An intern's hands-on exploration of antique photomechanical processes in the 21st century

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.

RISD Museum curators Jan Howard and Gina Borromeo share the RISD Museum’s process for deaccessioning a bronze head of an oba from Benin prior to its return to Nigeria

This reading list is not exhaustive and serves as a starting point to learn more about Nancy Elizabeth Prophet.

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.

A summer intern works with local artists to create an experimental audio project to be experienced in the galleries.

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

How was the object made? What materials and methods brought it to life? 

How did the object find its way to the museum, and why is it presented this way? 

The RISD Museum’s 2009 acquisition of the Richard Brown Baker collection included two drawings by the English artist Howard Selina—Cowboy Hat (1974) and Two Boots (1974)—carefully and precisely rendered drawings in graphite on paper of well-worn, utilitarian garments.

The man in this painting lived in the same era and region as some of colonists seen in this gallery.

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.

Recorded on 05.03.19.

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

During the Fall of 2015, Brown’s graduate students in the Department of the History of Art and Architecture undertook an investigation of the wood sculptures in the RISD Museum collections.

This seven-foot-tall Christ would have been suspended above an altar or screen, the juxtaposition of his damaged body and calm, downward gaze reminding those below him of both his humanity and his divinity. 

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.

In the Middle Ages, several saints were represented as knights in art, making it difficult to identify RISD’s Crusading Saint. This article will explore his possible identities.

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.