In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
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."
This rare example of Gorham's "Mythologique" flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.
For conservators, fabrics incorporating metallic components raise complex questions about construction, materials, and manufacturing techniques, all of which impact how an object will be stabilized and displayed
Architects have been recognized as key figures in furniture design since the late 19th century, although they've certainly been designing furniture for far longer. But what compels them to do so?
Unfinished paintings by Eastman Johnson, John Singer Sargent and Mary Cassatt reveal new techniques that emerged in France in the second half of the 19th century.
Unfinished paintings by Eastman Johnson, John Singer Sargent and Mary Cassatt reveal new techniques that emerged in France in the second half of the 19th century.
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.
During my summer internship, I saw hundreds of fabulous garments, shoes, and accessories arrive for the Spring 2016 exhibition on fashion designer Todd Oldham.
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.
Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.
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.
The RISD Museum’s 2009 acquisition of the Richard Brown Baker collection included two drawings by the English artist Howard Selina—Cowboy Hat (1974) and Two Boots (1974)—carefully and precisely rendered drawings in graphite on paper of well-worn, utilitarian garments.
Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.
A colossal Romanesque head in the RISD collection has yet to be securely identified, but the sheen of his nose suggests that it was rubbed by many penitent hands during the course of this sculpture’s life.