Curatorial assistant of contemporary art A. Will Brown interviews artist Kudzanai Chiurai about his film "Iyeza"

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.

A summer intern peeks into the Museum’s hidden corners and examines its architectural quirks.

An exploration of the intriguing relationships between works in Martin Boyce's mid-career survey exhibition at the RISD Museum and objects by Alexander Calder, Charles and Ray Eames, and Dan Flavin in the museum's collection.

How do you lay an Egyptian mummy to rest in a museum? Our curator considered a number of factors in orienting Nesmin, RISD's Egyptian mummy, in his new case in the freshly renovated gallery, but found a strange coincidence in her final decision.

Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature.

Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerlan

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898.

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

Luca Cambiaso used iron gall ink and a quill pen to create this drawing in about 1570. RISD professor Andrew Raftery walks us through the making of iron gall ink and a quill pen, and explains how he copied Cambiaso's drawing.

A look at the graphic-design inspiration and challenges behind Circus.

Cleaning an object can be as much about discovery as it is about removing accumulated dust and grime.

Safely stored away during gallery renovations, all 196 pieces of RISD's Gilded Frost and Jet Chandelier by Dale Chihuly have been expertly reinstalled.

Exploring the process and context behind "School House Long House", a new work created by Providence/Newport artists Jed Hancock-Brainerd, Rebecca Noon, and Jeremy Radtke.

While the sixth-floor galleries are undergoing an extensive renovation, the Museum is carefully studying and conducting conservation work on the monumental 12th-century wooden Dainichi Nyorai Buddha. When the Buddha is returned to its gallery in late spring 2014, it will be stabilized and we'll know much more about the art that went into creating this nearly 10-foot-tall sculpture.

Get a peek inside the studio of Maralie Armstrong (RISD MFA 2009, Digital + Media) as she creates a score inspired by the Nō robes in the RISD Museum collection.

The RISD Museum looks back at 100 years of its docent program, and the program's origins and evolution.

In 1969, artist Andy Warhol was invited to curate an exhibition at the RISD Museum using works from the permanent collection that were not on view, but in storage.

Richard Merkin was for decades the go-to authority for all things dandyish. As we see in the ephemera from his life and his tailored clothing on view in the exhibition "Artist/Rebel/Dandy", his personality and fashion sense live on at RISD.

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 colossal Romanesque head in the RISD collection has yet to be securely identified, but the sheen of his nose suggests that it was rubbed by many penitent hands during the course of this sculpture’s life.

This article argues that Simon the Pharisee would have been viewed as an explicitly Jewish character by sixteenth-century viewers.

This seven-foot-tall Christ would have been suspended above an altar or screen, the juxtaposition of his damaged body and calm, downward gaze reminding those below him of both his humanity and his divinity. 

Devotional representations of Saint Barbara, a Christian martyr whose legend extended across both Western and Eastern medieval worlds, flourished in fourteenth-century Europe. An examination of the Providence Saint Barbara reveals a sculptural tradition with a complex and colorful practices of medieval devotion to the cult of saints.