchione searches for an answer in examining the police raid of a 1978 art exhibition, a collection of pictures at the RISD Museum, and the family photographs on top of her mother’s television set.
William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the Univer
An intern explores the history of works from the museum’s ancient collection, tracing the archaeological excavations that brought them to light and into the permanent collection.
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.
RISD Museum object photography generally follows typical museum practice: a straightforward approach to framing and lighting with great concern for color fidelity. For *Artist/Rebel/Dandy*, the curators suggested that we go in a different direction.
The discovery of these treasures resembles that of a valuable manuscript. They are a new “Codex Africanus,” not written on fragile papyrus, but in ivory and imperishable brass.
In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
Inspired by the European galleries, graphic designer Kelly Walters explores 19th-century notions of exoticism and beauty through the creation of a folded broadsheet poster.
This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.
A chance meeting between the wife of President Rutherford B. Hayes and Theodore Davis, an illustrator and journalist for "Harper's Weekly", in the White House conservatory produced one of the most extraordinary dinner services.
