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.
Mariela Yeregui was the 2022–2024 Faculty Fellow in Costume and Textiles at the RISD Museum. In this summary of her work, she describes her research, social practice, and the e-textile she created at the conclusion of the position.
In the Middle Ages, several saints were represented as knights in art, making it difficult to identify RISD’s Crusading Saint. This article will explore his possible identities.
Curatorial assistant of contemporary art A. Will Brown interviews artist Steffani Jemison about her film *Maniac Chase* (2009), *Escaped Lunatic* (2010–2011) and Personal (2014)
Agrippina the Younger watches as men of the emperor move nearer and nearer to her. They carry weapons. Having survived one attempt on her life, she knows that she will not survive another.
For many of us, a line is the first mark we make. It is a huge developmental milestone when a young child's first scribbles are set to the page (or wall!).
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
A summer conservation intern’s investigation into the uses of infrared photography in recording Samoan siapo and the significance of new visual information gained.
"Raid the Database with Natalja Kent" is the first installment in an ongoing project in which artists bring new curatorial perspectives to the museum's extensive collections.
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?
RISD's ancient art collection includes a vase that demonstrates how one Greek potter perfected international marketing and became one of the most prolific artisans in ancient Athens.
A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.
