Students in Mariela Yeregui's Decolonial E-Textiles class create radical, critical, situated, and anticolonial projects that combine textile techniques with simple and low-tech electronic mechanisms.
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.
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.
A chance meeting between the wife of President Rutherford B. Hayes and Theodore Davis, an illustrator and journalist for "Harper's Weekly", in the White House conservatory produced one of the most extraordinary dinner services.
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.
Over the last 2,000 years, Nesmin has been a priest, a mummy, and a museum exhibit. RISD Museum intern Jonathan Migliori discusses Nesmin's influence in his life.
During my summer internship, I saw hundreds of fabulous garments, shoes, and accessories arrive for the Spring 2016 exhibition on fashion designer Todd Oldham.
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.
Dubbed a travel coat by artist and designer Christina Kim, this is a garment made for journeys long and far, both real and imagined, for traversing territories in the mind as much as in the physical world.
While the sixth-floor galleries are undergoing an extensive renovation, the Museum is carefully studying and conducting conservation work on the monumental 12th-century wooden Dainichi Nyorai Buddha. When the Buddha is returned to its gallery in late spring 2014, it will be stabilized and we'll know much more about the art that went into creating this nearly 10-foot-tall sculpture.