For many of us, a line is the first mark we make. It is a huge developmental milestone when a young child's first scribbles are set to the page (or wall!).
How do we describe images and the experience of looking at images? Student Grace Xiao reflects on the process of writing alt text for "Variance: Making, Unmaking, and Remaking Disability."
"Raid the Database with Natalja Kent" is the first installment in an ongoing project in which artists bring new curatorial perspectives to the museum's extensive collections.
Architects have been recognized as key figures in furniture design since the late 19th century, although they've certainly been designing furniture for far longer. But what compels them to do so?
The Museum recently acquired *Huevos de Los Angeles*, a collaborative work by two RISD alumni, Adam Silverman and David Wiseman. Here the artists describe how they created "eggs" to rival the most coveted variety.
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).
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.
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
