A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive presence of white males in the Western art canon.

The handmade object has a tendency to prompt memories from the craftsperson who made it. In this reflection on an embroidered purse from the 1970s, Ariel Wills and Kate Irvin are joined by maker Christina Bevilacqua for a dynamic conversation that demonstrates the narrative qualities embodied in material culture.

A student in a RISD course on pan-African aesthetics, inspired by a photograph in the collection, envisions future possibilities of Black hairstyling.

A summer intern’s reinterpretation of a 1600s still life painting as lived ritual and faith in the present

RISD student Abena Gyampo traces the history of the hypersexualization of black bodies from the early 19th century to contemporary popular culture

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."

Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.

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.

Exploring the process and context behind "Cold Moon X", a work created by Jamestown artist Georgia Marsh.

Exploring the process and context behind "The Election Gloves", a work created by Cranston artist Jessica Deane Rosner.

After a half-century's journey, Gorham's magnificent writing table and chair made for the 1904 St. Louis World's Fair returned home to Providence.

Anya Ventura visits the studio of Rhode Island stone carver Tracy Mahaffey.

In this series, RISD Museum curator Dominic Molon considers the importance and setting of the studio, and calls on Rhode Island artists.

Drawing in a museum is a way of slowing down and experiencing artwork on a nonverbal level.

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.

Composer Shawn Greenlee's experimental sound work Substitutions is inspired by the Chinese lithophone in the RISD Museum's Asian art collection

Inventories have been occurring almost since the beginning of museum practice, but they have changed entirely from their original form.

Curator Maureen C. O'Brien discusses American drawings and watercolors in the RISD Museum collection

Plowing on Sunday, from about 1934

Five works on paper in the RISD Museum’s collection follow the arc of C

Over the course of his artistic life, Marsden Hartley sought unmediated

In December of 2016 the RISD Museum needed to deinstall its European Galleries in order to renovate them.

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.