The American and European jewelry collection at the RISD Museum, part of the Decorative Arts and Design Department, is made up of more than 800 works, including necklaces, earrings, bracelets, and rings from the medieval period to present day.
The RISD Museum is proud to participate in this non-partisan initiative of the American Institute of Graphic Arts (AIGA), which uses design to encourage civic engagement.
A graphic design student at the Royal Danish Academy of Fine Arts in Copenhagen, Marta Jeż describes her virtual exhibition project and new possibilities of translating physical exhibitions into digital forms.
A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.
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.
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.
Faculty member Rosa Weinberg reflects on the relevancy of art analysis as a starting point for exploring form in design and as a powerful habit of mind for beginning designers.
Digital Initiatives intern Ariel Hirschhorn explores the “Maker” field in the museum’s database to examine the collection from a programmer’s perspective
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
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.
A summer conservation intern’s investigation into the uses of infrared photography in recording Samoan siapo and the significance of new visual information gained.
Students in Mariela Yeregui's Decolonial E-Textiles class create radical, critical, situated, and anticolonial projects that combine textile techniques with simple and low-tech electronic mechanisms.
Safely stored away during gallery renovations, all 196 pieces of RISD's Gilded Frost and Jet Chandelier by Dale Chihuly have been expertly reinstalled.