RISD student Abena Gyampo traces the history of the hypersexualization of black bodies from the early 19th century to contemporary popular culture

Jane'a Johnson's students explore how blackness is created and recreated as a visual phenomenon in self-directed essays drawing on museum visits and course texts

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.

This rare example of Gorham's "Mythologique" flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.

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

Eastman Johnson was raised in Maine in a family of eight children, and

William Stanley Haseltine first studied painting in Philadelphia with t

Childe Hassam, a successful young book and magazine illustrator, made h

Over the course of his artistic life, Marsden Hartley sought unmediated

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.

2017 Artist Fellow Walker Mettling delves into the history and context of a previously overlooked textile with colonial origins.

Artist Nafis White on her project Raid the Database 2

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.

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.

A chance meeting between the wife of President Rutherford B. Hayes and Theodore Davis, an illustrator and journalist for "Harper's Weekly", in the White House conservatory produced one of the most extraordinary dinner services.

What are the essential questions museums need to ask themselves to understand the future of art?

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.

In the fall of 2014, RISD art history students curated an exhibition comparing Tokaido Road views by artist Utagawa Hiroshige (1797–1858). That exhibition is now on view in the Museum.

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

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.

Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.

A school programs educator describes student encounters with Edouard Manet's Repose.

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.