Egungun costumes are usually created from a wide variety of carefully chosen fabrics ranging from exquisite samples of local handwoven aso ofi to exotic fabrics imported from aro
This salad spoon and fork set, made by the Gorham Manufacturing Company ca. 1885, is named after the coastal town of Narragansett, Rhode Island. Replete with intricately detailed shells, seaweed, and sea creatures—including small fish and tiny crabs—these two sea-encrusted utensils were my point of inspiration for a set of five brooches. In the following article I will describe some of the basic processes used to create my Narragansett-inspired jewelry
During my summer internship, I saw hundreds of fabulous garments, shoes, and accessories arrive for the Spring 2016 exhibition on fashion designer Todd Oldham.
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.
This fall the RISD Museum Lucy Truman Aldrich Porcelain Gallery reopened with its cabinets filled with engaging figures and a diverse array of tableware. Comprising nearly 180 objects from the museum's collection, this new installation focuses on the role that porcelain played in eighteenth-century life.
An eclectic mix of North African, Moorish, Middle Eastern, and Japanese aesthetics, this desk and table are the original creations of Italian designer Carlo Bugatti.
RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg's Elastic armchair.
Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.
A jade lithophone from 18th-century China offers insight to the significant role of ritual music in ancient China—as an essential part of state rite to assert the legitimacy of reign.
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.
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.
Dubbed a travel coat by artist and designer Christina Kim, this is a garment made for journeys long and far, both real and imagined, for traversing territories in the mind as much as in the physical world.
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.
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.
Devotional representations of Saint Barbara, a Christian martyr whose legend extended across both Western and Eastern medieval worlds, flourished in fourteenth-century Europe. An examination of the Providence Saint Barbara reveals a sculptural tradition with a complex and colorful practices of medieval devotion to the cult of saints.
During the Fall of 2015, Sheila Bonde’s graduate students in the Department of the History of Art and Architecture at Brown University undertook an investigation of the wood sculptures in the RISD Museum collections. This multi-author paper includes some of their findings.
