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.

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.

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.

Plowing on Sunday, from about 1934

What are the essential questions museums need to ask themselves to understand the future of art?

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.

Exploring the process and context behind the series "Self Portrait as . . .", works created by Newport artist Sue McNally.

Examining and documenting four Fayum portraits as part of a larger study directed by the J. Paul Getty Museum

Exploring the process and context behind "Open House: Five Engraved Scenes", a work created by Providence artist and RISD faculty Andrew Raftery.

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

Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts.

This salad spoon and fork set, made by the Gorham Manufacturing Company ca. 1885, is named after the coastal town of Narragansett, Rhode Island. Replete with intricately detailed shells, seaweed, and sea creatures—including small fish and tiny crabs—these two sea-encrusted utensils were my point of inspiration for a set of five brooches. In the following article I will describe some of the basic processes used to create my Narragansett-inspired jewelry

Isabella McCormick (Brown/RISD 2015) explores the intricacies of the Gorham Narragansett Salad Set and their reflections on Rhode Island culture, insights gained from her meticulous cleaning of the utensils as part of her Mellon Summer Internship in conservation.

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

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

RISD student Abena Gyampo traces the history of the hypersexualization of black bodies from the early 19th century to contemporary popular culture

Artist and student Jade Cannata creates a chart describing the racial demographics of three all-inclusive resorts in locations with strong historical connections to colonialism, showing the effects of history on the present

RISD Museum’s important Greek inscription dates to the period when Rome dominated the Eastern Mediterranean.

2017 Artist Fellow Walker Mettling delves into the history and context of a previously overlooked textile with colonial origins.

Community MusicWorks commissioned composer and vocalist Ken Ueno to write Four Contemplations for the restoration and rededication of RISD Museum's Dainichi Buddha.

Nancy Prophet fellow Amber Lopez interviews artist Ariel Jackson her video *The Origin of the Blues*