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.

This reading list is not exhaustive and serves as a starting point to learn more about Nancy Elizabeth Prophet.

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?

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.

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 1934

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.

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.

Isabella McCormick (Brown/RISD 2015) explores the intricacies of the Gorham Narragansett Salad Set and their reflections on Rhode Island culture, insights gained from her meticulous cleaning of the utensils as part of her Mellon Summer Internship in conservation.

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

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

1. Be steadfast.

Community MusicWorks commissioned composer and vocalist Ken Ueno to write Four Contemplations for the restoration and rededication of RISD Museum's Dainichi Buddha.

How does Liliana Porter use objects as playful characters in her prints? How can we create scenes using our own special objects and tell stories about them?

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

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.

The RISD Museum is proud to participate in this non-partisan initiative of the American Institute of Graphic Arts (AIGA), which uses design to encourage civic engagement.

Why is contemporary English artist Paul Scott interested in a ceramic technique and imagery from the 1700-1800s? How does he work with transferware to comment on environmental issues and systemic racism in the United States?