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A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.

A summer intern describes her experience delving into the RISD Museum's databases, searching for human elements

In the January 1920 Bulletin of the Rhode Island School of Design, RISD Museum director L.

RISD Museum Summer researcher discusses Wifredo Lam's 1959 painting Près des Îles Vierges as a reflection of his complicated relationship with revolutionary Cuba and evolving understanding

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.

How does a landscape painting made in 1828 by English-American artist Thomas Cole both reinforce and intervene in settler-colonial ideas about the environment and Native American people?

Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.

What are the essential questions museums need to ask themselves to understand the future of art?

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.

Exploring the process and context behind the series "Self Portrait as . . .", works created by Newport artist Sue McNally.

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.

Eastman Johnson was raised in Maine in a family of eight children, and

Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts.

In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.

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

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

RISD student Tito Crichton-Stuart analyzes Robert Mapplethorpe’s exoticisation of the black body and proposes potential acquisitions that could serve as counterpoints in the collection

A student in a RISD course on pan-African aesthetics contemplates a vinyl record pictured in a Sanlé Sory photograph in the collection, and imagines the songs it contains.

Nancy Prophet fellow Amber Lopez interviews artist Ariel Jackson her video *The Origin of the Blues*

Why is an Etruscan situla, or pail, one of the most important objects in RISD's ancient collection? We examine its form, decoration, and context to understand its unique place in European archaeology.

The American and European jewelry collection at the RISD Museum, part of the Decorative Arts and Design Department, is made up of more than 800 works, including necklaces, earrings, bracelets, and rings from the medieval period to present day.

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.

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.