As a curatorial intern for the Contemporary Art Department at the RISD Museum during the summer of 2016, I was introduced to the in-depth experience of museum work.

Construction with Central Anchor is an image that I return to frequently with students in K-12 classrooms and in the RISD Museum.

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

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.

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 history of the Gorham Manufacturing Company is intertwined with that of Providence and Rhode Island. This uniquely local story has provided the opportunity for the RISD Museum to learn from the experiences of community members who have intersected with Gorham's legacy.

Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.

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

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.

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.

Aaron Douglas was inspired by ancient and contemporary architecture, visual art and poetry. By exploring his painting and finding connections to poetry, what can we learn about how artists use different artistic styles and art forms to represent the many kinds of work it takes to build societies, both in the past and today?

Architect James Stanton-Abbott explains his process for creating a computer-rendered reconstruction of a room in an ancient Roman villa near Pompeii, using images of wall-painting fragments in the RISD Museum and the MFA, Boston.

The discovery of these treasures resembles that of a valuable manuscript. They are a new “Codex Africanus,” not written on fragile papyrus, but in ivory and imperishable brass.

Amy Lee Sanford, a Cambodian-American artist, evokes individual, social, and cultural repair in this powerful performance.

Traditional museum practice has a gigantic carbon footprint. How is the RISD Museum changing its own practices in response to the climate emergency?