Museum staff and partners have shared our Clinical Arts work at a variety of conferences, symposia, and scholarly publications.

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. 

A colossal Romanesque head in the RISD collection has yet to be securely identified, but the sheen of his nose suggests that it was rubbed by many penitent hands during the course of this sculpture’s life.

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 article argues that Simon the Pharisee would have been viewed as an explicitly Jewish character by sixteenth-century viewers.

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.

Devotional representations of Saint Barbara, a Christian martyr whose legend extended across both Western and Eastern medieval worlds, flourished in fourteenth-century Europe. An examination of the Providence Saint Barbara reveals a sculptural tradition with a complex and colorful practices of medieval devotion to the cult of saints.

This article provides a brief introduction to this finely carved and dynamic sculpture of the Archangel Gabriel.

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.

A summer intern conspires with a toothy collage in the museum’s collection.

A summer intern's 3-dimensional visualization and virtual reality exploration of the Kanzeon Raijin Gate in Edo, Japan, as seen in an 1820s print.

The RISD Museum collection application program interface (API) lays out how our website’s search function operates, aiding discovery of the museum’s collection and allowing collection data to be used in innovative ways.

A summer intern’s reinterpretation of a 1600s still life painting as lived ritual and faith in the present

In the January 1920 Bulletin of the Rhode Island School of Design, RISD Museum director L.

How do we describe images and the experience of looking at images? Student Grace Xiao reflects on the process of writing alt text for "Variance: Making, Unmaking, and Remaking Disability."

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.

I begin with the assertion that textiles are agents-deemed-objects.

Robert Emlen, curator at Brown University, and furniture designer, Timothy Philbrick examine the craftsmanship, features, and significance of the Goddard/Townsend desk and bookcase.

In this series, RISD Museum curator Dominic Molon considers the importance and setting of the studio, and calls on Rhode Island artists.

Luca Cambiaso used iron gall ink and a quill pen to create this drawing in about 1570. RISD professor Andrew Raftery walks us through the making of iron gall ink and a quill pen, and explains how he copied Cambiaso's drawing.

Curator Maureen C. O'Brien discusses American drawings and watercolors in the RISD Museum collection