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.
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.
Safely stored away during gallery renovations, all 196 pieces of RISD's Gilded Frost and Jet Chandelier by Dale Chihuly have been expertly reinstalled.
Pixilation Party!, or how, with the help of dozens of RISD Museum visitors, Providence artist Xander Marro recently created one minute of black and white magic.
For conservators, fabrics incorporating metallic components raise complex questions about construction, materials, and manufacturing techniques, all of which impact how an object will be stabilized and displayed
Embroidery samplers are inextricably linked to an image of colonial America: farmhouses waved sheets of linen like flags of surrender, with fields of flax extending beyond, as far as the eye could
This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.
Unfinished paintings by Eastman Johnson, John Singer Sargent and Mary Cassatt reveal new techniques that emerged in France in the second half of the 19th century.
For many of us, a line is the first mark we make. It is a huge developmental milestone when a young child's first scribbles are set to the page (or wall!).
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.