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).

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?

Plowing on Sunday, from about 1934

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.

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

Composer Shawn Greenlee's experimental sound work Substitutions is inspired by the Chinese lithophone in the RISD Museum's Asian art collection

The handmade object has a tendency to prompt memories from the craftsperson who made it. In this reflection on an embroidered purse from the 1970s, Ariel Wills and Kate Irvin are joined by maker Christina Bevilacqua for a dynamic conversation that demonstrates the narrative qualities embodied in material culture.

Why is an Etruscan situla, or pail, one of the most important objects in RISD's ancient collection? We examine its form, decoration, and context to understand its unique place in European archaeology.

A glimpse into the lives of international merchants in Canton, China.

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898.

Curatorial intern Anthony Stott explores the journey of the myths of Ovid—from text to visual medium—in three objects in the neoclassical galleries.

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.

Cleaning an object can be as much about discovery as it is about removing accumulated dust and grime.

Anya Ventura visits the studio of Rhode Island stone carver Tracy Mahaffey.

Books of hours made during the late Middle Ages and Renaissance were products of collaboration between scribes, illuminators, bookbinders, and, sometimes, the original patron or owner. A recent acquisition of a French book of hours made in Rouen around 1510 tells the story of this collaboration through the structure of its contents, iconography, and assembly.

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.

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.

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

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.

Using a questionnaire, curator Peter Selz—and the artists he queried—helped define a movement.