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

In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.

A summer intern reflects on diversity in the museum's Western European galleries and suggesting curatorial strategies for greater visibility

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.

Drawing in a museum is a way of slowing down and experiencing artwork on a nonverbal level.

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

William Stanley Haseltine first studied painting in Philadelphia with t

Plowing on Sunday, from about 1934

Five works on paper in the RISD Museum’s collection follow the arc of C

Inspired by the European galleries, graphic designer Kelly Walters explores 19th-century notions of exoticism and beauty through the creation of a folded broadsheet poster.

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.

For Yorùbá-speaking peoples in West Africa, cloth is equated with their most precious possession, children.

RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg's Elastic armchair.

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

The future is an abstract concept, hard to decode and difficult to predict. A summer intern reflects on fashion and future in this creative writing piece.

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.