A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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 student Abena Gyampo traces the history of the hypersexualization of black bodies from the early 19th century to contemporary popular culture

Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.

This rare example of Gorham's "Mythologique" flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.

Curator Maureen C. O'Brien discusses American drawings and watercolors in the RISD Museum collection

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice R

Five works on paper in the RISD Museum’s collection follow the arc of C

Over the course of his artistic life, Marsden Hartley sought unmediated

1. Be steadfast.

Embroidery samplers are inextricably linked to an image of colonial America: farmhouses waved sheets of linen like flags of surrender, with fields of flax extending beyond, as far as the eye could

RISD's ancient art collection includes a vase that demonstrates how one Greek potter perfected international marketing and became one of the most prolific artisans in ancient Athens.

This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.

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.

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

Full tgallery guide from the exhibition Kudzanai Chiurai: Iyeza

Insights into Ingres's studio practice and clues to his intellectual process

In the fall of 2014, RISD art history students curated an exhibition comparing Tokaido Road views by artist Utagawa Hiroshige (1797–1858). That exhibition is now on view in the Museum.

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

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.

Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.

LeWitt likened his instructions to musical scores, which are realized in a new way every time they're played, and it's possible for LeWitt's wall drawings to take slightly different forms, depending on how his directions are implemented.