A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.
Faculty member Rosa Weinberg reflects on the relevancy of art analysis as a starting point for exploring form in design and as a powerful habit of mind for beginning designers.
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
In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
Students in Mariela Yeregui's Decolonial E-Textiles class create radical, critical, situated, and anticolonial projects that combine textile techniques with simple and low-tech electronic mechanisms.
Exploring the process and context behind "School House Long House", a new work created by Providence/Newport artists Jed Hancock-Brainerd, Rebecca Noon, and Jeremy Radtke.
Robert Emlen, curator at Brown University, and furniture designer, Timothy Philbrick examine the craftsmanship, features, and significance of the Goddard/Townsend desk and bookcase.
This rare example of Gorham's "Mythologique" flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.
Pixilation Party!, or how, with the help of dozens of RISD Museum visitors, Providence artist Xander Marro recently created one minute of black and white magic.
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.