In 1969, artist Andy Warhol was invited to curate an exhibition at the RISD Museum using works from the permanent collection that were not on view, but in storage.

In the winter of 1886, the neighborhoods of Paris were transformed by an unusually heavy snowfall that lingered on the branches of trees and captured the imagination of the artist Berthe Morisot.

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.

This late fifteenth-century Virgin and Child was created with subtlety, flexibility, and portability in mind. These features were central to its medieval use—and its use at the RISD Museum.

This seven-foot-tall Christ would have been suspended above an altar or screen, the juxtaposition of his damaged body and calm, downward gaze reminding those below him of both his humanity and his divinity. 

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

Intern Margaret North finds that every successful treasure hunt has a moment of shining glory.

Understanding historic frames and how to care for them can be a complicated matter.

The man in this painting lived in the same era and region as some of colonists seen in this gallery.

Using a questionnaire, curator Peter Selz—and the artists he queried—helped define a movement.

A summer intern explores the context of ceremonial objects significant to RISD’s past and present.

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

The Teen Intensive is an annual two-week program that brings teens together to explore their own creative processes by meeting with artists and museum staff, participating in art-making workshops,

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.

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

Insights into Ingres's studio practice and clues to his intellectual process

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."

The Museum recently acquired *Huevos de Los Angeles*, a collaborative work by two RISD alumni, Adam Silverman and David Wiseman. Here the artists describe how they created "eggs" to rival the most coveted variety.

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

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

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

Plowing on Sunday, from about 1934The drawing is undated,

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.