Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.

A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.

In the January 1920 Bulletin of the Rhode Island School of Design, RISD Museum director L.

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

What are the essential questions museums need to ask themselves to understand the future of art?

Exploring the process and context behind the series "Self Portrait as . . .", works created by Newport artist Sue McNally.

Examining and documenting four Fayum portraits as part of a larger study directed by the J. Paul Getty Museum

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.

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

Composer Shawn Greenlee's experimental sound work Substitutions is inspired by the Chinese lithophone in the RISD Museum's Asian art collection

Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.

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

2017 Artist Fellow Walker Mettling delves into the history and context of a previously overlooked textile with colonial origins.