A summer intern explores the context of ceremonial objects significant to RISD’s past and present.

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.

RISD Museum intern Alicia Valencia (RISD 2015, Furniture) explains how the act of looking closely formed her impressions on Samuel Gragg's Elastic armchair.

For Yorùbá-speaking peoples in West Africa, cloth is equated with their most precious possession, children.

Drawing in a museum is a way of slowing down and experiencing artwork on a nonverbal level.

This article provides a brief introduction to this finely carved and dynamic sculpture of the Archangel Gabriel.

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

A summer intern reflects on diversity in the museum's Western European galleries and suggesting curatorial strategies for greater visibility

William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the Univer

A summer intern describes her experience delving into the RISD Museum's databases, searching for human elements

In the January 1920 Bulletin of the Rhode Island School of Design, RISD Museum director L.

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.

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

RISD student Tito Crichton-Stuart analyzes Robert Mapplethorpe’s exoticisation of the black body and proposes potential acquisitions that could serve as counterpoints in the collection

Inspired by the European galleries, graphic designer Kelly Walters explores 19th-century notions of exoticism and beauty through the creation of a folded broadsheet poster.

Curatorial intern Anthony Stott explores the journey of the myths of Ovid—from text to visual medium—in three objects in the neoclassical galleries.

This article argues that Simon the Pharisee would have been viewed as an explicitly Jewish character by sixteenth-century viewers.