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A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.
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.
Editor of publications Amy Pickworth, intern Joanna Cortez, and curatorial assistant of contemporary art A. Will Brown interview UuDam Tran Nguyen about his single channel video Waltz of The Machine Equestrians--The Machine Equestrians (2012).
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.
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.
The discovery of these treasures resembles that of a valuable manuscript. They are a new “Codex Africanus,” not written on fragile papyrus, but in ivory and imperishable brass.
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.
Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.
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
