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.

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.

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.

Graphic design students and professionals offer their visions of "Graphic Design Next."

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

This salad spoon and fork set, made by the Gorham Manufacturing Company ca. 1885, is named after the coastal town of Narragansett, Rhode Island. Replete with intricately detailed shells, seaweed, and sea creatures—including small fish and tiny crabs—these two sea-encrusted utensils were my point of inspiration for a set of five brooches. In the following article I will describe some of the basic processes used to create my Narragansett-inspired jewelry

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.

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 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

A student in a RISD course on pan-African aesthetics contemplates a vinyl record pictured in a Sanlé Sory photograph in the collection, and imagines the songs it contains.

Juxtaposing Iké Udé’s photography with Sun Ra’s notions of "mythocracy" and Black Utopia, Ann-Maree Quaynor seeks to reclaim Black Dignity and Existence.

Professor Jan Baker encouraged her letterpress class to become inspired by the Circus exhibition at the RISD Museum.

A student in a RISD course on pan-African aesthetics, inspired by a photograph in the collection, envisions future possibilities of Black hairstyling.

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

The handmade object has a tendency to prompt memories from the craftsperson who made it. In this reflection on an embroidered purse from the 1970s, Ariel Wills and Kate Irvin are joined by maker Christina Bevilacqua for a dynamic conversation that demonstrates the narrative qualities embodied in material culture.