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.
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.
A summer conservation intern’s investigation into the uses of infrared photography in recording Samoan siapo and the significance of new visual information gained.
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?
RISD's ancient art collection includes a vase that demonstrates how one Greek potter perfected international marketing and became one of the most prolific artisans in ancient Athens.
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A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.
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.
Architect James Stanton-Abbott explains his process for creating a computer-rendered reconstruction of a room in an ancient Roman villa near Pompeii, using images of wall-painting fragments in the RISD Museum and the MFA, Boston.
In earlier decades, retouching (or “inpainting”) using reversible painting materials would have been employed where compositional elements were missing.
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.
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.
