RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg's Elastic armchair.
Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.
In the flood of digital-ness that comprises our daily experience, it can be easy to forget that most of what all of our complex devices are doing is simply counting. It's no coincidence that the word digital comes from digits, our fingers, that most elementary of counting machines.
A jade lithophone from 18th-century China offers insight to the significant role of ritual music in ancient China—as an essential part of state rite to assert the legitimacy of reign.
The woman in Frank W. Benson's Lady Trying on a Hat has always been a character who caught my eye during visits to the Museum. From her averted gaze to the contrast between her white dress and the black hat, she is poised to play the lead role on the stage that Benson created.
How a project designed to enhance pain management was born and made possible by the collaboration between RISD Museum and the Brown Emergency Medicine Residency.
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.
LeWitt likened his instructions to musical scores, which are realized in a new way every time they're played, and it's possible for LeWitt's wall drawings to take slightly different forms, depending on how his directions are implemented.
Dubbed a travel coat by artist and designer Christina Kim, this is a garment made for journeys long and far, both real and imagined, for traversing territories in the mind as much as in the physical world.
The RISD Museum’s 2009 acquisition of the Richard Brown Baker collection included two drawings by the English artist Howard Selina—Cowboy Hat (1974) and Two Boots (1974)—carefully and precisely rendered drawings in graphite on paper of well-worn, utilitarian garments.
In this durational performance, artist Becci Davis attempted to repair the ancestral wounds of American history, through a series of deliberate gestures.
Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.
Website that uses the weather to make programmatic selections from the RISD Museum based on conditions, first in Providence, then in a city of the user’s choosing. The goal was to give museum-goers a tangible point of access to art, and to make unexpected groupings of objects.
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.
In the Middle Ages, several saints were represented as knights in art, making it difficult to identify RISD’s Crusading Saint. This article will explore his possible identities.
This late fifteenth-century Virgin and Child was created with subtlety, flexibility, and portability in mind. These features were central to its medieval use—and its use at the RISD Museum.
During the Fall of 2015, Sheila Bonde’s graduate students in the Department of the History of Art and Architecture at Brown University undertook an investigation of the wood sculptures in the RISD Museum collections. This multi-author paper includes some of their findings.
Educator MJ Robinson reflects on student reactions to their gender presentation and shares a lesson plan inspired by artist Nick Cave’s Soundsuits to help elementary-aged students identify and challenge gender-based stereotypes.