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.

The future is an abstract concept, hard to decode and difficult to predict. A summer intern reflects on fashion and future in this creative writing piece.

A summer intern's short story/poem about a cat that investigates the spatial politics of Duchamp’s 'Boîte-en-valise' and also falls in love

The handmade object has a tendency to prompt memories from the craftsperson who made it. In this reflection on an embroidered purse from the 1970s, Ariel Wills and Kate Irvin are joined by maker Christina Bevilacqua for a dynamic conversation that demonstrates the narrative qualities embodied in material culture.

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.

A summer intern’s reinterpretation of a 1600s still life painting as lived ritual and faith in the present

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

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

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."

A summer intern meditates on the medium of murals and how they appear on RISD’s walls, using Photoshop to understand what is lost when seeing incomplete works out of context.

After a half-century's journey, Gorham's magnificent writing table and chair made for the 1904 St. Louis World's Fair returned home to Providence.

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.

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

Childe Hassam, a successful young book and magazine illustrator, made h

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice R

Five works on paper in the RISD Museum’s collection follow the arc of C

Over the course of his artistic life, Marsden Hartley sought unmediated

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

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?

Curatorial intern Anthony Stott explores the journey of the myths of Ovid—from text to visual medium—in three objects in the neoclassical galleries.

This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.

RISD Museum’s important Greek inscription dates to the period when Rome dominated the Eastern Mediterranean.

Unfinished paintings by Eastman Johnson, John Singer Sargent and Mary Cassatt reveal new techniques that emerged in France in the second half of the 19th century.

A chance meeting between the wife of President Rutherford B. Hayes and Theodore Davis, an illustrator and journalist for "Harper's Weekly", in the White House conservatory produced one of the most extraordinary dinner services.