Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.
A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive presence of white males in the Western art canon.
RISD Museum Summer researcher discusses Wifredo Lam's 1959 painting Près des Îles Vierges as a reflection of his complicated relationship with revolutionary Cuba and evolving understanding
An intern explores the history of works from the museum’s ancient collection, tracing the archaeological excavations that brought them to light and into the permanent collection.
Editor of publications Amy Pickworth, intern Joanna Cortez, and curatorial assistant of contemporary art A. Will Brown interview UuDam Tran Nguyen about his single channel video Waltz of The Machine Equestrians--The Machine Equestrians (2012).
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.
In earlier decades, retouching (or “inpainting”) using reversible painting materials would have been employed where compositional elements were missing.
How does a landscape painting made in 1828 by English-American artist Thomas Cole both reinforce and intervene in settler-colonial ideas about the environment and Native American people?
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.
Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.
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.
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.
